The List Issue 781

Tim Key

Photography Special

Alice Rohrwacher

Barry Adamson

Women In Revolt!

1984 Miles Jupp

Evie Waddell

Palermo

Man Of Moon

Bee Asha

EVENTS MADE POSSIBLE.

FRONT

practical and philosophical beauty of bothies

2 Head

the new Arab Strap album a belter?

Special

exhibitions and favourite photos

International Children’s Festival

have the Catalonians ever done for us?

EAT & DRINK

laptop warriors should take a deep breath

Games

Our hipster guru educates the pub-goers of Leith

TRAVEL & SHOP

swimming and street food in Sicily’s capital

radicalism can still be read

the Glasgow music

tale made in Malaysia

modern moods of Lewis Grassic Gibbon’s classic

comic proves he’s still Relevant

STAYING IN

comic flags up her perfect podcasts

from the one-man nouveau Rat Pack

Suddenly, there was an explosion in my vision

The camera never lies. A picture says a thousand words. All well-worn clichés but what is it they say about clichés? They’re only clichés because they have a grain of truth about them (another cliché, but we’ll let that go). Who better to ask about pictures and cameras than a handful of the top photographers working in the arts and entertainment business in Scotland today? So, we did. In our photography special, we hear from them about significant pictures they’ve taken, the threat (and possible benefits) of AI to their jobs, and the tactics they wield to put their subjects at ease.

Our cover star is Bee Asha, a festival producer, spoken-word artist and rapper who has graced our pages several times before and never fails to fascinate with her thoughts on culture, identity, music and her own traumatic abuse which she shares in order to help others who have suffered the same kind of horrors. Miles Jupp had his own personal catastrophe in 2021 when a brain seizure left him literally floored. The actor and comic talks to us about his recovery and steady journey to get back onto the live stage again. He also rode a horse in Napoleon which isn’t something we can all say.

Other interviewees include Glasgow’s psych-rock duo Man Of Moon, deaf trad musician Evie Waddell, and still-cool guru of cultural analysis John Robb, while Edinburgh International Children’s Festival boss Noel Jordan chats about a specific geographical strand in this year’s programme. And we interrogate award-winning comedy poet (and poetic comedian) Tim Key for our Back Q&A. Who does he think he looks like and what on earth will it take to get him on the dancefloor? His answers may, or may not, surprise you.

Who are we raving about on our reviews pages? Thoroughly taking our fancy is a new star-studded audio version of Orwell’s 1984, some post-millennial banter of Edinburgh comic Iain Stirling, the Fellini-esque La Chimera starring Josh O’Connor, flamboyant Strictly star Johannes Radebe, a new stage adaptation of Sunset Song, and the stunning debut novel from Oisín McKenna. Another future star who will surely be the subject of many photographers’ lenses in years to come.

Brian Donaldson EDITOR

Friers

Southam

Dalliston

Ailsa Sheldon, Brian Donaldson, Carol Main, Claire Sawers, David Kirkwood, Eddie Harrison, Emma Simmonds, Eve Connor, Fiona Shepherd, Gareth K Vile, Graham Peacock, Isy Santini, James Mottram, Jay Richardson, Jo Laidlaw, Kat Hill, Kelly Apter, Kevin Fullerton, Marcas Mac an Tuairneir, Megan Merino, Murray Robertson, Neil Cooper, Paul Dale, Paul McLean, Rachel Ashenden, Rebecca Crockett, Suzy Pope

Wmouthpiece

PICTURE: NICHOLASJ.R.

hen I first visited a bothy, tramping alongside Loch Etive to Cadderlie in misty rain, I could little have imagined where my journey would lead. Tied to the city, working a job I disliked and fresh from a traumatic relationship, I relished the freedom of being amidst Scottish mountains, without signal but with good company. If you’ve only really heard about them on Killing Eve, bothies are free mountain shelters mostly found in Scotland, though also in England and Wales. They are basic huts without running water or electricity, located in remote places. When hiking exploded after World War I, men and women escaped cities, reclaiming rundown cottages and stalking huts as shelters. Bothies are free, unlocked, unbookable and available for anyone. You never know who’ll be there and I love the anonymous camaraderie with fellow travellers.

At the basic level, these are places to rest weary legs on walks, to shelter from storms or biting winds. Bothies provide refuge, but their meaning stretches beyond mere physical shelter. Life has a pleasing simplicity as you become the bothy’s custodian for a night or two, a counterpoint to modernity’s clattering complexity. For me, they were a place I shed worries for a while and found a

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, Emma Simmonds tells us which things . . .

Made me cry: One Day on Netflix was a real grower. I’m not really a romcom person and haven’t read the book, so wasn’t particularly psyched at the prospect. But I loved the bitesized episodes and casting, and was properly sobbing by the end.

Made me angry: I was disappointed by the outrage directed at Jonathan Glazer, The Zone Of Interest helmer, following his stance on the Gaza conflict which formed part of his Oscar acceptance speech. He was expressing a personal, compassionate and perfectly understandable position, and I don’t believe he deserved the backlash. Also, the film is phenomenal.

Made me laugh: Tim Key’s Chapters. This little book of poetry has been cracking me up. And the final series of Curb Your Enthusiasm has been one of the best. I love how Larry David’s social-etiquette crusader/permanently annoyed pedant has become an unlikely hero, despite his habit of offending absolutely everyone.

Made me think: Alex Garland’s Civil War is a stark, impactful warning to Americans of the danger of re-electing Trump, and yet it avoids overt messaging entirely, with this great British director making interesting artistic choices at every turn.

Made me think twice: As it tells the story behind Isabel Wilkerson’s incredible book Caste: The Origins Of Our Discontents, Ava DuVernay’s masterful film Origin takes something we thought we understood (racism in the US) and places it in a transformational global context. It’s unbelievably moving too.

the insider

Skye-based writer, researcher and community engagement officer Kat Hill has spent the last four years working on a book about mountain bothies and the people you find in them. Here she considers their practical and symbolic importance in the 21st century

personal kind of refuge, but not because I was in isolated wilderness or simply forgot everything. Rather, when we lament disconnection from people and places, bothies embody solidarity and community. If you visit bothies, you’re responsible for leaving them as you find them: sweeping, removing rubbish, looking after the environment and fastening doors against winds. Staying involves collective care for others and fragile landscapes.

Bothies are often in stunning environments. I’m not going to lie, it’s part of the appeal. They make nature’s wild world accessible for many. But their significance is also in connections that flourish in small spaces, to people and the living world. In our fractured age of conflict, climate change and social crises, it’s sometimes hard to believe in the common good or our ability to care. Happiness often seems elusive; such hard work. I’m not claiming bothies furnish solutions to global ills, but in simple shelters, where I laughed, rested, was playful and thoughtful, and delighted in nature, I can reimagine what happiness means. I can’t put it better than a boy, Calum, who wrote in a bothy visitor book, ‘I like the hut’.

 Bothy: In Search Of Simple Shelter is published by William Collins on Thursday 9 May.

playLIST

This month’s soundtrack accompanies our photography special, featuring picture-perfect songs from acts and bands who have rarely been camera shy. Namely, Duran Duran, Blondie, Brian Eno, Lady Gaga, The Last Dinner Party, Madonna and many more . . .

Scan and listen as you read:

head head2

MEGAN

I’m totally fine with it don’t give a fuck anymore marks a new chapter in the life of Arab Strap, marketed as a sonic departure from their previous eight LPs. Lead single ‘Bliss’ is one of the record’s finest moments, its permeating drum loops and synth line perfectly cutting through Aidan Moffat’s droney voice. ‘Sociometer Blues’ and ‘Molehills’ feel similarly strong in their production, while ‘Safe & Well’ is a great display of narrative songwriting in which Moffat imagines his own death in a world riddled by isolation. The effects of social media and technology are a recurring theme, grounding the album in the here and now; however, certain lyrics end up jarring more than they emote. ‘I saw your post, you’re looking well/we’re overdue a catch up’ in the song ‘Summer Season’ reads more like a boomer’s Facebook post than poetic lyricism. Similarly cringy are the staccato strings used in ‘Haven’t You Heard’, while unimaginative chords and melodies creep their way into choruses of otherwise strong songs such as ‘Dreg Queen’, killing all momentum. While I’m all for mixing things up creatively, Arab Strap’s previous mastery of confrontational lyrics and visceral production make more than a few moments on the new album feel underbaked. Dare I say a tiny bit more of a fuck could have gone a long way.

from the archive

We look through The List’s 39-year back catalogue to see what was making headlines this month in decades gone by

Our latest venture into Listory takes us back 35 whole years. Our cover star Elvis Costello had just returned with new single ‘Baby Plays Around’ (the first from his 1989 album Spike) and spoke to us about his on-off relationship with being a ‘pop star’. A few pages later, we heard from ‘America’s best rock’n’roll band’ REM, who were making stops at Edinburgh Playhouse and Barrowlands as they embarked on their biggest UK tour to date. Also inside, Trevor Johnston sent dispatches from the frontlines of Cannes and Scottish Opera put their own spin on Kurt Weill’s crowd-pleasing musical Street Scene.

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

Falkirk’s finest miserabilists are back with another collection which tackles modern woes and ancient battles. Megan Merino and Kevin Fullerton give Arab Strap’s latest a blast and wonder whether they’re fine with it or don’t give a fuck

KEVIN

From the abrasive guitars of ‘Allatonceness’ to the palpable anger of ‘Sociometer Blues’, I’m totally fine with it don’t give a fuck anymore evokes a paranoiac unease that the Strap lads haven’t leaned into since Monday At The Hug & Pint. But where that 2003 album examined a single damaged psyche, this new collection is a state-of-the-nation howl, glowering at social media’s dominance and endless political chicanery. It’s like watching a man jab his finger at a panic button, trying to rouse people with an alarm that’s never quite loud enough. As with many other bands, Aidan Moffat and Malcolm Middleton are finding the contemporary landscape unavoidable (something that was already apparent on ‘Fable Of The Urban Fox’, a stand-out from their 2021 comeback As Days Get Dark), but here the political and personal intertwine in ways that offer a few glimmers of hope: ‘Strawberry Moon’ is a paean to nature’s healing qualities, while ‘Dreg Queen’ tells a story of genuine human connection. Falkirk’s finest may not have found a solution to a misogyny-riddled internet culture poisoning the well of social discourse, but they have crafted an album that discusses matters with empathy, humour and some of the richest arrangements of their career. Despairing at the world around you? I’m totally fine with it don’t give a fuck anymore lets you know you’re not alone.

Picture this >>

Who or what has been your favourite subject to date? I generally don’t have favourites. I think that’s the by-product of my decision to steer clear of hugely commercial jobs and stick with more arts and culture-orientated work. I don’t earn as much admittedly, but I usually like everyone I work with, which makes more sense to me. If I were to choose though, I’d probably have to say photographing with Neu! Reekie! as I had eight glorious years snapping the shows and every single one brought something different and wonderful.

‘A picture is worth a thousand words’: discuss . . . It absolutely is, if you choose to see and read an image that way. Depending on who’s looking at it and what context you see it in though, a single image can tell a multitude of different thousand words.

What tactic do you use to put a subject at their ease? I often photograph people that are not very comfortable being photographed and I think because I’m a lot like that too; it often helps to calm both our nerves. Sharing a mutual vulnerability like that, no matter how small, helps to put you both at ease and brings a bit of balance and equality to the situation. I believe a portrait is a collaboration, so being empathetic to who is in front of the camera is so important to get the best results.

Who was the biggest influence in making you pick up a camera and become the photographer you are today? It’s kind of genetic, I think. My grandfather was a keen photographer and developed all his own negs and photos, although I didn’t really know that until I was

We all read reviews and interviews on the arts pages of our finest newspapers and magazines, both in print and online. Those articles often truly come to life thanks to their accompanying pictures. Look closely and you might see a photographer being given a picture credit beside the image or buried deep within the page. We thought it was time to shine a light (sorry) upon some of the top arts photographers in Scotland and, for a change, give them a little exposure (again, sorry). Across the following pages of our Photography Special, we ask a handful of them to answer a bunch of questions, and then tell us about a particular image which they took that means a lot to them

KAT GOLLOCK

on my own journey with photography. It was lovely though as it gave us some common ground as I got older, and he often shared newspaper cuttings of photographers he thought I would like. In terms of other photographers, when I started I wanted to be Pennie Smith, so I credit her with giving me a North Star to follow in the beginning. And after that I would say Nan Goldin for unapologetically photographing the truth as she sees it, no matter how flawed, and proving that making work about what’s right in front of you can be more than enough.

‘The camera never lies’: discuss . . . This is a slippery statement. A camera can be a great tool for showing the truth of things but, equally, it can completely misrepresent. It really depends on who’s holding the camera and how they choose to use the images.

Is AI a threat to your business? I am not the best person to ask as the idea of any advanced tech makes me feel a bit queasy.

What would be your main advice to an aspiring photographer? Find your tribe. I’d be lost without my solid cohort of good souls who I share this journey with. There are a lot of people out there who will try and tell you how it is, how it should be and why you’re doing it wrong; it can bring you down and make you second guess yourself. So, to counteract that, find the folks you trust and who provide you a safe space to explore your own work and your unique journey with it. Bolster each other up and stick with them for the long haul.

 katgollock.com

Who or what has been your favourite subject to date? There isn’t one specific thing. Every time I get to photograph a dress rehearsal is a privilege and continues to be my favourite subject. I’m a huge fan of any subject that allows me to learn something new. In recent years, I’ve had the opportunity to join Scottish Ballet in rehearsals, a situation where I’m still on my toes (ha!) more often than not. Photographing dance doesn’t quite work unless you understand it, and learning this whole new visual language has been absolutely fascinating.

‘A picture is worth a thousand words’: discuss . . . They’re separate but not mutually exclusive means of communication, each offering their own merits and drawbacks. In an ideal situation, they’re complementary. I’d probably argue that words hold more power than a picture; the right (or wrong) words can alter our perception of an image entirely.

What tactic do you use to put a subject at their ease? Chatting shit. To quote Hamilton, ‘overwhelm them with honesty’. Can’t get nervous about the photos if I’m telling you all about

MIHAELA BODLOVIC >>

my horse in overwhelming, unnecessary detail (hi Ollie, you’re in the paper: mummy loves you!). I’m joking to an extent, but also not really; having an open dialogue before a single photo is taken is absolutely crucial. I find environments where that’s not possible quite challenging to work in. It’s about remembering everyone is a person and to treat the interaction as a conversation instead of an exchange of services. It’s about obtaining consent on a deeper level than someone simply stepping in front of your camera. You’d think someone turning up to a shoot implies they’ve agreed to have their photo taken but there’s a difference between gritting your teeth and giving me the practised photo-face versus fully opening up to the process. So it’s chat first, photos later.

Who was the biggest influence in making you pick up a camera and become the photographer you are today? Truly wish I had an inspiring answer here but it was the big emo wave of 2005 and photographers on deviantART and Flickr: quite the groundbreaking proliferation of young women taking ownership of their own image, creating these gorgeous conceptual portraits of themselves and other young women in their lives. Between that and making (and photographing) student theatre at university is how we’ve ended up here.

The camera never lies’: discuss . . . Definitely bollocks. Even without getting into the postprocessing aspect, there are so many ways to lie using a camera. Every time we choose our framing, there are elements we decide to leave out and others we highlight as important; we’re lying by omission.

Is AI a threat to your business? I wouldn’t say so specifically and have embraced it quite gleefully myself, from the extremely clever Remove Tool in recent versions of Photoshop, to Midjourney that I use as a creative exercise tool: it can visualise concepts much faster than I can mock them up myself. That said, the live element of my job makes the perceived threat of AI much less serious. The position in which it puts fine-art photographers, visual artists and illustrators is absolutely more precarious. We’re already seeing AI-generated content used in places which would previously have featured a purchased or commissioned image, and it marks a negative societal shift in the perceived value of the work artists do.

What would be your main advice to an aspiring photographer? It’s really tempting to say ‘just don’t do it, find a job that’ll let you have a weekend now and then’, but at the same time I really don’t think that’s an option for some people, myself included. So, if you really have to do this to yourself, I’d advise to carve out a space for yourself that exists outside of the work; it’s so easy to lose yourself in this completely. On the practical side of things, build a portfolio of the type of work you want to be doing and send it to places that can pay you to do it. I promise you the worst they can say is no, and if it’s no, it’s often not a reflection on your work. And get in touch, I’m always happy to chat.



ANDREW JACKSON

Who or what has been your favourite subject to date? I couldn’t possibly pick a favourite subject. I’ve made some great friends with a huge percentage of my clients and I’d hate to offend any of them.

‘A picture is worth a thousand words’ : discuss . . . In portrait photography, a picture truly speaks volumes. Each shot isn’t just a snapshot, it’s a moment captured, filled with emotions and stories waiting to be told. Through careful composition and lighting, I aim to reveal the essence of my subjects, capturing their unique character and personality. A portrait isn’t just about the visual; it’s about connecting with viewers and evoking feelings. It’s a powerful tool for storytelling that goes beyond words, inviting everyone to feel the story behind the image.

What tactic do you use to put a subject at their ease? I prioritise building a genuine connection before diving into the shoot (emphasis on genuine). I invest time in getting to know them, asking about their hopes, dreams and fears. By engaging in meaningful conversations, I aim to create a comfortable and relaxed environment where they feel understood and valued. By the time we start taking photos, we are in tune with each other and on a similar wavelength (most of the time anyway!).

Who was the biggest influence in making you pick up a camera and become the photographer you are today? I’m one of those weirdos that probably doesn’t fit into the art world or the cool world. People often ask me who my favourite photographers are and I usually draw a blank. It was the same when I was a professional musician: I’d always get asked who my main inspirations were. I just love to create and make. For me, it’s the only true way that I know how to express myself. There’s no room for misinterpretation; once an image is out there, that’s it.

‘The camera never lies’: discuss . . . ‘The camera never lies’ is a saying we’ve all heard, but I see it a bit differently. My photography isn’t just about capturing what’s in front of the lens; it’s about sharing my unique perspective and reality. I frame and present photos in a way that reflects how I see people and the world around me. It’s my lens on life, capturing moments as I see and experience them. I strive for authenticity in my work, aiming to create portraits that resonate with truth and genuine emotion. In doing so, I hope to connect with others through my personal vision and storytelling. Be it a high resolution, polished image for an actor’s PR campaign or some raw and candid backstage photos of comedians at the Pavilion. It’s all me.

my creative process. It can automate certain tasks and enhance efficiency, but the core aspects of photography (emotions, storytelling and connection) are uniquely human skills that AI can’t replicate. That said, I have been a bit of a luddite in the past and I’m trying my best to evolve as technology does. By integrating AI strategically, I can streamline workflows and experiment with new techniques, allowing me to focus on the artistic elements that define my photography.

Is AI a threat to your business? While AI has made significant strides in image processing and editing, I don’t see it as a threat to my photography business. Instead, I view AI as a valuable tool that complements

What would be your main advice to an aspiring photographer? My main advice would be to dive in and start shooting. Don’t get too caught up in having the latest and greatest gear; focus on learning the fundamentals and honing your skills. Connect with other photographers, share knowledge and don’t be afraid to ask questions (even silly ones). Most importantly, find your own unique style and stay true to it. As for those looking to turn photography into a profession, be prepared for rejection and setbacks but don’t let them deter you. Stay humble, be kind and always strive to deliver value to your clients. Remember that everyone’s journey is different, so focus on your growth and don’t compare yourself to others.

 cursetheseeyes.com

KARINE POLWART & GAZE IS GHOST

MUSIC + ART

LITERATURE + ENVIRONMENT

HUMAN RENEGADE TIM PORTEUS ABI ELPHINSTONE

ARTS TRAIL WORKSHOPS CLIMATE FILMS OPEN MIC BATTLE OF THE BANDS BUSKERS LOOSE PARTS PLAY AUTHOR INTERVIEWS MUSIC QUIZ STORYTELLING OPEN DOORS & GARDENS NEWCOMER STAGE

www.haddstock.co.uk

Who or what has been your favourite subject to date? I love photographing performers whether they are an actor or a musician. Performers tend to have an understanding of how things will come across in a shot; actors can emote so many nuances with small movements or just the twitch of an eyebrow. And often musicians know how to take centre stage and put on a show for the camera, either via the relationship with their audience or the relationship they have with their instruments.

‘A picture is worth a thousand words’: discuss . . . Pictures can mean many things to many people. Our job as photographers is to ensure that a story is told to many in a way that conveys a message which reads similarly to many, or to only a few. That is the beauty of being someone that makes pictures: you have so many options as an image maker (such as framing, lighting, colour etc) that give you the control to tell the story you want to tell. Pictures can be read a thousand ways and over and over again.

What tactic do you use to put a subject at their ease? It is driven by what I want to achieve, but on most occasions it ends up that I smile profusely and babble nonsense until I create a relationship with the sitter. Depending on the person that I am photographing, I’ll also do some research on their background before meeting them to see what we may have or don’t have in common; it’s good to have things to chat about. Most people also want it to be an enjoyable experience in the end, so we have that in common from the beginning.

Who was the biggest influence in making you pick up a camera and become the photographer you are today? There’s a couple of answers to this question for me. My grandfather was the one that first

JESS SHURTE >>

introduced me to photography as a small child. He built a darkroom at home and I still remember the smell of the developing chemicals, a wonderful smell which puts a smile on my face to this day. We had darkrooms at high school and thanks to a wonderful art teacher, the beginning of wanting to make photography a career has always been at the back of my mind. Growing up, my father had a music store in a coastal town in Australia, and I spent much of my childhood hanging around the shop dissecting the album and CD covers. My photographs ‘Underworld Parts 1 & 2’ which were featured in Vogue Italia, are based on some of the multiple album covers I loved, including ones from Kate Bush and, more specifically, the Roxy Music Avalon album cover. Avalon is the name of my family property/home in Australia. And, of course, Richard Avedon, Walker Evans, Leibovitz, Crewdson . . . I can go on.

‘The camera never lies’: discuss . . . The camera doesn’t lie, but images can. At what point is it that someone’s individual perspective becomes an entire truth? As a photographer you have control of the image by choosing what you do or don’t put in your frame; you are only seeing part of a possible entire scene. Context and perception are very powerful tools, and photography relies on these tools to tell stories. Not just that, you can manipulate how people view an image whether it is in black and white, vibrant colour, high contrast, dimly lit; you can use angles, lens choice, shadows, tone, light . . . these are all tools to tell a story that you want to tell. Even street photography can be considered a manipulation.

Is AI a threat to your business? I don’t feel it is a threat to my own photography, no. If anything, I see it as a tool that I can use to speed up the editing process when considering the time it takes for retouching. The type of photography that I do is all about recording a moment, including performance photography or a portrait. Portraits are far more than just the composition of the lines on someone’s face. They are also a record of your interaction with the person you’re photographing: a moment in time. If you use AI to create pictures of people or performances, it cannot achieve the same message, as those moments then become simply imaginary.

What would be your main advice to an aspiring photographer? It depends on what your end game is, but in the beginning choose to throw yourself in the deep end as much as you can. Shoot many different scenes, scenarios, events, jobs. Doing this means you gain more experience in as many lighting conditions as possible. Shoot jobs you might ordinarily shy away from as it means that you can confidently go in and shoot any scenario moving forward. You’ll be surprised what you can learn and what can come out of the most unassuming shoots.  jessphotography.co.uk

Who or what has been your favourite subject to date? Most of what I photograph in my professional life is other people’s art: the work of lighting designers, set and costume designers, the actors themselves, each aspect painstakingly considered and rehearsed. And so outside of work I like to turn my lens on more unpredictable subjects, more ‘real’. For example, I spent some time with democracy activists in Hong Kong in 2019, when resistance to the Chinese government was at its height, and produced some of the work that means the most to me. There was a raw desperation and resolve that I have rarely seen in other protest movements, because these people were not taking a couple of hours out of their weekend to make a point on behalf of others: they were on the streets day after day after day, fighting for their own home, their own freedom, and for the lives of their children.

‘A picture is worth a thousand words’: discuss . . . A well-written haiku of only ten words can evoke in the imagination a more beautiful picture than many people are able to take with a camera, and yet a thousand words may often fail to communicate the beauty of a great photograph. As with so much in life, it depends on the quality, rather than the quantity, of both the words and images.

What tactic do you use to put a subject at their ease? My favourite resource for capturing people at ease is patience. In a professional setting this often isn’t possible because of time constraints, but I love to watch a face closely, waiting for that subtle and momentary change of expression which indicates that the subject has forgotten that I’m there, if only for a second: they’ve gone somewhere inside themselves and it shows on their face. Then something real is expressed, and that’s when I release the shutter.

Who was the biggest influence in making you pick up a camera and become the photographer you are today? I was 14 when my parents gave me my first camera, and I loved it both as a device for recording and commemorating things, and as a social tool. As a shy and awkward teenager, it was a literal shield that I could lift to my face to cover it whenever I felt embarrassed or wanted to hide. But it was cinema that made me realise the power of the camera to create beauty and not merely capture it. Foremost, I have the films of Wong Kar-wai to thank for this awakening; many years later, it was a dream come true to work and drink with Wong’s collaborator on those movies, the great cinematographer Chris Doyle.

‘The camera never lies’: discuss . . . Cameras don’t lie, but photographers do. A camera does not lie in the sense that it faithfully represents how a scene or a person or an object looked at the time it was

taken. But what is contained in a photograph is strictly delineated by the edge of the frame, and manipulated by the angle from which it is taken. That is to say, how something looks is merely the surface; the reality of what is going on could be totally different. A photograph is an invitation to the viewer to imagine what the reality is, to attempt to grasp it for themselves.

Is AI a threat to your business? More than a threat: AI is already taking work away from me and from other photographers. Where once I might have been commissioned to take the photograph that would be used for a poster, many marketing teams are opting to save time and money and create the image using AI. Despite this, I feel safer from the threat than many commercial and fashion photographers must, because the majority of my work involves photographing things that take place on a stage, where what really truly happened at that time matters. I don’t see AI replacing that.

What would be your main advice to an aspiring photographer? Learn some other associated skills, such as videography/design/marketing, because the days are numbered for the role of stills (and only stills) photographers. I count my blessings every day (grateful, incredulous) that it’s one I’ve managed to occupy for almost two decades now.  tommygakenwan.com

Go to list.co.uk for much more of these Q&As.

TOMMY GA-KEN WAN

Izzy Reeve, Painting BA (Hons), Once I Was collection, Ilford HP5 35mm, 2024.

KAT GOLLOCK

Taken in November 2017, this shot was made ahead of the first ever Cold Turkey night, a lovely event birthed into being by Hollie McNish, Scott Hutchison, Michael Pedersen and Withered Hand, as a way to share the stage together and celebrate their friendship. Maybe not my best, but this photo will always be a reminder of a moment in time when all the threads pulled together and everything made sense for a little bit. These folks here (including my lovely friend Tom Johnson, not pictured but present in the form of Scott’s GoldFlakePaint jumper) are some of the best I know in this world, and this photo is us together, just trying to make it all work.

MIHAELA BODLOVIC

This is a production photo from an early-development sharing of Jenna Watt’s How You Gonna Live Your Dash, featuring Jenna and Ashley Smith. This isn’t technically or artistically the best image I’ve ever taken (no such thing exists, really) but this remains burnt into my mind as the turning point in the sort of work I wanted to make: imagery of theatre that erases the performer and becomes entirely about the scene and the character, and also has the potential to exist on its own merits, outside of its marketing and documentary context as a production photograph.

JESS SHURTE

It has been really hard to choose, but I had a great experience photographing Domhnall Gleeson (I mean . . . Star Wars!?). He was visiting Edinburgh to promote Medicine, a play for the Edinburgh International Festival, written and directed by Enda Walsh. It is still, to this day, one of the best plays I have ever seen. We didn’t have long together, but I love this photo because, as an actor, Domhnall gives so much through the eyes. This was a hugely poignant moment in my career where I felt extremely lucky to do what I do.

TOMMY GAKEN WAN

Photographing a piece of theatre is like being in a dance with the actors on stage, reacting to every one of their movements and trying to predict the next. This is where it’s useful to have an understanding of the shape of a story and a scene, and this shot from James IV: Queen Of The Fight represents an occasion when that skill paid off: I was in exactly the position I wanted to be in for this epic moment.

ANDREW JACKSON

I couldn’t possibly answer what my favourite image is. However, the photo that opened the most doors for me is ‘Popcorn Beard’ featuring Chris Thorburn. This image is what I’m most recognised for and has introduced me to many comedian clients. Also, it was my first paid photograph: Chris had to insist on payment . . . he literally forced money into my hand. The idea was his, while I suggested toffee popcorn for its adhesive-friendly shell. Despite initial failures, our persistence paid off with a unique and memorable image. I only wish I had charged him a lot more money for it . . .

my favouritephoto

SCOTLAND

This Innis & Gunn Lager’s for celebrating the great things that make Scotland, Scotland.

It’s for passion, pints and punching above our weight. For inventing inventions, Grand Slam wins and that glorious 64TH minute top corner at the Parc de Princes.

It’s for rolling out the BBQ at 14°C, our one day of summer and a lifetime of pride in where we’re from.

It’s for the pubs and people we love. But most of all, Scotland, this pint’s for you.

SCOTLAND’S PREMIUM LAGER

Snap selection

We now zoom in on a bunch of exhibitions over the coming months that your eyes should feast on

SOPHIE GERRARD

In Cultivating Equality, the Scottish photographer turns her lens on ‘Women Working With Land In Scotland’, looking in particular at endeavours on Lauriston Farm in Edinburgh and by Grampian Grazers.

 Gallery 103, Glasgow, until Friday 31 May.

BEFORE AND AFTER COAL

Subtitled ‘Images And Voices From Scotland’s Mining Communities’, artist Nicky Bird revisits the project of US photographer Milton Rogovin who came to Scotland in 1982 to capture miners at their pits and in their homes. Bird managed to track down some of the individuals and families connected with the original shots.

 National Galleries Of Scotland: Portrait, Edinburgh, until Sunday 15 September.

PHOTO CITY:

HOW IMAGES SHAPE THE URBAN WORLD

The link between cities and photographs is explored in this wide-ranging exhibition which brings together iconic pictures and the work of contemporary digital artists to examine how capturing the drama of cityscapes has altered.

 V&A, Dundee, until Sunday 27 October.

PERTHSHIRE PHOTOGRAPHIC SOCIETY EXHIBITION

During Perth Festival Of The Arts, its city centre opens itself up to images of landscapes and wildlife, plus street art and still life. And yes, even a red and yellow pepper.

 St John’s Shopping Centre, Perth, Wednesday 22 May–Saturday 1 June.

KOTRYNA ULA KILIULYTE

This Glasgow-based Lithuanian artist brings us Arctic Swell, an installation of stills and moving images which has an admirable goal: to ease our anxieties over the climate crisis. Everything from wild berries to steamy saunas are thrown into the mix here.

 Street Level Photoworks, Glasgow, Friday 7–Sunday 23 June.

HOME: UKRAINIAN PHOTOGRAPHY, UK WORDS

As a key part of Edinburgh Art Festival, this is a presentation of contemporary photography emerging from Ukraine and which analyses a topic which must dominate the thoughts of anyone caught in a war-torn country: home.

 Stills, Edinburgh, Friday 2 August–Saturday 5 October.

KAROL RADZISZEWSKI

This curated exhibition collects rare photographs to trace the history of Filo Magazine, one of the first underground queer publications in Central Eastern Europe, and founded by activist Ryszard Kisiel. Originated as a response to Poland’s suppression of sexual minorities, this mag helped progress the conversation in society about sexuality, creativity and politics.

 City Art Centre, Edinburgh, Thursday 8–Wednesday 21 August.

PHOTOGRAPHY

Big shots (top row from left): Before And After Coal, Cultivating Equality, Photo City (bottom row from left): Karol Radziszewski, Perthshire Photographic Society Exhibition, Home (centre picture): Arctic Swell

PICTURE: YVONNE DEED

PICTURE:

Homage Cataloniato

O‘ur ethos is about promoting the best of theatre and dance for young people. It’s as simple as that,’ says Noel Jordan, director of the Edinburgh International Children’s Festival. Jordan travels around the world each year to find the most unique and interesting work for his event, and for 2024, the EICF is shining a spotlight on a specific region within Spain. ‘Catalonia is like us in Scotland wanting independence from a larger nation, so I think that we have a lot that we share in terms of our society and our identity.’

The thing that ultimately drew him to Catalonia, though, was the quality and diversity of their art. ‘What’s so great about this region is that the artists don’t approach works in a literal way. They’re really interested in telling narrative through very poetic, visual theatre, often with minimal to no language, which obviously suits us.’ EICF has three very different Catalan shows on offer, spanning every age range. Univers, which is aimed at babies and toddlers, looks to create an interactive sensory experience. ‘What the artists are doing is exploring the

universe and the things in it,’ notes Jordan. ‘There’s a stunning lighting installation that’s lowered down and a whole sequence of looking through paper telescopes. The children pick up very quickly that they’re invited to grab a hold of these objects and play with them themselves, so it’s very hands-on.’

The shows for older children similarly invite their audiences to engage with the world around them, but this time on a more conceptual level. An-Ki, for seven to ten-year-olds, tells the story of a young girl’s experience with environmental destruction when giants invade her village. ‘We go on this beautiful promenade journey inside a tent. It’s designed for very small audiences of about 30, so we’re very intimate with the work, and it’s told largely through puppetry and visual theatre with only a tiny bit of text.’

Black, on the other hand, originally began as a piece for adults before being aimed at teenagers. Set in America but conceived of and choreographed by Barcelona resident Oulouy, the piece explores police brutality and the Black Lives Matter movement in America through African diasporic dance forms

PICTURE: ARIAN BOTEY

3 Others To See

Noel Jordan has curated yet another exciting and diverse Edinburgh International Children’s Festival. He chats to Isy Santini about a specific European strand and its cultural links to Scotland

such as krumping. ‘Often contemporary dance can be quite elusive and thematically difficult to follow, but the power of dance and music combined with some of the raw footage we’ve all seen on TV, like the murder of George Floyd, is palpable,’ says Jordan. ‘You really feel the anger, the sense of desperation.’

If all of this might seem like heavy topics for a children’s festival, Jordan is quick to respond that such an environment is the ideal place to introduce younger audiences to the big issues. ‘Sometimes people might see the things embedded within the stories and go “wow! That sounds very serious for a work for children!” But I think theatre is a really safe place to explore the contemporary world. We have shows that deal with the loss of siblings, and about societies or different cultures trying to find ways to communicate to each other. There’s a whole range of theatrical adventures that children, schools and families have the opportunity to experience over a one-week period.’

Univers, Assembly Roxy, Monday 27–Wednesday 29 May; An-Ki, Summerhall, Monday 27 May–Sunday 2 June; Black, Dance Base, Thursday 30 May–Saturday 1 June.

Following on from Catalonia’s lead, other parts of mainland Europe are looking to make a big impression in Edinburgh. From France comes By Trial And Error (Traverse Theatre, Friday 31 May–Sunday 2 June) courtesy of Le Cirque Content Pour Peu in which circus performers attempt to overcome deep fears that their act might be on the brink of failure. Acclaimed Italian company Teatrodistinto bring us Kish Kush (Lyceum Studio, Thursday 30 May–Saturday 1 June), a two-person exploration of culture and language which considers how connectivity can overcome even the starkest of differences. Germany’s performing:group tackles the (pun sadly deliberate) hot topic of our climate and impending ecological disaster in TRASHedy (Traverse Theatre, Monday 27–Thursday 30 May). Through drawing, dance and sound, this work should make us all think twice about our uberconsumerist behaviour and ultra-wasteful ways.

n Edinburgh International Children’s Festival, various venues, Saturday 25 May–Sunday 2 June.

Sketches within Spain (clockwise from left): Univers, An-Ki, Black

7 - 30 JUNE 2024

A celebration of the incredible independent art galleries in Edinburgh’s New Town. Pick up an NT Art Month map and get walking!

“

Every one of us has experienced trauma and discrimination

With her community festival thriving and a new album set for release, Bee Asha is riding the crest of a wave. She tells Claire Sawers about refusing to let a horrific assault define her life

M‘y mum’s a bit of a forest hippie type,’ explains Bee Asha, peeling a satsuma using the points of bejewelled acrylic nails in a Leith Walk café. ‘She started taking me to Glastonbury when I was three. Her and my stepdad are real festival people, and we went every year until I was 11. I loved seeing all the performers and wanted to be one of the people jumping about onstage one day.’

The Scottish-Punjabi singer, rapper and spoken-word artist (full name Bethany Asha Singh Landa) has made that particular dream of jumping on stages come true several times over. First in Dunbar’s outlandish, feminist hip-hop trio The Honey Farm, with childhood friends Gracie Brill and Gael Curran, and recently as a solo artist. Her poetry and music focus on identity, social injustice, queer relationships, and love in its many different forms. After releasing her first solo EP, From Girl To Men, she won Best Newcomer at the 2022 SAMA Awards and was a 2024 finalist in BBC Introducing’s Scottish Act Of The Year.

Before this month’s release of her album Goodbye, Gracious, she has been adding new music videos to her YouTube channel. ‘Gitika’ (meaning ‘small song’ in Punjabi) is an earwormy bop about the strong connections she feels with other people from marginalised communities. This sunlit video was filmed at Tyninghame Beach with a blissed-out, henna’d Asha dancing in a sari and bare feet. The next video is ‘Shy Guy’, a cartoonish swirl where Asha and her gaming partner fake-fight, while she cartwheels and twerks above his face in a yellow rubber miniskirt. ‘Drama was my favourite subject at

BEE ASHA school but I was never supported or praised for it. I got a “No Award” actually for drama and music; really bad grades overall. We started The Honey Farm at school as a way to bring our friends together for a funny time and take the piss onstage.’

Playing their first festival, East Lothian’s Audio Soup in 2016, The Honey Farm have since bounced around UK stages with their lyrics about yoni appreciation and body autonomy, even sharing a bill once with Margaret Atwood. ‘It was never about getting money from people,’ Asha insists. ‘I still struggle with the financial side of things. Coming from a background where not everyone was included (because of a multitude of barriers, financial being one of them), we wanted people to feel welcome, to come along no matter.’

The inclusivity theme has always been strong, with Asha co-founding Spit It Out with filmmaker Lea Luiz De Oliveira in 2020. A diverse collective of female and non-binary artists, the charity is ‘dedicated to opening conversations around consent, mental health and healing through creativity’. Spit It Out runs activist talks, yoga classes and power-tool workshops, among other things in its busy programme. ‘Every one of us has experienced trauma and discrimination in some way. We use art to process that and connect. The thing about trauma, like life in general, rather than forgetting heavy experiences completely, you learn to redefine and bring self-power to them; collective power, community power instead of giving power to the trauma and letting it define you.’

Luiz De Oliveira made a BBC documentary about Asha which aired in 2019, during which she describes being raped on a first date in 2017. Asha struggled with agoraphobia afterwards and was prescribed anti-depressants. Writing and speaking publicly about the sexual assault has helped her regain confidence and, in turn, make others stronger.

The ‘Shy Guy’ video was made six months ago, a sex-positive jam about care and intimacy in a couple, where she lights candles for her lover but turns down penetrative sex. ‘Being assaulted hasn’t made me hate men. I’ve done live events where sex and consent have come up in conversation. Speaking openly about my experiences, but also making it clear that I love men, sparks a discussion. This young guy came up to me afterwards and had questions about how to act properly with a girl, like if she’s not into something that she’s been into before, for example. I love that willingness to listen and learn. That’s where really positive change happens.’

Asha’s fearless, honest writing and sexually frank style isn’t a hit with everyone, in particular the Sikh-Indian side of her family. ‘I’m really close to my Powa [auntie] Nindra. At the SAMA Awards I wore a really booby top which she saw. I was round at my cousin’s first birthday party not long after. All the Indians were sitting on the floor playing tabla, singing. She turns to me and hisses “what the fuck were you wearing?!”, then goes back to what she was doing and won’t mention it again. I’ve tried to explain it’s about female empowerment; she’ll just say “hmm”. I know she loves me and she just lets me be.’

As a mixed-race woman, whose white Scottish mum and Indian dad split when she was one, Singh learned very early on to slide between different worlds and cultures and to assimilate. ‘My mum’s side of the family is open to constant learning, hearing it out, delving deep and sometimes arguing. My auntie on that side makes penis jewellery, and my uncle is non-binary. My dad on the other hand won’t discuss anything. He says “anyway” a lot.’ Belonging to two very different families taught her adaptability. ‘I’ve learned to allow people to be themselves in any space. I’m not going to change someone but I am willing to have a conversation if I think they are saying or doing something that’s detrimental to someone else.’

During her teenage years, Asha inadvertently upset her dad by going to the Mosque Kitchen, a Muslim space, which he worried would cause offence to people within the Sikh community. ‘My dad is one of 14 and the only one from his family to not have an arranged marriage. My brother and sister and I are viewed very differently from our cousins; we’re viewed with leniency but there’s also always this eye on us. I’m viewed as beautiful because my skin is lighter, but I’m seen as not a good Indian girl because I don’t want an arranged marriage.’ Colourism, classism, consent, catharsis: she’s pouring it all into her new Gitika project, which includes filmmaking, rap, singing and live shows. After the album comes out, what other dreams would she like to come true? ‘I still need to get on the stage at Glastonbury!’

Bee Asha: Goodbye, Gracious is released on Friday 3 May, available on bandcamp.com and beeasha.com; Spit It Out, various venues, Edinburgh, Thursday 6–Sunday 9 June; online at spititoutproject.com/the-festival, Monday 10–Wednesday 12 June; various venues, Edinburgh, Thursday 13–Sunday 16 June.

eat & drink

GLASGOW COFFEE FESTIVAL

Glasgow Coffee Festival returns for its tenth year, bringing together coffee roasters and enthusiasts for a highly caffeinated weekend of celebrations. Since its launch in 2014, demand for specialty coffee in Scotland has rocketed, according to founder Lisa Lawson (of Dear Green Coffee). ‘As the festival embarks on its landmark year, it’s testament to the passion, resilience and community spirit that define Scotland’s thriving coffee culture,’ she says. ‘The festival has not only been a celebration of coffee but a catalyst for change, inspiring people to embrace and contribute to the coffee community.’ And please don’t forget your reusable cup. (Ailsa Sheldon)

n The Briggait, Glasgow, Saturday 11 & Sunday 12 May, glasgowcoffeefestival.com

N‘Feedback is a gift, according to your boss. But when it comes to hospitality, unregulated and unwarranted online reviews can torpedo businesses and wellbeing.

Suzy Pope digs beneath the ratings

ick Nairn has ruined this restaurant. He’s poshed it right up.’ The celebrity chef recounts this one-star TripAdvisor review of his Bridge Of Allan restaurant from memory. ‘That’s one of the ones we can laugh off,’ he says. ‘It doesn’t matter that out of thousands of reviews only four are negative. It’s the negative ones that keep me up at night.’

It’s 2024 and everyone has a tiny, internet-enabled computer in their pocket. We are armed, ready to condemn the service, from the second the starter tips from pleasantly hot (but, for the love of god, not too hot) to slightly lukewarm. There’s no time for consideration, context or rationality. In the Wild West of unregulated review sites like TripAdvisor and Google, all you need to take down a person’s livelihood is decent Wi-Fi.

‘Negative reviews have a disproportionate effect on wellbeing,’ states Nairn. And the way he immediately recalls specific criticisms shows which reviews live at the front of his consciousness. It can’t be easy having your work openly criticised in a way that most restaurant customers will never experience: it’s hard, not just on Nairn, but on his staff too.

In Edinburgh, Stuart Muir’s The Tollhouse held TripAdvisor’s second spot for several weeks. Restaurant manager Kevin Singfield has worked there since it opened in 2022. ‘A lot of work goes into getting good reviews,’ he says. ‘We try to use our initiative to be aware of what each dining group wants from the experience.’ And it’s true, there’s something special in The Tollhouse service. ‘Feedback is valuable and we do use it to improve standards,’ he adds.

ate the positive

‘But when it’s so subjective and you have two reviewers contradicting each other, it’s hard to know what to do.’ Of course, consumer reviews should call out immoral business practices, genuinely poor service, and warn of ripoffs. It’s equally true that hospitality should prioritise customer satisfaction. But when there’s so much vitriol to wade through, it’s hard to find those genuinely useful nuggets of feedback.

You have to mine the depths to find negative reviews of The Tollhouse: the tiny number of one-stars are mind-numbingly detailed in their barrage of minor complaints. But they’re still there, published on the internet for all to see, and the damage they do to the algorithm can be ruinous.

Floor-to-ceiling glass windows overlooking the Water Of Leith are one of the restaurant’s selling points, but you’ll find reviews complaining of the brightness: as yet, the staff cannot control the sun. ‘We were number two for weeks and dropped to number 15 or 16 overnight after a couple of negative reviews,’ says Singfield. ‘It’s hard to climb back up after that.’ In the world of professional restaurant critics, Jay Rayner claimed to have

stopped writing negative reviews back in 2020 (a policy The List Eat & Drink team follow too). There’s no doubt the industry has felt like it’s struggled on life support in recent times. ‘I’ve been in hospitality for 40 years, including two recessions, and this is by far the worst period I’ve seen,’ admits Nairn. Towering energy prices, inflation and wage bills mean many places barely cover costs and, at a time when they’re on a knife-edge, negative reviews feel unnecessarily pointed. But such public sites aren’t held to the same standards: contributors can choose an anonymous byline and with anonymity comes power.

No one can put the genie back in the bottle but Nairn implores ‘before you take to the keyboard to vent your spleen, take a step back. Look at the context. Think, is this fair?’ It’s right that consumers have power and many opinions do come in the form of genuine, well thought-out feedback. But others completely miss the mark, focusing on petty gripes and veering towards unhelpful hyperbole. Read the review sites, by all means, but always take them with a nice big pinch of sweet cicely salt. n

Reaching for the stars (clockwise from far left): Nick Nairn, Nairn’s in Bridge Of Allan, The Tollhouse exterior, dinner at The Tollhouse

Between spring festivals and a bunch of new openings, Jo Laidlaw doesn’t know where to turn for food and drink this coming month

If the spring sunshine makes you want to get out of the city, some of Scotland’s best whisky festivals are happening this month. Spirit Of Speyside is first up with loads of events and tastings (until Monday 6 May): you can even build your own whisky cask. Campbeltown Malts Festival is a more intimate affair, based around the town’s three distilleries plus indie bottler Cadenhead’s (Monday 20–Saturday 25 May). And if you’ve made it that far, you may as well nip over to Islay for Fèis Ìle’s magical ceilidh-adjacent amber-nectar sipping (Saturday 25 May–Saturday 1 June).

Meantime, Glasgow has plenty of new openings to explore. Highlights include Zhima, a super-glam Chinese (with touches of fusion here and there) on St Vincent Place. They’re also hard at work just up the road putting the final touches to Maison By Glaschu, a glitzy French-inspired bistro that’s set to brighten up the offerings in Princes Square. And House Of Gods hotel has finally opened its decadent doors, with a railway-carriage inspired cocktail lounge plus a rooftop garden to come (can confirm: excellent cocktail pedigree).

Heading eastwards, and Leith is set for a flurry of Mexican action: Hey Palu are opening Chancho Agaveria, a new tequila and mezcal spot in Henderson Street, while The Black Grape gang are working away on taco bar Paloma. Meanwhile, up town, Glasgow steak-specialists The Spanish Butcher are putting the finishing touches to their new North Castle Street venture, with an opening planned soon.

side dishes

good in the hood

We wander through a neighbourhood and tell you where to drop in for food, drink and groceries.

This month, Suzy Pope takes a walk through Edinburgh’s Abbeyhill

Abbeyhill is often heralded as Edinburgh’s latest ‘bohemian’ zone. Indeed, where roughand-ready takeaways once prevailed, there’s now no shortage of trendy coffee shops, with recent openings pushing the main drag into the consciousness of gourmet diners.

Starting with those coffee shops then, Art And Vintage arguably serves the best cup of coffee in town, in bowl-sized mugs to boot, but flood damage has currently forced a temporary closure. Maybe pop around the corner to Fortitude Coffee where they also take their java very seriously. Red Kite Café showcases a selection of tempting homemade cakes and bakes at the counter, and is roomy enough to linger for a few hours with a laptop. For your bougatsa or baklava fix, Think Pastry offers all the best Greek filo favourites in a cosy spot on the corner of Montrose Terrace: feta-forward sandwiches provide something more substantial for lunch.

Should the sun make a rare appearance, afternoon cocktail spots don’t get much better than Herringbone Abbeyhill. The former public conveniences have been transformed into a welcoming light-wood and glass space; the huge outdoor terrace, adorned with stringed lights (plus heaters), is one of the best al fresco spots in the city. For rainy days, The Safari Lounge offers fusion Asian and Central American dishes alongside craft beer and cocktails amid eclectic décor.

Big groups enjoy casual dining at Matto Pizza where Neapolitan-style pies are baked fresh in their oven. But for a real splash-out treat, Montrose has upped the neighbourhood’s game considerably. The team behind Michelin-starred Timberyard have carved out a candlelit fine-dining space serving a tasting menu of Scotland’s finest produce. Smaller plates in the wine bar offer a cheaper, though no less polished alternative.

Maison By Glaschu

Matto Pizza

tipLIST

Pre-theatre

Our tipLIST suggests the places worth knowing about around Edinburgh and Glasgow in different themes, categories and locations. This month, we’re answering a perennial question: where’s good for a pre-show feed that won’t break the bank and will definitely get you to your seat before curtain-up?

EDINBURGH GLASGOW

EDINBURGH STREET FOOD

Leith Street, edinburgh-street-food.com

Perfect for large groups, there’s a trader here for everyone. Order bao buns from Bundits, vegan tacos from Antojitos or bone-in beef rib sandos from Mr Boney. The food is fast and fresh and it’s convenient for the Playhouse.

JUNK BAR & RESTAURANT

58 South Clerk Street, wearejunk.co.uk

Get to Junk for an early table (5–6pm, Wednesday–Sunday) and enjoy three small plates and a glass of fizz or beer for £25. A great deal whether you’ve got concert tickets or not (though it’s a good location for both the Queen’s Hall and Summerhall): these street-food champions combine flavours really like nowhere else.

KAHANI INDIAN RESTAURANT

10 Antigua Street, kahanirestaurant.co.uk

You’ll find Indian classics and new favourites at Kahani, a bright and busy spot that’s handy for the Playhouse and adept at an early-evening order. Try the deeply delicious dhal makhani with black lentils, or pepper monkfish tikka from the tandoori grill.

KANPAI SUSHI

8–10 Grindlay Street, kanpaisushiedinburgh.co.uk

Expect beautifully prepared and plated maki, nigiri and tempura at this serene spot. The dragon roll with tempura king prawns, avocado, cucumber and tobiko roe is a must-order. There isn’t a pre-theatre deal but early opening and proximity to the Lyceum, Usher Hall and Traverse make it a shoo-in.

THE LOOKOUT

38 Calton Hill, thelookoutedinburgh.co

A chance to experience a fine-dining favourite, with an easy stroll downhill to the Playhouse after pudding. Set tasting menus change frequently, but currently feature Barra scallops with lobster butter and Perthshire roe deer. With incredible skyline views, it’s a real treat. (Ailsa Sheldon)

ARDNAMURCHAN

325 Hope Street, ardnamurchan.biz

Close to Theatre Royal and the Pavilion, enjoy Scottish cuisine with modern twists, big flavours and a market menu until 5.45pm. Expect seafood stews that zing with fennel and chilli, venison stew using meat from Ardnamurchan Estate, or lighter choices like pea and broccoli risotto.

KELP RESTAURANT

114 Cowcaddens Road, kelp-restaurant.com

Another Theatre Royal/Pavilion spot. Small plates and seafood are the vibe (two dishes and a side are just over £20). The cooking is skillful: scorched mackerel stands up to a tikka masala sauce, and Shetland coley with warm tartare is a delicate wee hit of fish and chips without overfilling.

MASALA TWIST

261–263 Hope Street, masalatwist.co.uk

Ever-reliable Indian which now has more ‘streetfood shack’ energy. On the pre-theatre, there’s a Mumbai beach puffed rice and potato starter, as well as haggis pakora, rolling into an impressive choice of ten different curries. Handy for Theatre Royal and the Pavilion, pre-theatre runs until 6pm.

ROYÂ

59 Elmbank Street, royarestaurant.co.uk King’s Theatre-adjacent Middle-Eastern spot, with a nice take on the early evening: choose one small plate, one dip and one larger grilled/baked option. Lemons, tomatoes and aromatic spices dominate, meats are charred and hold their flavour, and the beetroot and burrata salad is one to rave about.

SANNIO

61a Elmbank Street, sannioitalian.com

Sannio ticks the boxes for Italian pre-theatre, with unfussy faves (pasta, bruschetta, pizza): tagliatelle Siciliana bounces with juicy capers and sun-dried tomatoes. It’s a one-minute walk to the King’s and the pre-theatre runs until 7.30pm if you like cutting it fine. (David Kirkwood)

Sean Fennelly, The Balvenie’s UK Brand Ambassador, shows us around his favourite pre-theatre bars

THE LUCKY LIQUOR CO

39a Queen Street, Edinburgh, luckyliquorco.com

From quirky gigs to panel events, plus a full Fringe programme, Assembly Rooms is one of Edinburgh’s oldest gathering spaces. Just around the corner on Queen Street, Lucky Liquor Co is equally creative, with a deliberately tiny back-bar encouraging a less-is-more attitude to mixology, resulting in some of Scotland’s best, and most consistent, cocktails.

THE POT STILL

154 Hope Street, Glasgow, thepotstill.co.uk

Glasgow’s oldest theatre and one of its finest bars are both found on Hope Street in the city centre. If you’re on the way to an opera, ballet or big-ticket musical at Theatre Royal, a refreshment stop at The Pot Still is a must. As the name suggests, they’re specialists in whisky, but it’s the warm, buzzing atmosphere that makes it a true gem.

SCOTCH WHISKY BAR

The Balmoral Hotel, 1 Princes Street, Edinburgh, roccofortehotels. com/hotels-and-resorts/thebalmoral-hotel/dining/scotch

In a city completely at ease with squeezing theatre into its less elegant nooks during Fringe season, the grandeur of Edinburgh’s Playhouse is reassuringly constant. Old-school opulence is also the order of the day at SCOTCH, The Balmoral’s maximalist whisky lounge. With over 500 bottles gleaming in floor-to-ceiling display cages, bar manager Cameron Ewen is one of Scotland’s most knowledgeable, hospitable hosts.

Kelp

Edinburgh Street Food

The Lucky Liquor Co

JAPANESE UMAMI

Not even a decade ago, a headcount of Japanese restaurants in Glasgow would have struggled to reach double digits. Jump to today and numbers have soared, both to meet demand from the many East Asian students studying here as well as the burgeoning appetite across the city for Japanese cuisine. Now, the dishes are more familiar, the set-ups less formal, and everyone loves ramen: Umami slots in nicely.

Well-located at Charing Cross (before the West End really kicks in), there’s nothing similar nearby. And it’s very much a ‘front room’ experience, with open-plan kitchen, Japanese bunting and lots of vertical wooden slats. It’s a narrow little space, but the menu goes wide with everything from karaage to tempura and ramen to sushi. The kushiyaki grilled skewers are notable: there’s mushroom, there’s short rib, there’s glistening shreds of lamb with controlled fattiness giving way to the warming prickle of crushed peppercorn. Everything tastes clean and fresh and crisp. Soft shell crab is crisp, the batter solidly taking on the soy, while vegetable yakisoba is the epitome of light umami: just sweet enough, just glossy enough, just savoury enough. Fried chicken wings fall a tad short though; small and dry, they miss the layers of flavour the kushiyaki approach could have given them.

If it feels like a restaurant menu, in demeanour it sits more closely to a café, with the kitchen staff stepping out to joke and chat with customers, giving the place a bit of neighbourhood energy. Going to Umami will never feel like a big deal; that’s fine, it’s not meant to. This is a place that you pop into, all very chill, all very casual, and mostly very tasty. (David Kirkwood) n 523 Sauchiehall Street, Glasgow, instagram.com/umamiglasgow; average cost for skewers and sushi £19.

SCOTTISH CARDINAL

After winning a Michelin star as part of Heron’s team, and opening Stockbridge wine bar Skua, Tomás Gormley has now launched a third avian-named restaurant. Cardinal is a wee warren of rooms, muffled with thick black curtains and glowing with candlelight, creating an unfussy finery vibe. Both lunch and dinner are curated, fixed-choice tasting affairs, with a steady flow of dishes arriving over several hours.

Despite Gormley’s accolades and the fine-dining price tag, the atmosphere is laid-back and quiet; the evening’s focus is very much on the dishes in front of you and people around you. Minuscule amuse-bouches are explosions of flavour, with sea-fresh juicy oysters a nod to the abundance of quality seafood on our doorstep. While there’s a Japanese umami touch (courtesy of a crisp nori dressing) to a delicate crab dish, the emphasis is firmly on Scotland’s larder, with cherry-smoked Belhaven lobster and rose-pink strips of sirloin steak making up more substantial dishes. There are also touches of theatre: seemingly innocuous candles are placed on the table with the resulting melted beef fat used to top off a rich jus a few courses later, and you flavour the pre-dessert palate cleanser yourself with droppers of lavender and lemon.

Like many places offering a no-choice menu, Cardinal doesn’t promise to cater to all dietary requirements, though creative substitutions are available for most dishes and needs. While it’s on the relaxed end of fine dining, at £110 for 13 courses it’s going to appeal for big celebrations or to the kind of folk who like to bag the Michelin spots before the inspectors do. (Suzy Pope)

n 14 Eyre Place, Edinburgh, cardinal.scot; 13-course fixed menu £110.

PICTURE: STEPHEN LISTER

Drinking Games

He’s grabbing drinks journalism by the horns, then tearing the horns off and gluing them onto his head with Pritt Stick and spite. Yes, fan, Kevin Fullerton is here to ramble another drinking game into the void and onto these pages. This month’s challenge . . . find a bar in Leith that’s hip enough to appreciate my sophisticated high fashion

As Edinburgh’s foremost hipster, it’s my job to set trends and make sure Leith continues its long history of housing impeccably bearded snobs like me. Remember the neon belt craze of 2012? That was me. The terracotta trouser hype of 2018? Me again. The stovepipe hat blip of 2020? Guilty as charged. And now I’ve devised my masterpiece: the two-glasses stack. That’s right, one pair of glasses on top of the other to create the impression of literal four eyes. To market my new hipster must-have, I hit some of the coolest bars in Leith. Can they handle my varifocal chic?

First in the hip parade was Lost In Leith, an inviting spot embedded in Commercial Quay with calming low lights, exposed brickwork, and staff who happily explain their extensive menu to confused punters. The stylish around me failed to register the presence of a man wearing one pair of glasses on top of the other (a bit like failing to notice the Sistine Chapel’s ceiling), but that didn’t dull this icon’s enjoyment of one of the best bars in the area.

Desperate to be rubbernecked, I headed a few doors down to The Barologist, where I was met with a menu teeming with cocktail options. I opted for an Espresso Martini, a classy drink for a man endowed with sartorial elegance, and admired the décor which, while arguably overblown with floral wallpaper and kitsch figures, maintained a certain charm amidst the visual noise. Punters may not have commented on the two-glasses stack but I could see their jealous glances out of every corner of my myriad rims.

Onto Hemingway’s, a tribute bar to everyone’s favourite alcohol-addled paragon of toxic masculinity. Quotes from this laureate of machismo line many of the walls in a relaxed environment which, while pleasant, had the tacky air of a theme pub. Still, the Ernie-inspired cocktail (The Sun Also Rises) was a fruity delight. A few customers sniggered at me, presumably unaware of what a catwalk-ready star looks like. Such is the life of a pioneer. n Kevin Fullerton is selling two-glasses stacks from garages at undisclosed locations across Edinburgh, three pairs for a fiver. If you can find him, you can buy them.

BAR FILES

Creative folks reveal their top watering hole

AUTHOR/MUSICIAN DOUG JOHNSTONE

I live in Porty in Edinburgh, so my favourite pub has to be The Espy, right down on the corner of Bath Street and the Promenade, with insane views of the beach and Firth Of Forth. It’s a pretty cosy and friendly place with a slightly ramshackle edge to it. I think there’s some Aussie connection, as they have surfboards and flags around the place, and it certainly has that country’s lack of pretension. Down-to-earth service creates a friendly, nononsense vibe, added to by the random tat on shelves and walls. The food is best described as ‘hearty’ (ie massive portions and not healthy), but pretty great. If you can, get a table with a view of the sea or, even better, in summer grab a seat outside on the Prom. It’s perfect for watching the world go by.

n The Collapsing Wave is out now published by Orenda Books; Fun Lovin’ Crime Writers play Perth Theatre, Thursday 30 May, as part of Perth Festival Of The Arts.

PICTURE:

DUNCAN

MCGLYNN

PICTURES:

travel & shop

LUSH X JAMIE REID

For its latest collaboration, cosmetic brand Lush looks to the life and work of prolific artist Jamie Reid who sadly died last year. Most famous for creating Sex Pistols’ God Save The Queen single artwork, Reid was an unmatched embodiment of British punk and a life-long follower of druidism (a spiritual movement honouring our relationship with the natural world). There are four seasons and solar observances in the druidic calendar which drove the Lush team during their design process. Pulling on seasonal ingredients and colours, four soaps have been made by hand using a vegetarian base and no palm oil, serving as an important reminder to the cosmetic world of the work required to future-proof that industry. (Graham Peacock) n weare.lush.com, @lush on Instagram.

In pursuit of delicious food, crisp wines and a heavy dose of vitamin D, Megan Merino finds Sicily’s capital city is home to all of the above and a whole lot more

Like many Italian cities, Palermo’s narrow streets and intricate buildings are things of great beauty; but look a bit closer and you’ll start to notice curious distinctions and more than a few cracks. Residential palatial buildings with archways and giant stairwells supported with perilous scaffolding, partially demolished buildings with no sign of revival and slowly decaying ancient fountains and statues all contribute to the chaotic charm of the place.

As for the people, Sicilians are famously warm, proud and scrappy. In part this is because their ancestors withstood countless invasions by the Greeks, Romans, Normans, Arabs, Byzantines and Spaniards, who all had their time moulding and influencing this island. A perfect manifestation of these overlapping cultures can be seen in both Palermo’s cuisine and religious buildings, which are first on my sightseeing list.

Palermo’s old town is compact and walkable. From Piazza Bellini, head to Cappella Palatina or Santa Maria dell’Ammiraglio to see examples of colourful Byzantine mosaics used in Catholic churches. On the opposite side of the square, a large staircase leads you into the Santa Caterina monastery where you can freely roam its many gorgeous floors and terraces. The main attraction here though, is a dolceria churning out a range of traditional pastries, including huge cannoli stuffed to bursting with fresh ricotta. After picking up your treats and an espresso, head out to

wanderLIST: Palermo

the central courtyard where you can sit surrounded by blue mosaic tiles and lemon trees as you enter sugar and caffeineinduced euphoria.

Other local delicacies include the humble arancini, pasta alla norma and pizza alla brontese (a topping of pistachio pesto, buffalo mozzarella and mortadella ham). Over lunchtime, focaccerias serve up traditional pani ca’ meusa, Palermo’s street-food answer to a roast beef sandwich.

Offcuts of beef (mainly spleen) are boiled and packed into a roll with grated ricotta and a squeeze of fresh lemon.

Effortlessly cool wine and cocktail bars are plentiful, each one trying to out-do their neighbour in customer service and ambience. Head along Via Alessandro Paternostro for a great selection, making stops at Dal Barone, Goccio and OJDA. At around 10pm, the streets around here will begin to fill with locals, students and tourists alike as they spill out onto the shiny stone pavements with drinks in hand. Festivities continue until around 3am even on weekdays.

While there’s plenty to eat, drink and explore in the city centre, it would be an oversight to not spend some time on a beach (this is the Mediterranean’s largest island after all). Palermo’s waterfront is great for watching sunsets, but take a short bus ride north to Mondello for a scenic sea swim to round off your trip.

presents The Comedy Arena

PASCOE

JO BRAND JOANNE MCNALLY JUDI LOVE SARA

DESIREE BURCH • GRACE CAMPBELL • LUCY BEAUMONT • NINA CONTI • ROSIE JONES

SAM CAMPBELL • SARAH KEYWORTH • SEANN WALSH • SOPHIE DUKER • STEWART LEE

THE HORNE SECTION • TIFF STEVENSON

AURIE STYLA • COLIN HOULT • DANE BAPTISTE • ELLIOT STEEL • FLO & JOAN • JAKE LAMBERT LARA RICOTE • LAURA SMYTH • LOUISE YOUNG • MARK SIMMONS • TAMSYN KELLY THANYIA MOORE • TIM RENKOW • VIDURA BR • THE COMEDY STORE

SO YOU THINK YOU’RE FUNNY? WINNER: SAMIRA BANKS • CHORTLE STUDENT COMEDY AWARD FINALISTS

Even More Comedy

ABI CLARKE • CHANTEL NASH • DANE BUCKLEY • FOXDOG STUDIOS: ROBO BINGO • JIN HAO LI

MARJOLEIN ROBERTSON • PETER RETHINASAMY • SPRING DAY

Podcasts and Conversations

DR JOHN COOPER CLARKE

THE ADAM BUXTON PODCAST with JO BRAND • EMPIRE • LUKE WRIGHT RYAN BRODERICK: GARBAGE DAY LIVE ANDERS LUSTGARTEN: THREE BURIALS • ANXIETY JOSH • ASH BHARDWAJ • DR MYA-ROSE CRAIG ELLA MCLEOD • JOANNA NEARY • JOELLE TAYLOR: THE NIGHT ALPHABET • MAYA OPPENHEIM PAPPY’S FLATSHARE SLAMDOWN

CIRCUS BAOBAB: YÉ

• THE MAGIC OF TERRY PRATCHETT • THE REAL SEX EDUCATION

THE COSMIC SHAMBLES NETWORK presents ROBIN INCE’S BOOK CORNER: NATALIE HAYNES, CHRIS LINTOTT and AYÒBÁMI ADÉBÁYÒ NINE LESSONS FOR LATITUDE with HELEN CZERSKI • AN UNCANNY HOUR

Theatre and Dance

• CIRCA: HUMANS 2.0

AN EVENING WITHOUT KATE BUSH

• I AM YOUR TRIBUTE • JADE ANOUKA: HEART LUKE WRIGHT: JOY

• SHÔN-DALE JONES: CRACKING

• LAURA MURPHY: A SPECTACLE OF HERSELF

WRIGHT & GRAINGER presents HALF MAN | HALF BULL PART ONE: THESEUS and PART TWO: DAEDALUS, HELIOS and ORPHEUS

DANCEEAST presents BOY BLUE: THE GETDOWN, MCNICOL BALLET COLLECTIVE: BATES BEATS and CEYDA TANC DANCE: KIZLAR

EKLEIDO: SPLICE

• NATIONAL YOUTH DANCE COMPANY presents OONA DOHERTY: WALL LONDON CITY BALLET: ARIELLE SMITH’S NEW CREATION (excerpt) and KENNETH MACMILLAN’S CONCERTO, PAS DE DEUX (second movement)

THE PLACE presents THE PLAYGROUND TOUR VANHULLE DANCE THEATRE: OLIVE BRANCH and SONIA SABRI COMPANY’S MUGHAL MINIATURES: THE ELEPHANT AND THE DRUMMER

ALMOST SYNCHRO

• DISCO YOGA • MONSKI MOUSE’S BABY DISCO DANCE HALL

Across The Arts AND REMEMBER WE CARE... A MEMORIAL SERVICE FOR THE CONSERVATIVE PARTY and DANNY DOES THE CROSSWORD • CREATIVE QUESTS • DABBERS SOCIAL BINGO • GEO KNITS SLOW MASTERCLASS TRH • NORWICH UNIVERSITY OF THE ARTS: CHARACTER DESIGN and LIFE DRAWING SHARON CHIN FESTIVAL BUNTING • THE HENHAM TREE RING PROJECT

Obelisk Arena

LONDON GRAMMAR KEANE KASABIAN DURAN DURAN

Authors • Poets • Late Night Music • Wild Swimming • Award-winning Childrens, Teenagers and Family Programme

Theatre of Food • Trailer Park • Street Feast • The Guest Chef • Mind, Body & Zen • Lavish Lounge

my favourite holiday

Singer-songwriter and frontwoman of alt-rock band The Ninth Wave, Millie Kidd recounts an ominous moment on a family trip to Greenland

Coming to terms with the fact her children are now adults, my mum gets inventive with holiday destinations. On one particular trip, she told us she was taking us somewhere we ‘couldn’t escape to the clubs’. This location didn’t even have main roads, let alone a nightlife: she was taking us to Greenland.

It was June, the maximum temperature was two degrees and the sun never went down. On an evening walk, we passed thousands of sled dogs chained to the ground. This was an unsettling sight for our Scottish eyes, but these dogs were the source of income for the village and dangerous if treated as pets (a local showed us scars on both of his arms from when his dogs turned against him after he attempted to domesticate them as puppies).

Tensions were brewing among the pack. Food was scarce at this time of year and, for the first time in weeks, the dogs were about to be fed. Slowly, then all at once, they created an otherworldly sound; a thousand screams of varying pitches and ferocities, only comparable to that of intense pain or terror. Trying to take in the moment while taking a piece home forever, I captured the harrowing audio surrounding me.

Returning to Glasgow, I had one track in particular (for my solo project Sin Clair) that was missing a window into another world, and from this holiday I had returned with the exact sound I didn’t know existed. Completely unforgettable and inimitable.

The Ninth Wave play Saint Luke’s, Glasgow, Saturday 11 May, to celebrate five years of their debut album Infancy.

on your doorstep

Fiona Shepherd selects three annual festivals celebrating traditional Scottish music in all its many shades

KNOCKENGORROCH FESTIVAL

Scotland’s longest-running greenfield festival marks its 26th year with an international line-up ranging from homegrown favourites Peatbog Faeries, soundsystem maestros Mungo’s Hi Fi and acid-house legend Egebamyasi to Guinea master musician N’famady Kouyaté, Sami singer Kajsa Balto and Roma band ZOR. 808 State and Banco de Gaia are also on hand to keep the beats flowing. Plus there’s a sauna!

n Kirkcudbright, Thursday 23–Sunday 26 May, knockengorroch.org.uk

ARRAN FOLK FESTIVAL

The 28th Arran Folk Festival is a bijou affair which punches above its weight in securing former Young Traditional Musician Of The Year Amy Laurenson and 2021 Gaelic Singer Of The Year Kim Carnie as headliners, with support from singer-songwriters Amy Papiransky and Iona Lane. Plus there are open mics, late-night sessions and waulking song workshops.

n Various venues, Arran, Friday 7–Sunday 9 June, arranfolkfestival.co.uk

THE REELING

The inaugural Reeling was one of the success stories of a tricky 2023 festival season and builds on its debut with a who’s who of Scottish folk stars, including singers Kathleen MacInnes, Rosie M Sullivan, Hannah Rarity and Julie Fowlis plus proven festival hands Kinnaris Quintet and Fara. And that’s just (some of) the women in a line-up which succeeds in producing a credible gender balance.

n Rouken Glen Park, Glasgow, Saturday 8 & Sunday 9 June, thereeling.com

Knockengorroch Festival

PICTURE: KRZYSZTOF

PICTURE: MARILENA VLACHOPOULOU

Sandwiched between the People’s Palace and Barras Market in Glasgow sits a bookshop claiming to be ‘the best wee radical bookshop in the world’. ‘I see it at times as a wee oasis of information,’ says co-founder Robert who, along with his late friend Billy McPeake, opened the store 12 years ago this month.

First populating the shop’s shelves with their own books, the duo were determined to offer customers political texts that they couldn’t find in other local stores. ‘There wasn’t a left-wing bookshop in Glasgow at that point. We were trying to create a bookshop that was not affiliated to any political organisation but did have politics at its core.’

Covering a range of literature on the social histories of places including Palestine, South America, Ireland and beyond, all books have a Marxist, anarchist and socialist leaning. ‘We’re trying to promote working-class history in the city but also tying that into what

happens globally,’ Robert explains. ‘For example, the first recorded strike in Glasgow took place in this community in 1787. Six Calton weavers were shot and killed by the militia but you would struggle to find out much information about that.’

As part of an ongoing Pocket Radicals series, Calton Books has published a run of The Strike Of The Glasgow Weavers: 1787

‘There’s a lot of history out there in every working-class community but it’s not always told or shared, and if we don’t share it, it gets lost.

For some people, picking up a book with a large amount of pages is off-putting, so it’s better to get things in chunks. With [Pocket Radicals] you can actually put it in your pocket, go on the bus, train, whatever, and in 120 pages you’ve got the history.’

Calton Books, 159 London Road, Glasgow, calton-books.co.uk, @caltonbooks on Instagram.

shop talk

BURNING HOUSE BOOKS

With its monthly book club, regular events and workshops, and evolving spotlight on local artists’ work, Burning House symbolises the joy of discovery which independent bookshops provide. Expect influential art tomes, must-read essay collections and new releases from indie publishers. n 446 Cathcart Road, Glasgow, burninghousebooks.com, @burninghousebooks on Instagram.

MAX MACHEN

Bright, bizarre, humorous and nostalgic are some words to describe the prints of Scottish artist Max Machen. Eclectic is perhaps the most accurate. The prints are a perfect gift for a

Graham Peacock is back with a trio of independent shops and designers from across Scotland’s central belt

loved one or addition to a bare wall. Check out Machen’s online store or find him at a range of shops across Glasgow and Edinburgh. n maxmachen.com, @maxymachen on Instagram.

KESTIN

It’s exciting to see a Scottish designer attract the attention Kestin has. With its store in Stockbridge and headquarters in Leith, Kestin occupies a minimalist, modern niche. Vintage, workwear, military and outdoor influences converge across the label’s collections. If you’re looking to add timeless pieces to your wardrobe, pay them a visit.

n 7 Baker’s Place, Edinburgh, kestin.co, @kestin.co on Instagram.

Delving into Calton Books, Megan Merino learns about the individuals who founded Glasgow’s first left-wing bookshop and their mission to promote working-class history

Kestin

HIDDEN DOOR

While plans remain afoot to have a full-fat five-day fiesta of art, music and performance in an as-yet unconfirmed location later this year, Hidden Door are spoiling both themselves and their adoring public with a birthday weekender. Among those helping to blow out all ten candles in fine style are EHFM presenter Nikki Kent (pictured), the right honourable Proc Fiskal, 80s-influenced electronica duo Maranta, Scotland’s internationally renowned DJ Eclair Fifi, and legendary sound artist/producer Auntie Flo.

(Brian Donaldson)

n Basement 3, St James Quarter, Edinburgh, Friday 10 & Saturday 11 May.

going out

RAVELOE maniatrix

THU

8PM

13 JUN

– 11PM LOST IN LEITH £5

Breaking the chains

From the second-wave movement to intersectional feminism, Women In Revolt! tackles a specific historical window when swathes of artists were battling to gain more visibility. Rachel Ashenden takes a sneak peek at an exhibition that is both timely and vast

art• •tra •tra art•

The personal and the political collide in an investigative survey of feminist art hosted by National Galleries Of Scotland. On tour directly from London’s Tate Britain, this mammoth exhibition captures the sociopolitical motivations and creative techniques of over 100 women artists and collectives, all under the banner of women’s liberation.

The story starts in 1970, with the first Women’s Liberation Conference, held at Ruskin College in Oxford. Women In Revolt! launches us into the heart of that secondwave feminist movement in Britain, with fights for equal pay and bodily autonomy in full swing. What follows is two decades worth of rebellious painting, drawing, sculpture, textile, film, performance art and photography. The exhibition underscores how these artists’ pioneering methods shook the status quo, both within the art world and in British society at large. Ultimately, the artists helped fuel the women’s liberation campaign during a period of immense social, economic and political change.

An intersectional approach to feminism grounds this exhibition, with the creative outputs of black, South Asian and LGBTQI+ communities visible throughout. An array of social issues are addressed, including Section 28, the AIDS epidemic and racial discrimination. Featured artists include Lubaina Himid, a pioneer of the British Black Arts Movement, who continues to make marginalised figures and histories seen through painting. Works by the indomitable Helen Chadwick (a conceptual artist who broke taboos by manipulating the natural world and domestic realm) can also be found on the walls of Modern Two. Others artists represented include Gina Birch, Maud Sulter, Elizabeth Radcliffe, Rita McGurn, Sam Ainsley, and Linder.

‘Despite their long careers, many have been left outside the artistic narratives of the time,’ declares Emma Gillespie, assistant curator at National Galleries Of Scotland. Gillespie speaks to the urgency and timeliness of Women In Revolt!, which arrives in Edinburgh at a time when the story of women’s art history is in the process of being rewritten. And naturally, there is debate over what constitutes a feminist approach and method. The vibrancy, diversity and scale of Women In Revolt! will open up avenues to construct your own narrative about the history of art.

Women In Revolt! Art And Activism In The UK 1970–1990, National Galleries Of Scotland: Modern Two, Edinburgh, Saturday 25 May–Sunday 26 January.

Outsider artists (clockwise from bottom to top): Elizabeth Radcliffe, Gina Birch, Sam Ainsley, Linder

I see Belle And Sebastian “

Culture writer and musician John Robb

has been a mainstay of the UK’s music landscape for more than four decades. Kevin Fullerton chats to this perennially cool post-punk doyen about the history of goth, the problems of writing an autobiography, and his love for Glasgow’s music scene

You recommend so many interesting albums in your latest book (The Art Of Darkness: The History Of Goth) that I’ve found myself listening to a whole band’s back catalogue before I continue reading. Did you intend that? 100%. I wanted people to read the book and go listen to things they’ve never heard of before. Any time a band gets mentioned, listen to them. You’ll find that you may not like them all, but you’ll also find a few things and think ‘whoa, I never knew this band existed’. I love books that are full of little rabbit holes, and they send you off in lots of different directions. So, it’s not just about the surface or the core of something; it’s about all the little things that feed into it.

A lot of people might associate you more with punk and postpunk, particularly because of your time with The Membranes. Did goth culture feature heavily in your youth? At the time, goth was a part of post-punk, because there wasn’t any such thing as ‘postpunk’. It wasn’t like it’s 4 March 1979 and everyone goes ‘you know what, we’re in the post-punk period now’. It wasn’t like the end of the dinosaurs, a massive meteorite smashing into the Earth when, of course, it’s pretty obvious you’re in a different era. I suppose the meteorite was punk. But as it went in all its little breakdowns afterwards, you could enjoy Gang Of Four and The Fall and Bauhaus and it wasn’t really different; they’re all art-rock adventures coming out of punk. I mean, the goth clubs weren’t called goth clubs initially. There was alternative music there, all types of music, and they gradually became blacker as time went on. It’s a retrospective term; it was about 1980–83 when things start getting called goth.

The goth clubs seem to be the centre of a community-minded spirit in your book, and the guests you’re interviewing on your tour feel like a continuation of that, as if you’re bringing together your tribe. Why are these people important to you? In the first half of the show, I talk about my life in music, and it’s great that people are interested in that, but you get bored of yourself pretty quickly. So, it’s nice to have somebody else’s perspective on culture. We just thought, let’s get whoever lives in those towns to come in and do a Q&A. And the way they tell their story will kind of mirror mine, but in parts be completely the opposite as well.

It’s interesting you say you get bored of yourself when you’re currently in the process of writing an autobiography. How’s that going? It’s my journey through glam then punk and post-punk to now, but it’s also the journey of many people who are of a similar age to me. And if you’re younger, it’s a story of so many adventures in music over decades, things that you heard about but don’t have firsthand experience of. I find all people’s stories interesting. I think that’s why I like interviewing people because I like other people’s stories. I

as fellow travellers

mean, I tend to interview musicians because I’m in the music world, but I’ve often thought it would be great if we just went out on the street and grabbed the first person we found, sat them down and did an inconversation with them. Because everybody’s story is valid, isn’t it?

Do you feel a certain kinship with any music scenes across the UK? I always liked the Glasgow scene. I knew all those people from The Pastels onwards, and even though they were musically different from us, they had the same sense of DIY punk rock. I see Belle And Sebastian as fellow travellers, because they made music completely on their own terms. Those terms have actually been commercially successful, but it’s still their terms. You know that if they were selling 20 records, they’d still be doing the same thing. I like the way they don’t budge for anybody; the music business could not control them at all. They’re quietly revolutionary, those kinds of bands.

John Robb: Do You Believe In The Power Of Rock’N’Roll spoken-word tour appears at Voodoo Rooms, Edinburgh, Thursday 9 May; The Art Of Darkness: The History Of Goth is out now published by Manchester University Press.

GAELIC ARTS TRADFEST

For Valtos’ Martyn MacDonald (Queen’s Hall, Friday 3 May), Edinburgh’s Tradfest is a ‘spectacle of trad music in the capital, which doesn’t get enough light on it’. Joined by singers Eilidh Cormack and Lana Pheutan, Euan McLaughlin and Finn MacPherson, Valtos’ sets are ‘riddled with edits and unreleased music that will never see the light of day’, including their ‘Còisich a Rùin’ remix.

MacDonald looks forward to experiencing what a capital audience will have in store for them this time around. ‘We’ve never played Tradfest before, so it’s exciting seeing trad music alive in the capital. We played Edinburgh last year, expecting it to be more mild than Glasgow shows, but audiences were absolutely off the chain: somebody was crowd surfing!’ The lads’ frequent collaborator Julie Fowlis also appears (Assembly Rooms, Monday 13 May), backed by her vibrant band and with special guests to mark the festival’s closing gala.

The chants may be different but expect the unexpected as bagpiperfiddler Malin Lewis platforms their debut album Halocline (Traverse Theatre, Wednesday 8 May). This year’s iteration draws from across Scotland and beyond, and Valtos love how it brings ‘all our favourite bands into the city’. Edinburgh singer, harpist, composer Rachel Newton explores poems and ballads (Traverse Theatre, Sunday 5 May) and Dàimh, Highland music’s proudest exponents, will feature Gaelic singer Ellen MacDonald (Traverse Theatre, Saturday 11 May). (Marcas Mac an Tuairneir)

 Various venues, Edinburgh, Friday 3–Monday 13 May.

Malin Lewis

Friday 3 May

Thursday 17 October

AC/DC Experience

BBC Radio 2 Sounds of the 80s - The Live Tour with Gary Davies

Sunday 26 May Day Fever

Friday 25 October

Glasville

Saturday 23 November

Shed Seven

Friday 7 June

Martin KempBack To The 80s DJ Set

Saturday 30 November

Sunday 1 December

Friday 28 June

Rob Lamberti Presents

Perfectly George

Thursday 1 August

Keane

Friday 23 August

Don’t Stop Queen Now

Friday 6 September

An Evening Of DartsGary Anderson + Raymond van

Barneveld + John Henderson + Robert Thornton + Cameron Menzies

Friday 6 December

Saturday 7 December

Big Big Christmas Party

Pro Wrestling - NOAH

Tuesday 10 September

Blackberry Smoke

Friday 27 September

Wednesday 11 December

The Wonder Stuff

Friday 13 December

Saturday 14 December

Friday 20 December

The Undertones

Friday 4 October

Saturday 21 December

Big Big Christmas Party

Friday 27 December

Skerryvore

The Enemy + The Subways + The Holloways

Tuesday 15 October

Wednesday 16 October

Wallows - Model Tour

Friday 24 January 2025

Antarctic Monkeys

o2academyedinburgh.co.uk

future sound

Our column celebrating new music to watch continues with Stirling-born singer Evie Waddell, who talks to Fiona Shepherd about deafness, dance and letting her mad side shine

Evie Waddell may not have won this year’s BBC Radio Scotland Young Traditional Musician title but her engaging performance in the competition’s final stood out for its arresting blend of vocals, movement, BSL signing, and the bonus of an Ivor Cutler cover version. ‘It was great to see it on TV,’ says Waddell. ‘The deaf community is obviously very visual so it’s a way that music can be “heard” by deaf people.’

Waddell has been deaf in one ear since the age of 11 (‘not good timing’ for high school, she notes). By this point, her key creative interests were in play, from her Gaelic education (‘sometimes my dreams would be in Gaelic’) to gatecrashing her mum’s singing group and attending dance classes and ceilidhs. ‘I knew all the dances and would spice them up a bit,’ she says, a foretaste of her rebellious artistic streak. ‘Growing up, it was music and dance, and I could never choose between the two.’

In the end she left her contemporary dance studies in Dundee to study traditional music at the Royal Conservatoire Of Scotland, having been advised by family members not to mention her deafness until she passed the audition. ‘Now I’m more vocal about it,’ she says. ‘I think people get a bit freaked out by a deaf musician, thinking “how is that possible?” But deafness is such a spectrum and even those who are profoundly deaf should and could be involved.’

Waddell has created an idiosyncratic, multi-lingual blend of traditional, contemporary, verbal and non-verbal performance but will freely admit the challenges of soundchecking levels and the

occupational hazard of quiet acoustic gigs. ‘There’s a lot of explaining to people and sometimes I’m in the mood to do that and sometimes I’m not. Because being deaf is invisible, I need to make myself be patient when hearing people forget, which is often!’

To some degree, Waddell is happier setting her own levels. ‘Musically, I feel most comfortable creatively by myself. It’s made me quite an independent artist but I do like collaborating with other people as well.’

Her visual EP, Cluich!, released in February, features collaborations with percussionist Signy Jakobsdottir and movement artist Fran Till. Waddell is also developing a project with Gaelic rapper Hammy Sgìth with a street-dance spin on Scottish step dancing. ‘I have a quite extreme repertoire, either silly songs or very serious, so it’s really nice to let that mad side of me out and work a standing crowd. Traditional music is often seated and if you’re solo or a duo or trio, people think you can’t bring the party; but I like to think I can.’

Waddell gets her chance to prove her party credentials with forthcoming appearances at Edinburgh’s Tradfest as well as HebCelt and Solas Festival, and would love to make a visual album with dancers and BSL artists. ‘I know I do a lot of different things,’ she says. ‘For ages I thought you should only do one and do it well, but now I’m less worried about it as the mediums are really blending more.’

Evie Waddell plays Traverse Theatre, Edinburgh, Friday 10 May, as part of Tradfest.

FILM FOLK FILM GATHERING

‘The local in conversation with the global’ is how producer Jamie Chambers describes the thinking behind Folk Film Gathering’s eclectic programme. Now in its tenth year and produced by Transgressive North with funding from Screen Scotland, 2024’s folk-themed events include Scottish musician Luke Sutherland presenting a live soundtrack for Earth, Alexander Dovzhenko’s 1930 silent-film hymn to nature; the Scottish premiere of Irish auteur Pat Collins’ documentary Songlines about singers from the Irish traveller community; and Mexican director Itandehui Jansen’s Itu Ninu, a science-fiction film about climate change set in 2084 but shot in Edinburgh.

So what binds such a diverse programme together? ‘We’re still working that out!’ says Chambers. ‘Folk cinema is primarily about solidarity; if you look back to our first programme in 2015, we haven’t changed much at all.’ Aiming to represent community experiences and perspectives, with an emphasis on cultural accuracy, other events include To See Ourselves, with Musselburgh-based activist Fraser McAllister’s passion for Scottish independence observed by his director daughter Jane; Michel Khleifi’s documentary Tale

Of The Three Jewels, a poignant 1995 tribute to the children of Gaza, with an introduction by Palestinian/Scottish poet Nada Shawa; and celebrated musician Aly Bain playing a mini-concert alongside his screening Down Home, a restored 1986 film about Scottish fiddling traditions.

‘We still have a strong sense of a core of Scottish films, and then looking outwards towards world cinema, and communities elsewhere in the world from there,’ says Chambers. ‘Over the past two years, that’s led us to explore how films from Ukraine and Palestine, in particular, might fit into this latest programme.’

(Eddie Harrison)

 Cameo Picturehouse and Scottish Storytelling Centre, Edinburgh, Friday 3–Sunday 12 May.

MUSIC ERROLLYN WALLEN

Starting with a crowdfunded gig in London just over two years ago, Through The Noise has quickly evolved to put on noisenights in iconic grassroots venues across 21 UK and European cities. From an impressive roster of artists, Scotland scores well, with May’s line-up of up-close classical events including composer, pianist and singer Errollyn Wallen with some of the best-loved songs from The Errollyn Wallen Songbook

Each noisenight has a one-hour set at its core. ‘It’s very intimate,’ says Wallen, ‘and while it’s important that this is for a range of ages, I think that there is a particular connection with younger people.’ For someone who has written 20 operas and a huge volume of orchestral, chamber and vocal music, including a BBC Proms commission, a night of just Wallen and her songs offers a pure and honest evening of artist and audience directly engaging with each other. Originally, the songbook wasn’t deliberate. ‘I just sat down at the piano one day and a song popped out. I am very enamoured with how much you can create in a threeminute song.’

The collection is ongoing, now numbering about 150, with the Edinburgh performance featuring some new and some old. ‘They’re all written for myself to sing and play. There’s something about playing and singing together that’s really satisfying, but hard too. Although when I write songs, it’s almost as if I go on a musical holiday.’ (Carol Main)

 The Caves, Edinburgh, Thursday 16 May.

The big bang

After surviving a terrifying health scare, Miles Jupp is back on the road with his first stand-up tour in seven years. The actor and comedian tells Murray Robertson about his path to recovery, gracious exits, and (literally) getting back on the horse

While filming in London during 2021, comedian and actor Miles Jupp suffered a brain seizure. ‘I suddenly felt really strange and had a light flashing in my eye that just wouldn’t go away,’ he remembers. ‘Very quickly, I knew that something was really wrong. And then, suddenly, there was an explosion in my vision.’ Thankfully, Jupp was surrounded by diligent crew members who had first aid training. Within a few hours he was in hospital, and days later he had brain surgery to remove a benign tumour. ‘It was a pretty intense, surprising experience,’ he explains. ‘Obviously, you feel very lucky and you feel very frightened, and all these things. And suddenly you’re in the eye of the storm. It was a terrifying time but also fascinating and, at times, really, really uplifting. And overwhelming. I mean, if an experience like that doesn't make you stop and think then I’m really not sure what would.’

Jupp spent the following six weeks ‘sort of padding gently around the house and walking the children to school’. Keen to get on with his life, he chose a return to TV on Frankie Boyle’s New World Order. ‘It was quite useful to be back working, from a confidence point of view. And I was also thinking “can I still do that thing that I was doing before?” I told Frankie about it but otherwise I just quietly got on with things. The hair had grown back over the scar and I could appear relatively normal . . . and then I would come home and be flat out for two days.’

His recovery continued, and he enjoyed doing simple things that he’d previously taken for granted: riding a bike, driving a car, performing stand-up comedy in front of 3000 people at the Apollo. ‘That was a wildly intense experience,’ he remembers. ‘But again, it’s good for the confidence to get it under your belt.’

This life-changing event forms the backbone of On I Bang, Jupp’s

first stand-up tour since 2017. ‘The shows that have a proper narrative are a bit more satisfying to perform, so I’ve enjoyed this. And I get excited by going to places where you have literally no connection, and people there want to buy a ticket and come see you in the theatre: I always think that’s sort of awesome.’

After four years hosting Radio 4’s The News Quiz, Jupp stepped down in 2019. ‘Once Jeremy Hardy died, it felt very different. Every now and then you’d have a difficult recording and you’d think “I’ll tell you who would sort this out; who would be able to make this funny”. But then he’s not here any more. I also just felt that I wanted to go and do other other things. I tried to withdraw as graciously as possible because it was a great job and a really nice thing to be asked to do.’ Although he doesn’t miss chairing the show, he says he pines for the time he spent in the writers’ room. ‘I do love collaborative stuff, and that’s why I like being in a team. That’s the thing that’s not quite there with stand-up. I love that feeling of being part of a company.’

It’s not all about the comedy though: Jupp’s IMDb page is a thing to behold, with notable roles in everything from Balamory to Napoleon. ‘If you’d told me while I was lying in hospital that I’d be wandering around gently on a horse at the whim of Ridley Scott, I’d have been absolutely delighted.’ While he evidently enjoys acting, it’s the creative endeavour of writing and performing comedy that really drives him. ‘You walk out in the theatre, the audience is there, and then you get to the end of the show and think “I’ve created this thing, and we as a room of people have gone on this journey together”. I find that really exciting and satisfying.’

Miles Jupp: On I Bang, King’s Theatre, Glasgow, Wednesday 8 May; Queen’s Hall, Edinburgh, Thursday 9 May.

FILM TIGER STRIPES

‘I love the folktales that I grew up with in Malaysia,’ says writer-director Amanda Nell Eu. ‘When I was a kid, my parents would tell me stories of monsters in the jungle.’ While Eu honed her craft in England, studying at the London Film School, on returning to Malaysia she channelled these memories into her debut feature, Tiger Stripes. ‘I used to fear these characters,’ she adds. ‘Now coming back as a woman, I was like “I think I relate to these characters a lot more than everyone else”.’

A beguiling mix of folklore and female coming-of-age, indebted to filmmakers David Cronenberg and Apichatpong Weerasethakul among others, Tiger Stripes tells of Zaffan (Zafreen Zairizal), a rebellious 12-yearold schoolgirl. The first in her class to get her period, she becomes ostracised by her peers as she undergoes a metamorphosis, developing unusual animalistic characteristics in a plot development that compares to Ginger Snaps, the Canadian puberty-werewolf movie from 2000.

‘I’d see young girls be so free with their movement, with their bodies, having fun and playing; like boys do,’ recalls Eu. ‘And then the minute they hit puberty . . . I feel like everything changes. Their body language changes, and they start moving in a very different way, almost restricted. And I wanted to show that change in Zaffan when she went through puberty and how she learned about shame and about insecurities.’

Eu’s film doesn’t just deal with adolescent growing pains, but issues ranging from fear of the other to the pervasive nature of social media. Even the exorcist brought in to confront Zaffan’s ‘demon’ tells his onlookers to ‘tag’ him in any videos they upload. ‘I just love using genre to talk about things that are very serious and very personal to me,’ adds Eu, a director who on this evidence has earned her stripes. (James Mottram)

 In cinemas from Friday 17 May.

MUSIC WHEN MOUNTAINS MEET

When Anne Wood visited Pakistan to meet the father she had never known, the experience opened up another world that stayed with her. More than 30 years later, the renowned Scottish violinist tells her story in When Mountains Meet, a cross-cultural hybrid of storytelling and song that bridges continents and musical styles. Told as a conversation between Scottish and South-Asian music, a vibrant live score composed by Wood combines alap, raag, reel and strathspey, with vocals performed in a mix of English, Gaelic and Hindustani to tell her deeply personal tale.

‘He didn’t know I had been born,’ says Wood about writing to her father for the first time. ‘But he replied quickly to my tentative letter introducing myself, completely accepting me into his life as we developed a fiery but loving father-daughter relationship.’ Wood’s musical pedigree stems from her Sutherland roots, and as a founder member of folk-jazz fusion group The Cauld Blast Orchestra up to her current tenure as a member of ‘godmothers of grunge’ The Raincoats. In between, Wood has worked with the likes of Michael Marra, Elvis Costello and Massive Attack, and played on the score of Stanley Kubrick’s Eyes Wide Shut

For When Mountains Meet, Wood co-opted harpist Mary Macmaster, percussionist Rick Wilson and sitar player Rakae Jamil to accompany storytellers Iman Akhtar, Hassan Javed and Jamie Zubairi. ‘The show’s inspiration came from my search for identity, belonging and connection with a land very different to my own, and a father I had never met but who never felt like a stranger.’ (Neil Cooper)

 Albert Halls, Stirling, Wednesday 15 May; Cottiers, Glasgow, Tuesday 21 & Wednesday 22 May.

PICTURE: ROBIN MITCHELL

TRASH TEST DUMMIES RAY MEARS HOUSE GOSPEL CHOIR RICHARD E GRANT HOT CHIP (DJ SET)

/HAYLEY ZALASSI/ MISS MIXTAPE

THE STRANGLERS

CLIVE MYRIE

THE JACKSONS D E L AMITRI

HORRIBLE H I ST O R IESROTTEN ROYALS CAITLIN MORAN

ANDREW WASYLYK & TOMMY PERMAN

PLUS MANY MORE TO BE ANNOUNCED...

FOR FULL LINE UP AND TICKETS GO TO

FRINGEBYTHESEA.COM

National Winner of Scotland’s Outstanding Festival 2023*. 200+ music, comedy, literature, wellbeing and exploration events across 10 days in North Berwick.

*2023 Scottish Thistle Awards

Black Scot Pod (and bottom from left), Joe Grieve, Craig Charles, Kimono

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 a major exhibition featuring a cool bit of kit, a rabblerousing stand-up who simply won’t compromise, and a stripped-back Highlands four-piece

ABERDEEN

RISE UP!

Cabaret, podcasting, live music, an exhibition and workshops all feature in this celebration of black creative talent in Scotland. Bemz, Black Scot Pod and Joshua Ekekwe are among those taking part.

n Music Hall and Lemon Tree, Thursday 2–Saturday 4 May.

AYRSHIRE

BOSWELL FESTIVAL

This renowned festival dedicated to memoir and biography returns with a star-studded line-up featuring the likes of Doon Mackichan, Xinran, Rodge Glass, Jackie Kay, Aasmah Mir, John Niven, Kirsty Logan and The Hebridean Baker.

n Dumfries House, Friday 10–Sunday 12 May.

DUNDEE

KIMONO

From ‘Kyoto To Catwalk’, this exhibition examines the style and influences of the iconic kimono. Work from classic designers such as Alexander McQueen and Yohji Yamamoto will be on show.

n V&A, Saturday 4 May–Sunday 5 January.

DUNFERMLINE

FRANKIE BOYLE

When he first performed Lap Of Shame in 2022, one review called Boyle’s set ‘breathtakingly rude’ and full of ‘thought-provoking ghastliness’. Two years on, there’s not a hope in hell he will have mellowed.

n Alhambra Theatre, Sunday 12 May.

HADDINGTON

JOE GRIEVE

Inspired by East Lothian’s landscape, this young London-based artist’s work addresses the rightto-roam laws and highlights the importance of our natural world.

n Colstoun House, Saturday 4–Sunday 19 May.

INVERNESS

THE INVERNESS FESTIVAL OF WALKING AND WHEELING

‘Health, history and hope’ are the bywords for this week-long celebration of movement by two feet or two wheels. A colourful ‘Loop Map’ will help participants find the ideal spots for taking in great views of the local area.

n Various venues, Saturday 18–Sunday 26 May.

KIRKCALDY

TIDE LINES

With the Elements show, this Highlands quartet deliver a stripped-back acoustic and ambient affair as they explore the environment in which their songs are constructed.

n Adam Smith Theatre, Saturday 4 May.

PERTH

PERTH FESTIVAL OF THE ARTS

The nation’s former capital reverberates to the sights and sounds of a load of culture, including Craig Charles, Hebrides Ensemble, Tenebrae, Scottish Opera, Afghanistan Is Not Funny and Rory Bremner.

n Various venues, Wednesday 22 May–Saturday 1 June.

ST ANDREWS

JAMES V: KATHERINE

Rona Munro’s latest instalment of the James Plays zeroes in on a respectable young woman who is suddenly put on trial for her life. In court, as the cynical monarch looks on, Katherine Hamilton fights for survival.

n Byre Theatre, Tuesday 21 & Wednesday 22 May.

THE KINGDOM. WHERE IT ALL BEGINS.

Discover Dunfermline

Visit Scotland’s newest city that’s home to some of the country’s richest history. Step back in time over 700 years and uncover the intriguing past of Scotland’s ancient capital. It also offers all the variety of a must-visit city, from national attractions, museums and theatres to picturesque parks and delicious food and drink to enjoy. Whatever you choose to do in Dunfermline, you’ll make memories to last a lifetime in The Kingdom, where it all begins.

welcometofife.com/dunfermline

With La Chimera, director Alice Rohrwacher delivers her most accomplished film to date.

Emma Simmonds lauds an eccentric, heartwarming tale elevated by a complex and sensational lead turn from Josh O’Connor

Fusing anarchy and melancholy, La Chimera follows a supernaturally gifted, strangely situated Brit as he casts a spell on a group of hard-up Italians in an irresistibly rustic, 1980s setting. Alice Rohrwacher, the director of Happy As Lazzaro, The Wonders, Corpo Celeste and Oscar-nominated short Le Pupille, ups the comedy ante in a deeply affecting, sometimes riotous film (featuring shades of Fellini) that also finds room for the iconic Isabella Rossellini.

A chimera is something desperately desired that can never be found, and the film’s heartbroken hero is pining for precisely that: his lost love, Beniamina (played by Yile Vianello in flashbacks).

Josh O’Connor (The Crown, Challengers, God’s Own Country) is the protagonist in question, English archaeologist Arthur, a scruffy yet seemingly gentlemanly type, who is released from jail at the outset.

Arthur grumpily makes his way back to the Tuscan town where he’s been living an intriguingly ignominious existence, among unearthed relics in a corrugated iron shack, teetering somewhat romantically on the side of a hill. It transpires that this unassuming man has been illegally plying his trade as the unlikely leader of a ragtag gang of

grave-robbers, maintaining a grip on his acolytes due to an uncanny ability to sense the resting spots of the dead.

On his return, Arthur is warmly embraced by Flora (Rossellini), the elderly, wheelchair-bound mother of his longed-for lover. Flora resides in a crumbling, leaky mansion, cared for by talentless singing student Italia (Carol Duarte), who has secretly moved her two children into the property, away from the old woman’s prying eye and those of Flora’s fussing daughters who drop by to bicker and take stock of their inheritance. As Arthur falls back in with his old crew and gets into the usual grief, Italia takes a shine to this enigmatic figure, whose heart belongs to an unattainable other.

Rohrwacher grew up in Tuscany listening to locals boast about their life-changing discoveries of Villanovan tombs and Etruscan vases. Inspired by such stories and by the deathliness of lockdown, Rohrwacher and her fellow screenwriters, Carmela Covino and Marco Pettenello, give us a layered tale set in an Italy haunted by past glories and which explores complex relationships between the living and the dead.

Alice Rohrwacher

Despite the potential for doom and gloom, Rohrwacher brings great playfulness to her direction, slowing down and then speeding the action up, throwing in fun montages, and presenting a kaleidoscopic vision of humanity. A pair of celebratory songs hold the gang aloft as folk heroes, warmly revelling in these colourful characters who live off-grid and rub along amiably as they break all the rules simply in order to keep them and their loved ones afloat.

Although on one hand a work of unabashed eccentricity, La Chimera also retains a realist streak, epitomised by Hélène Louvart’s gloriously grainy and grounding cinematography, captured using a combination of 35mm, Super16mm and 16mm film. The shabby chic aesthetic prevents it looking too meticulously finessed (à la Wes Anderson, whose films in a superficial sense this sometimes recalls) and it cuts deep with its portrait of a rural community falling into total disrepair, as characters dig in the dirt to survive, the deceased evidently better off than the living.

The film pivots around a quietly sensational performance from O’Connor, who brings that quintessential, almost arrogant Englishness to the role which helped him convince as Prince Charles; yet his multifaceted turn evades easy definition. Arthur morphs from sweet and meek, to angry and embittered, to painfully sad; he’s always the anomaly, a daydreaming, oddly blessed outsider who exists apart from those around him.

Duarte and Rossellini are excellent too, and there’s an enjoyable, late-in-the-day appearance for the director’s sister and regular collaborator Alba, in a role which upends assumptions about what women can be. That Alice Rohrwacher’s most assured film to date should also be her most entertaining is a particular thrill. Assisted immeasurably by O’Connor’s poignant performance, the director delivers slow-burn emotional potency and a profound sense of loss in among the mischief. It’s wonderful when something so bonkers is able to touch your heart.

THEATRE SUNSET SONG

(Directed by Finn den Hertog) 

‘These were the last of the peasants, the last of the old Scots folk. A new generation comes up that will know them not, except as a memory in a song.’ Soldier, Marxist, anarchist and writer Lewis Grassic Gibbon’s 1932 book Sunset Song was rightly decreed by this publication in 2005 to be one of the most important Scottish novels of all time. Ali Smith hailed it then as ‘the rightful rich ceremony of loss after the war and the end of a kind of innocence’.

In the early 1900s, the Guthrie clan try to make a living on those brutal plains and bogs of Blawearie in the parish of Kinraddie. Dysfunction, violence and death haunt the family and poison the land, but from misery and misogyny emerges Chris Guthrie, a feminist shape of things to come. Morna Young’s stunning adaptation uses the lyricism of old Scots, with its blunt Doric beauty and mystery, to create an impressionistic tableau of heartbreak and hope. A simple set of bunkers and sand is the Aberdeenshire Mearns of the book’s setting; the poetry of its beleaguered inhabitants casts a spell every bit as enchanting and magically realistic as those of Dylan Thomas’ Llareggub in Under Milk Wood Director Finn den Hertog’s production plays on ideas of mythology; the protagonist’s journey through trauma and societal transformation is an arc that is bleak, elemental and sparse, but also odd and horrific. Musical director Finn Anderson’s inspired interludes shift the unease, like a pre-World War I version of The Wicker Man: unsettling and always a little beyond the rational.

The stand-out cast, most of whom play multiple characters, zigzag effortlessly across the set, picking up instruments and performing like their lives depend on it. Ali Craig, Murray Fraser and Naomi Stirrat are particularly worthy of note but it’s Danielle Jam’s Chris that dominates and stays the distance: the north-east quine, a legend and an inspiration. (Paul Dale)

 Dundee Rep, until Saturday 4 May; Lyceum Theatre, Edinburgh, Tuesday 28 May–Saturday 8 June.

art•

ART MARTIN BOYCE

Before Behind Between Above Below 

Martin Boyce has asked himself ‘do my sculptures dream?’ His sleepy installations quietly transform Fruitmarket, injecting an infectious dedication to 20th-century modernist design into the gallery space. Each room in this survey exhibition offers a new dimension to the Glasgow-based artist’s practice.

In the Warehouse, Boyce plays with the task of readying artwork for public display. Storage units and stacks of concrete haphazardly clutter the room with the exposed brick and steel frame of the old fruit and vegetable market emphasising his sculptures’ rawness. There is gentle humour here, too: while museums and galleries are sometimes privy to accusations of hoarding objects and keeping them hidden from the public, Boyce invites us into a secretive stage of the curatorial process. These sculptures could be interpreted as an attempt to demystify and deconstruct that process. While the Warehouse conveys bold artistic intentions, elsewhere the objects on the ground floor lack some cohesion in their presentation.

Upstairs, Boyce attempts to turn the light-flooded room into a bourgeois apartment with elements of the outside world creeping in. The exhibition's title (Before Behind Between Above Below) is curiously represented through ventilation grills around the room, and carefully placed geometric leaves fall from the cherry blossom ceiling. At a distance, a fireplace titled ‘Same Day’ (2015) appears to be an illusionistic painting, but upon closer inspection, it inverts to sculpture.

Parallels can be drawn between Boyce’s transformation of the upper gallery and Glasgow-born artist Lucy McKenzie with her mesmerising use of trompe l’oeil to create otherworldly interiors. Contrastingly, Boyce leaves us slightly unsatisfied. There’s a sense that his sculpture is in limbo, waiting to be pushed into a dreamlike realm. (Rachel Ashenden)

 Fruitmarket, Edinburgh, until Sunday 9 June.

FOOTLOOSE

31 MAY - 26 SEP

STAGE ADAPTATION BY DEAN PITCHFORD AND WALTER BOBBIE

BASED ON THE ORIGINAL SCREENPLAY BY DEAN PITCHFORD

MUSIC BY TOM SNOW

LYRICS BY DEAN PITCHFORD

ADDITIONAL MUSIC BY ERIC CARMEN, SAMMY HAGAR, KENNY LOGGINS AND JIM STEINMAN

FOOTLOOSE IS PRESENTED BY ARRANGEMENT WITH CONCORD THEATRICALS LTD

A PITLOCHRY FESTIVAL THEATRE AND NEW WOLSEY THEATRE PRODUCTION

comedy of the month

Class, gender and parenthood might be well-worn stand-up tropes, but Iain Stirling straddles it all with charming aplomb. Jay Richardson finds a comic who is as sharp as he is self-aware

Iain Stirling presents his struggles for relevance as those of a relatable millennial man trying, but not altogether succeeding, at being a decent husband and father to a young child. The subtext of Relevant, though, is can the voice of Love Island and one half of a celebrity power couple still cut it as a standup? Especially as one of the foremost ‘haircut comedians’, those boyishly good-looking acts from the noughties in skinny jeans, ruffling their hair on Edinburgh Fringe posters, snapped up for television presenting jobs, and now approaching middle-age?

Well, the answer in Stirling’s case is a resounding yes. The 36-year-old comic cheekily compares his career to that of another ‘haircut’ survivor, Chris Ramsey, who has similarly monetised his marriage with a couple’s podcast. The Scot unravels that thread for an extended exploration of being a kept man, or at least earning less than his presenter spouse Laura Whitmore. Stirling finds an expert balance between braggadocio and humility, which he extends to the demands of fatherhood compared to motherhood. The credit he banks from being an avowed feminist (who nevertheless warns strongly against thirtysomething men who tell you they’re a feminist) enables him to make sweeping but generally sharp observations on skirmishes between the sexes in the domestic sphere.

now living in what he characterises as poncy

and intimidate the English, though the response he

Similarly, as an Edinburgh native who grew up working-class with limited aspirational possibilities, now living in what he characterises as poncy London, he straddles class distinctions. He can blithely dismiss business types making deals in coffee shops, while championing McDonald’s. The fastfood restaurant is somewhere he feels better-than but absolutely at home in, and he’s winning on the cognitive dissonance required to hold such competing thoughts in his head. Despite his voice’s fame, it can still confuse and intimidate the English, though the response he attributes to one effete individual sounds suspiciously close to a well-known Miles Jupp line. Regardless, feeding off a lively Glaswegian crowd, Stirling clearly relishes the back-and-forth exchanges and that transmits itself strongly from the stage.

too self-aware to fall into that trap, with a cynical baseline

In his exaggerated self-portrayal, he’s constantly troubled by social interaction and second guessing himself. The show’s core tale, which he returns to consistently after successive diversions and distractions, is an epic department-store shopping quest that he’s undertaken on behalf of his wife. In less accomplished hands it might seem excessively twee, the irksome whining of an attention-seeking manbaby. But Stirling is too in command of his animated acting out, his physical expressiveness seldom remarked upon. And he’s generally too self-aware to fall into that trap, with a cynical baseline outlook and modest take-home message that undermines clichés which are often tagged onto stand-up shows as big revelations. Despite everything that he suggests, he’s doing fine, both at home and at the mic.

Iain Stirling: Relevant, Festival Theatre, Edinburgh, Friday 31 May; reviewed at King’s Theatre, Glasgow.

THEATRE THE GIRLS OF SLENDER MEANS

(Directed by Roxana Silbert) 

Gabriel Quigley’s adaptation of Muriel Spark’s The Girls Of Slender Means combines lively social satire with contemporary resonances and tragedy. Following five young women as they grapple with the consequences of World War II, it captures their fragile hopes and disappointments as the conclusion of conflict brings home fresh horrors.

With a strong ensemble cast, Roxana Silbert’s sprightly direction and a script that encompasses both the patriarchy’s discreet oppression and the women’s irrepressible energy, the play depicts a familiar Britain, emerging from catastrophe and trying to hide its emotional pain beneath a veneer of charm and fortitude. While a first act establishes the women’s vivacity and the lurking threat of unexploded bombs (both literal and psychological), its second half moves steadily towards a brutal tragedy.

This show’s joy comes from the women’s interactions as they dance, work and consider how to better themselves and grow into their ambitions. Told through the perspective of Jane Wright (played with elegance and charisma by Molly Vevers), the script leans into wry humour and compassionate characterisation that offers more power to its satire than the final tragedy. Indeed, the framing device (Jane looking back on the past from her position as a successful editor) distances the drama, too neatly folding its climax into merely another episode in a life well-lived. The production, like its protagonists, is bursting with dynamism and ideas but seems not quite able to contain them all. (Gareth K Vile)

 Lyceum Theatre, Edinburgh, until Saturday 4 May.

FILM THE BEAST

(Directed by Bertrand Bonello) 

Taking Henry James’ 1903 novella The Beast In The Jungle as his starting point and incorporating modern anxieties about human obsolescence, French director Bertrand Bonello (Nocturama, Saint Laurent) has fashioned a shapeshifting, sinister and persistently intriguing romance. If it doesn’t feel fully realised, The Beast is, at the very least, magnificently ambitious.

Léa Seydoux is Gabrielle, who we meet in 1910, 2014 and 2044 as a pianist, aspiring actress and lost soul, respectively. In the latest of these time periods (an AI-dominated dystopia), she’s offered the chance to purify her DNA and rid herself of strong feelings in a process that involves revisiting her past lives. George MacKay plays Louis, the man she loves, who appears in several guises (from respectable gentleman to murderous incel), and who always seems out of reach. As Gabrielle confesses to him in 1910, she is plagued by the notion that she’s in some sort of terrible danger, a threat that pursues her through time.

Although The Beast is atmospheric, stylish and well-acted enough for you to buy into its portentousness, it suffers from occasional misjudgements (a pair of sequences involving pigeons spring to mind). The story may not be completely coherent, but Bonello delivers an avalanche of ideas. His film haunts and enthrals, as it moves from period drama to unsettling sci-fi to home-invasion thriller, featuring a Poseidon Adventure-evoking disaster-movie moment, and some Lynchian weirdness along the way.

MacKay is an astonishingly versatile actor (compare Pride and the recent Femme for further evidence of his range), something that Bonello exploits brilliantly here. But it’s Seydoux who holds our attention over the film’s substantial, slightly unwieldy duration; the actress is typically seductive and appropriately strange, while her conviction provides the glue. (Emma Simmonds)  In cinemas from Friday 31 May.

PICTURE: MIHAELA BODLOVIC

TWO TICKETS TO GREECE

(Directed by Marc Fitoussi) 

Strait-laced Blandine (Olivia Côte) and party girl Magalie (Laure Calamy) were inseparable in middle school, only to be driven apart by relationship drama. Now decades later, Blandine’s husband has left her for a younger woman, and Magalie’s career is in a rut. When a suspicious plot contrivance makes vacation plans go awry, the pair end up traversing the Cyclades together en route to a luxury hotel.

Two Tickets To Greece is exactly what you would expect from a buddy summer holiday film, with wild and crazy Magalie landing them in all sorts of scrapes while Blandine rolls her eyes but eventually learns to let loose. The beats are all there, but something is missing: the main problem is Blandine, who sadly lives up to her name. Her stick-in-the-mud attitude is a constant downer, and those few moments where she submits to a sense of fun are too infrequent to make her likeable.

The film seems to be under the impression that the audience, like Blandine, will find Magalie overwhelming. In reality, she is its saving grace with Calamy bringing such a whimsical energy to the character that you can’t help but want to be her best friend. Two Tickets To Greece is also helped by the stunning vistas of the Cyclades and an array of cool, bohemian side characters, with Kristin Scott Thomas’ turn as free-spirited heiress Bijou particularly enjoyable. While the protagonist may be a dud, the sunny vibes and exotic location still provide some modest entertainment. (Isy Santini)

 In cinemas from Friday 17 May.

DANCE JOHANNES RADEBE

House

Of JoJo



Fans of Johannes Radebe will know that his pathway to fame was littered with obstacles. It’s fair to say, however, that the Strictly Come Dancing professional is now living his best life. And, during the two (too) short hours we bask in his glow, so are we. The already deafening screams that meet his arrival on stage have only intensified by his departure. Rightly so, because that’s the sound of an audience entertained to within an inch of its life.

Much like Freedom and Freedom Unleashed (Radebe’s previous solo live shows), House Of JoJo offers no pretensions. ‘It’s going to be wild!’ our host informs us with the brightest of glints in his eye, and he’s not lying. Just when you think the show has reached peak camp, Radebe turns it up a notch time and again; with his audience on its feet (long before the standing ovation), there’s almost as much happiness in the room as there are sequins on stage.

Backed by two incredible vocalists, Radebe and ten superb fellow dancers embrace his South African roots with an earthy routine. A trip to the movies has them all in pink for a Barbie homage, Radebe in overalls and welder mask for a Flashdance tribute, and in animal print for a Lion King montage. But it’s a different kind of ‘pride’ that gets us up and dancing, with the final section’s musical choices jumping from ‘It’s Raining Men’ to ‘You Make Me Feel (Mighty Real)’ and ‘I Am What I Am’, all accompanied by costume changes that redefine the word ‘flamboyant’. During heartfelt and often hilarious chats with the crowd, Radebe tells us he’ll be back in Scotland with Kinky Boots come February. From the holler of excitement, it’s clear that 2025 can’t arrive soon enough. (Kelly Apter)

 Reviewed at Edinburgh Playhouse.

OTHER THINGS WORTH GOING OUT FOR

If you fancy getting out and about this month, there’s plenty culture to sample such as a rising Parisian stand-up star, a storytelling show which ponders whether you should ever meet your heroes, and a theatrical look back at a tough 1980s childhood

ART CATHY WILKES

Before moving on to The Hunterian for Glasgow International, this new show will be presented first in the artist’s studio, as Wilkes explores her Northern Irish childhood.

n St Aloysius Hall, Glasgow, Saturday 11–Wednesday 22 May.

COMEDY

CELYA AB

One of the rising stars of stand-up gets into a work-in-progress vibe ahead of another comedic assault on Edinburgh’s Fringe. 2024 might be the year this Parisian truly breaks through.

n Monkey Barrel, Edinburgh, Saturday 11 May.

JACK DOCHERTY

When Docherty welcomed David Bowie onto his 90s chat show it was a lifelong dream come true. As he reflects back, the Scot Squad star tackles heroes, art and repression.

n Òran Mór, Glasgow, Sunday 12 & Monday 13 May; Traverse Theatre, Edinburgh, Thursday 16–Saturday 18 May.

FILM

THE FALL GUY

Ryan Gosling and Emily Blunt star in this flappingly loose reboot of the 1980s TV drama about stunt performers which starred Lee Majors (who rather delightfully gets a role in this movie). Also in there are Hannah Waddingham and Aaron-Taylor Johnson.

n In cinemas from Friday 2 May.

MESSAGE IN A BOTTLE

The sounds of Mr Sting (he of the tantric business) and The Police accompany this filmed dance piece choreographed by Kate Prince which tells the tale of a village that buzzes with life and vitality until it comes under siege.

n In cinemas from Friday 30 May.

MUSIC

QUEEN’S PARK WEEKENDER

A big-top tent houses a couple of days and nights with hot DJs and scorching live music including The Blessed Madonna, Optimo, Joy Orbison, Todd Terje and Rebecca Vasmant.

n Queen’s Park, Glasgow, Saturday 4 & Sunday 5 May.

ROSIE FRATER-TAYLOR

Touring with her Featherweight album, this guitar virtuoso grapples with a variety of genres from neo soul to alt pop, and rock to folk, receiving great acclaim so far from the likes of MOJO mag and Jimmy Page.

n Traverse Theatre, Edinburgh, Sunday 19 May.

THE LOVELY EGGS

They’re on Egg Records and have a new album called Eggsistentialism. This duo clearly have a thing about eggs while their live shows will take in everything from punk to psychedelia. Truly (you know it’s coming) eggscellent . . .

n Saint Luke’s, Glasgow, Thursday 23 May; La Belle Angele, Edinburgh, Friday 24 May.

THEATRE

MAGGIE & ME

Growing up gay in Margaret Thatcher’s Britain (80s Lanarkshire to be precise) was no picnic, as this stage version of Damian Barr’s memoir proves.

n Tron Theatre, Glasgow, Tuesday 7–Saturday 11 May.

Message In A Bottle (and bottom from left), Celya AB, The Fall Guy, Rosie Frater-Taylor

PICTURE: RACHEL SHERLOCK

staying in

KAMASI WASHINGTON

Having joined the parenting world a few years back, Kamasi Washington has, it could be argued, become more grounded in his musical outlook, shifting a focus away from the cosmology and existentialism which informed previous records. New album Fearless Movement aims to reflect his fresh everyday perspective as he considers not just his own viewpoints but how others (particularly his daughter) might experience the universe. Oh, and he’s got Thundercat, George Clinton and André 3000 contributing to some choice tracks. (Brian Donaldson) n Fearless Movement is released by Young on Friday 3 May.

LOVE THE SINNER

As Dinosaur continues to roam around our small screens, Claire Sawers talks to Scottish actor David Carlyle about activism, authenticity and Ashley Storrie’s crime-fighting capabilities

Who could forget the utterly crushing storyline of Gregory Finch from Channel 4’s It’s A Sin? The brief, brilliant role of a dancing bus conductor (better known to friends as Gloria) won David Carlyle a Best Supporting Actor BAFTA nomination. During covid, that character and entangled themes surrounding the 1980s AIDS crisis catapulted Carlyle into the limelight after years of working in theatre. It also led the Cumbernauld-born actor into LGBTQIA+ activism, something he has continued, as an ambassador for London’s LGBT retirement community Tonic Housing, and as a presenter on Virgin Radio’s pop-up Pride station, among other things. We caught up over Zoom one evening after Carlyle had finished rehearsals for Soho Theatre’s Boys On The Verge Of Tears, Sam Grabiner’s play set in a gents’ toilet.

‘There was something so empowering about my role as Gregory,’ Carlyle notes about a character who was originally written as Mancunian by Russell T Davies but adapted to Glaswegian immediately after his audition. ‘In that storyline, I remember feeling it was the first time I’d been allowed to be so authentically myself. I’d played predominantly heterosexual characters before, but as an openly queer man who is active about championing queer voices, this was a moment to indulge my campy, queeny side and have fun. It’s always been part of my personal life, but I hadn’t really used it in roles. That felt great to do.’

Carlyle is back on small screens with another straight role, this time in the Glasgow-set comedy series Dinosaur. He plays Bo, the nosy, cheeky, drunk brother to Ashley Storrie’s character of Nina, a palaeontologist with autism and a sworn aversion to romantic relationships. ‘Being with Ashley, who’s also one of the creators, meant our scenes were 80% scripted, 20% playing around. During a scene, she was able to adapt things there and then. Ashley is so alive to things; she just gets involved.’

Sometimes that involvement is taken to extremes, as Carlyle discovered while filming a scene with Storrie in Glasgow’s Queen’s Park. ‘We heard the crew shouting and starting to run. So Ashley just suddenly takes off, running. Two guys had nicked a car and crashed it. One guy was legging it and Ashley chased him! Then she remembered people were actually waiting to finish the scene and she stopped. She’s just brilliant.’

After living in London for years with his husband, Carlyle enjoyed returning to Scotland to film Dinosaur. He’s also writing for TV, a project focused on his Cumbernauld birthplace. ‘Who knows, maybe it’ll all end up on a cutting room floor somewhere,’ he laughs, ‘but it’s been great to branch out from acting into writing.’

 All episodes of Dinosaur are available now on BBC iPlayer.

GAMES SYSTEM SHOCK

Released in 2007, BioShock was a gaming phenomenon: a narrative-heavy FPS set in a stunning underwater art-deco world, featuring a twist for the ages. It won numerous ‘game of the year’ plaudits, sold in its millions and is now regarded as one of the greatest games of all time. But it didn’t come from nowhere; it was heavily (and openly) inspired by System Shock, a 1994 game that also paved the way for Portal, Prey, Dishonored, Half-Life and much of modern gaming in general.

Set on a futuristic space station overrun with mutants and robots, and governed by a malevolent AI (is there any other kind?), it suffers (as most games from the 90s do) from terrible controls and a horribly cumbersome user interface. Nightdive Studios, experts in remastering old games, released an enhanced edition in 2015, but the original game’s legacy is considered so vital that the studio began development of a ground-up remake straight after.

Finally released on PC last year, the new System Shock is by far the best way to enjoy this classic game on modern kit. And a new patch, just in time for its release on consoles, has made further tweaks, including optional waypoints and the choice of a female protagonist, to open it up further for modern audiences.

(Murray Robertson)

 Released by Prime Matter on PS4, PS5, Xbox One and Xbox Series X/S, Tuesday 21 May; the PC version is out now.

PICTURE: RICHARD LAKOS

PICTURE: BBC/TWO BROTHERS PICTURES

first writes

In this Q&A, we throw some questions about ‘firsts’ at debut authors. This month, we feature Alan Murrin, author of The Coast Road, a novel about the consequences for a woman who, having left her husband and sons for a married man, returns to her Irish community

What’s the first book you remember reading as a child? Goldilocks And The Three Bears. My sisters read it to me so many times that I knew it off by heart. When I picked up the book by myself, I was able to associate the sounds with the words on the page and I think that created the apocryphal story that I was able to read before I went to school. I think I’d just memorised the book.

What was the book you read that made you decide to be a writer? A teacher gave me a copy of The Catcher In The Rye and it was my initiation into the world of ‘adult books’. I’d never read anything like it. The books that stand out from my teenage years are The Bell Jar and The Sound And The Fury. Very different books but they made me consider how language could create the world.

What’s your favourite first line in a book? ‘It was a queer, sultry summer, the year they executed the Rosenbergs, and I didn’t know what I was doing in New York.’ The Bell Jar, Sylvia Plath.

Which debut publication had the most profound effect on you? Wendy Erskine’s short-story collection Sweet Home; the stories are visceral and sexy and always surprising.

What’s the first thing you do when you wake up on a writing day? On a good day, I make coffee and get to the computer as quickly as possible before anything else can get between me and the page. On a bad day, I do everything not to write.

What’s the first thing you do when you’ve stopped writing for the day? I try to exercise as often as I can; part of my programme to stay sane.

In a parallel universe where you’re the tyrant leader of a dystopian civilisation, what’s the rst book you’d burn? There’s no writer that I dislike enough to think their writing shouldn’t exist.

What’s the first piece of advice you’d offer to an aspiring novelist? Don’t focus too much on introspection in your writing. If you feel stuck, then make your characters interact and physically do something in the world.

The Coast Road is published by Bloomsbury on Thursday 9 May.

Our alphabetical column on viewing marathons reaches

X & Y

Gillian Anderson and David Duchovny have done lots of creative work since The X-Files (Channel 4) with the former being Margaret Thatcher, Emily Maitlis, Blanche DuBois and a therapist mum in Sex Education while the latter has written novels (one of which he recently turned into a movie) and starred in Californication. But to some, they will always be Mulder and Scully, FBI agents who explored the world of aliens, conspiracies and unexplained paranormal activity over 11 seasons and 218 episodes while just about keeping their hands off one another. Cerys Matthews’ Catatonia even wrote a song about them.

Bryan Cranston has also spent a lot of time escaping the shadow of a hugely successful role, that of Breaking Bad’s Walter White. But in Your Honor (NOW), he slipped into familiar territory of a decent man who ends up doing bad things for a seemingly greater good. A respected judge, it all goes to absolute poop when his son accidentally kills the offspring of a mob kingpin. Be thankful for your fingers because you’ll be watching this through them all as one plan after another to protect his child goes horribly awry. (Brian Donaldson)

 Other X & Y binges: Xena – Warrior Princess (Apple TV+/Prime Video), Young Sheldon (Channel 4/Netflix), Youngers (Channel 4).

GRAB FREE TICKETS TO THE IDEAL HOME SHOW SCOTLAND 2024

The List have partnered with the Ideal Home Show Scotland in the show’s 75th year and are offering readers 1000 FREE tickets to attend any day of the four-day show, which will be packed with inspirational ideas.

Returning to Glasgow’s SEC from Fri 24 to Mon 27 May, the Ideal Home Show Scotland, the UKs biggest and oldest home and garden exhibition is set to be the best yet. Unveiling new feature areas and packed with 400+ brands, it’s the perfect fun day out.

The new Dream Home is the most extravagant and innovative property to ever feature at the Show. For the first time in the show’s history, all displayed products in the life-sized Home will be available to buy at the Show. Banjo Beale winner of Interior Design Masters, Keith Brymer Jones of The Great Pottery Throw Down and celeb TV chef Phil Vickery of ITV’s This Morning, are just some of the household favourites confirmed to make sure the show is a hit!

Tickets also include free entry to the most delicious section of the show, the Eat & Drink Festival, where top chefs delight audiences with their live cooking skills and flair, and you can browse a diverse selection of street food vendors, be wowed by wine and cocktails masterclasses by pros, and indulge in amazing artisan food producers from across Scotland, also tasting global dishes to suit all taste buds.

And of course, the famous ideal Home Show Scotland cake competition is back with a brand-new theme celebrating the Olympics with ‘My favourite sport or favourite sports hero’.

There’s so much to see and do, so hurry to claim your free tickets, just enter the code THELIST at checkout. If you miss out, you can still get a great two for one deal by quoting LIST2FOR1

TERMS & CONDITIONS

Offer closes on Mon 27 May or when allocated tickets are claimed. Maximum of two free tickets per booking. Tickets subject to availability. Free ticket offer only available on Fri 24th, Sat 25th, Sun 26th and Mon 27th May. Full T&C details at list.co.uk/offers. Usual terms of entry apply, see the show website for detail. The List’s usual rules apply.

Scotland’s definitive guide to arts & culture, helping people get a life since 1985.

LISTING UP TO 30,000 UK WIDE EVENTS

REACHING 1 MILLION PEOPLE EVERY MONTH

As their second album sets its sights on the heavy weight of tech and AI in our lives, Man Of Moon frontman Chris Bainbridge chats to Kevin Fullerton about the ongoing search for authenticity

Whether you’re listening to Mogwai, Kathryn Joseph or Arab Strap, Scotland’s music scene has consistently excelled at vivid depictions of doom and gloom. Perhaps that’s why Man Of Moon’s second studio album, MACHINISM, feels so exhilarating despite evoking a near-apocalyptic vision of society’s relationship with technology. Comprised of singer/guitarist Chris Bainbridge and drummer Iain Stewart, the Glasgow band have found a way to encapsulate the dread of doomscrolling, the frustration of online misinformation campaigns, and the corporatisation of tech damaging every aspect of our lives. ‘Over the past few years, I’ve been so socially aware,’ Bainbridge says, ‘and the lyrics just naturally came out that way. It wasn’t like I sat down and thought “I’m going to write an album that’s anti-establishment”, but it happened organically because I’m involved in activism myself.’

Over hints of psychedelia, prog and Ghosts-era Nine Inch Nails, the songs offer a whistlestop tour of modern life’s anxieties, where mobile phones lie at the centre of our consciousness and artificial intelligence progresses with a rapidity that surpasses even Moore’s Law. ‘VIDEO’ is a highlight, marrying a sludgy guitar riff with the story of a man hooked on video streaming. ‘I was reading a book by Johann Hari last year [Stolen Focus: Why You Can’t Pay Attention] while we were recording the album and it helped me realise how addicted I was to my phone,’ Bainbridge recalls. ‘I’m very pessimistic about technology. I’m not going to be projecting that too much online to run alongside the album because there’s already enough darkness in the world, but it’s obviously a relevant topic on everyone’s mind.’

Bainbridge recognises that tension between a desire to escape social media’s grip and the necessity of promoting albums and tours. ‘I’d love to just get rid of social media because I’m quite old school and I want to promote my band in an old-school way. Some acts are so good at it but we just don’t have that kind of edge.’ It’s a squeeze that many bands are feeling, one propounded by the rise of AI. ‘I think I’m a realist about AI and it’s very possible that robots will reach a scarily advanced stage. One thing I’d like to get into in the future is scoring for short films, but if a filmmaker is working on a tight budget, they’re going to use free software online that lets them punch in whatever music they want, as opposed to getting real artists who’ll give them an authentic sound.’

Bainbridge began the songwriting process for MACHINISM during lockdown in 2020, and the scars from that time are etched indelibly across it. ‘There are quite a few tracks on the album which discuss escapism, and that stemmed from feeling very shut off from other people. I struggled with personal confidence going back into social situations after lockdown, wondering if my chat was relevant or interesting.’ Fast-paced psych-rock single ‘YOU AND I’ was directly inspired by Bainbridge cohabiting with his partner during that era, summing up the tension faced by people trapped indoors.

A knot in the stomach created by Bainbridge’s lyrics is held in sharp relief by the sound of a band mixing influences that span their Scottish peers along with the sprawling ambition of Can, ambient metal act Russian Circles, experimental rockers Swans, and downbeat trip hop à la Massive Attack. All of which combines to create a swirling exultation that feels more like a salve to society’s open wounds than an excuse to wallow in them. ‘That’s the Man Of Moon sound: dark euphoria,’ concludes Bainbridge. ‘There are sections that are really depressing, but then there are bits with real lift.’

MACHINISM is released by Cosmic Pool on Friday 24 May.

LUNAR TUNES

In this column, we ask a pod person about the ‘casts that mean a lot to them. This month, it’s Maisie Adam who co-hosts Big Kick Energy alongside fellow comedian Suzi Ruffell. Over 40 episodes deep, their award-winning podcast takes an incisive and, of course, witty look at the current issues revolving around women’s football

my perfect podcast

ALBUMS BETH GIBBONS

Beth Gibbons has always sung the blues. This remains evident on the Portishead vocalist’s tellingly titled new solo album, Lives Outgrown, recorded over the last decade with former Talk Talk drummer Lee Harris and Arctic Monkeys producer James Ford. Thirty years after Gibbons’ emotive voice was first laid bare on Portishead’s era-defining Dummy album, Lives Outgrown has her taking stock of motherhood, menopause and mortality.

‘People started dying,’ Gibbons is quoted as saying in the album’s press release. ‘When you’re young, you never know the endings, you don’t know how it’s going to pan out. You think: we’re going to get beyond this. It’s going to get better. Some endings are hard to digest.’ Since Gibbons and Portishead co-conspirator Geoff Barrow took the leap from dole-queue Enterprise Allowance scheme to winning the Mercury Music Prize, two other Portishead studio albums saw the light of day. The most recent, Third, appeared in 2008.

Gibbons collaborated with Rustin Man in 2002 on Out Of Season, while her 2014 performance with the Polish National Radio Symphony Orchestra on an interpretation of Henryk Górecki’s ‘Symphony Number 3’ became a best-seller. In 2021, Portishead’s mournful take on Abba’s ‘SOS’ for Ben Wheatley’s big-screen adaptation of JG Ballard’s novel High-Rise, was released online in support of mental-health charity MIND. Lives Outgrown is a deeply personal record that suggests it is a release in more ways than one. ‘Now I’ve come out of the end,’ Gibbons says, ‘I just think you’ve got to be brave.’ (Neil Cooper)

 Lives Outgrown is released by Domino on Friday 17 May; Beth Gibbons plays Usher Hall, Edinburgh on Tuesday 11 June.

Which podcast educates you? Real Dictators. It’s really informative and covers a whole host of historical figures. Bizarrely enough, Josh Widdicombe recommended it to me: I don’t know if he’s worried I’m heading that way!

Which podcast makes you laugh? My Mate’s A Footballer by Joe Wilkinson and current Leeds legend Patrick Bamford: so perfect for me! Joe is one of the funniest people I know, and it’s great to see the more human side to some of your footballing idols too.

Which podcast makes you sad or angry? Any podcast while I’m running. I’m training for the London Marathon at the moment and someone told me to listen to podcasts while I’m out running. Worst advice ever. I just got angry at whoever it was that was talking because I knew they were sat down and warm, and I was outside running in the cold. I was livid!

Which podcast is your guilty pleasure? The Rest Is Entertainment, Richard Osman’s podcast all about the entertainment industry. It’s a guilty pleasure because I feel guilty for listening to it when I’m not working; it’s sort of like talking shop, really, isn’t it? But I’m learning lots of insights from it so I can’t stop!

Tell us someone who currently doesn’t have a podcast but totally should. And why do you think their one would be amazing? Cher. Because it’s Cher.

Pitch us a new podcast idea in exactly 25 words A person’s old Facebook statuses are read out. The host must guess who they are from. Could be anyone: a celeb, a friend, your mum.

New episodes of Big Kick Energy are available every Tuesday; full info at instagram.com/bigkickenergypod

STARS

With his latest genre-defying release, Barry Adamson delivers a new collection of noirish pocket-sized confessionals that Neil Cooper hails as an instant classic

Like a pulp-fiction auteur, Barry Adamson has been laying bare his soundtrack-inspired brand of after-hours sleazy listening for more than three decades now. With a backstory that had him come crawling out of punky, funky Manchester as bassist with divine fabulists Magazine before taking things to extremes with Nick Cave And The Bad Seeds, Adamson has long left those old gangs behind. Stepping out of the shadows, he has become a maverick loner and one-man nouveau Rat Pack with ever-expanding widescreen ambitions, remaking and remodelling classic soul-funk, big-band bump and grind in his own retro-cool image.

So it goes with Cut To Black, Adamson’s tenth solo affair, and his first since the publication of Up Above The City, Down Beneath The Stars, the opening part of his memoirs. This is also a first outing since his soundtrack to the documentary, Scala, which tells the story of London’s ultimate outsider cinema. In a parallel universe, such a long-lost emporium of larger-than-life, after-hours dreams would be screening the big pictures dreamed up by Adamson for the ten short stories disguised as show tunes that make up his new record.

Things kick into life with the horn-laden bounce of first single and album trailer, ‘The Last Words Of Sam Cooke’, a first-person reimagining of the true story that led to that 1960s soul legend’s untimely demise. This sets the tone for a decade-hopping stew of noirish narratives, from the 1950s B-movie clip-joint thrust of ‘Demon Lover’ and the gospel chorales of ‘These Would Be Blues’ to Blonde On Blonde-era Dylan for ‘One Last Midnight’. There’s a Tom Waits-ish routine on ‘Amen White Jesus’ while the title track possesses the panoramic big-beat bravura of Serge Gainsbourg.

Despite its pick-and-mix reference points and stylistic trappings, Adamson makes all this his own on a giddily upbeat set awash with Runyonesque wordplay, illustrating a clutch of immaculately turnedout private investigations. Only when ‘Was It A Dream?’ ends with a jolt does reality bite beyond the pocket-sized confessionals.

For his final-reel epilogue, ‘Waiting For The End of Time’ opens with the sound of a wind so desolate you can all but imagine the breezeblock wasteland Adamson wanders through en route to enlightenment. As he comes in from the cold for some serious ruminations on life, death and the whole darn shooting match, and as piano flourishes cascade over the song’s funereal rhythms, pop philosophy has rarely sounded so hard-boiled. As our hero wanders off into the night, only the cliffhanger promise of a sequel awaits.

Cut To Black is released by Barry Adamson Incorporated on Friday 17 May; Barry Adamson plays King Tut’s, Glasgow, Friday 31 May.

ALBUM OF THE MONTH

Keeping Edinburgh is Edinburgh’s new ‘what

’ s

Keeping Edinburgh is Edinburgh’s new ‘what ’ s on ’ guide with a dif ference

on

’

guide with a dif ference

Discover a new podcast with care and wellbeing at its hear t

Discover a new podcast with care and wellbeing at its hear t

As Scotland’s capital, and home to the biggest arts festival in the world, Edinburgh is well established as a thriving cit y with hundreds of arts, culture, and special interest activities and events happening all year round

As Scotland’s capital, and home to the biggest arts festival in the world, Edinburgh is well established as a thriving cit y with hundreds of arts, culture, and special interest activities and events happening all year round

Yet Edinburgh, like many other areas across Scotland, the UK and wider world, is working to tackle social isolation and loneliness

Yet Edinburgh, like many other areas across Scotland, the UK and wider world, is working to tackle social isolation and loneliness

In 2022, research by the UK’s campaign to end loneliness, found that nearly 50% of adults (around 26 million people) in the UK, reported feeling some degree of loneliness. In fact, loneliness and social isolation are now recognised as one of the biggest Public Health issues in the world, and long-term, can lead to poor physical and mental health outcomes

In 2022, research by the UK’s campaign to end loneliness, found that nearly 50% of adults (around 26 million people) in the UK, reported feeling some degree of loneliness. In fact, loneliness and social isolation are now recognised as one of the biggest Public Health issues in the world, and long-term, can lead to poor physical and mental health outcomes

It’s this context that has led to the birth of brand-new podcast Keeping Edinburgh, a ‘what’s on guide with a dif ference’, now launched exclusively for citizens across the capital. The podcast aims to turn the spotlight on just some of the hundreds of communit y activities and organisations across the cit y that are helping people have more good days

It’s this context that has led to the birth of brand-new podcast Keeping Edinburgh, a ‘what’s on guide with a dif ference’, now launched exclusively for citizens across the capital. The podcast aims to turn the spotlight on just some of the hundreds of communit y activities and organisations across the cit y that are helping people have more good days

Each 30 minute explorator y audio journey goes behind the scenes of some of the wellbeing boosting initiatives on the doorsteps of Edinburgh’s communities and hears from the people benefitting

Each 30 minute explorator y audio journey goes behind the scenes of some of the wellbeing boosting initiatives on the doorsteps of Edinburgh’s communities and hears from the people benefitting

The first three episodes of Keeping Edinburgh Podcast are available to download now at podfollow.com/ keepingedinburgh. Listen up for more to follow soon!

The first three episodes of Keeping Edinburgh Podcast are available to download now at podfollow.com/ keepingedinburgh. Listen up for more to follow soon!

ALBUMS BRAD MEHLDAU

After Bach II (Nonesuch) 

Taking the genius of Johann Sebastian Bach and doing something else with it is not a new idea. From Mendelssohn’s 19th-century adaptations to The Swingle Singers’ a capella musings and Wendy Carlos’ Moog synthesiser take in the 1960s, the great composer’s music is nothing if not resilient. With this upcoming version of the German’s keyboard music, there are, naturally, clear hints at Brad Mehldau’s background in jazz. However, it’s the essence of Bach himself that absolutely comes through in this new album. Improvisation is key to both Johann Sebastian (one of the world’s best-ever improvisers) and Mehldau, who is an exceptionally gifted jazz artist.

In a combination of Bach originals and Mehldau’s new compositions, After Bach II is a holistic progression of, for the most part, short, miniaturist pieces. There are four preludes and one fugue from the Well-Tempered Clavier, as well as ‘Allemande’ from the fourth Partita, interspersed with seven compositions or improvisations by Mehldau inspired by the complementary works of Bach. Whether playing the composer’s output or his own work, Mehldau brings a consistent clarity of translucent light to his performance on this recording.

As if meandering its way through an unfolding story, this mix is especially rewarding in ‘Variations On Bach’s Goldberg Theme’ with Mehldau achieving a balance of combined creative sparks. It’s definitely worth listening to the longest track, ‘After Bach: Toccata’, where dissonance rails against Johann Sebastian rather than going with the overall, mainly agreeable flow. (Carol Main)

 Released on Friday 10 May.

TV SHARDLAKE (Disney+)

What does history have to hide? Secret relatives? Dark political plots? Or perhaps a dead body or two? That’s what CJ Sansom asks in his acclaimed book series which follows Tudor barrister Matthew Shardlake as he solves mysteries during the reign of Henry VIII. Now Shardlake comes to Disney+ in a four-part drama series which blends Agatha Christie’s Poirot with Hilary Mantel’s Wolf Hall

Shardlake’s quiet life is disrupted when Thomas Cromwell, Henry VIII’s closest advisor, sends him to a remote monastery in the town of Scarnsea to investigate a murder. Set against the backdrop of reformation, Shardlake must close the monastery for good and crack the case to secure Cromwell’s political power. Although unique in its setting, Shardlake hits on the crime genre’s familiar tropes: grisly murders, suspects quarantined together, and a trail of evidence leading in multiple directions. Here though, our detective wears a codpiece and shows an (almost) unwavering loyalty to the crown.

Arthur Hughes plays the titular crime-solver, a man imbued with a rare sense of justice yet tasked by Cromwell to achieve success above truth. Hughes brings warmth at the right moments to thaw an otherwise cold demeanour and is ably supported by Anthony Boyle as Jack Barak, the cocky assistant whose secret fear of returning to poverty is his key motivation. Acting as each other’s narrative foil, their dynamic keeps you captivated.

Let’s not forget the brilliant ensemble cast either; while Sean Bean’s scenes as Cromwell may be brief, his presence is felt in every moment of tension. Scenes of torture and execution are made even more horrifying by his sly calculations influencing every move. Shardlake might not break many moulds, but it still makes an impact. A perfect watch for fans of historical fiction who want (even) more murder in their history lessons.

(Rebecca Crockett)

 All episodes available on Wednesday 1 May.

BOOKS

KAROLINA WATROBA

Metamorphoses: In Search Of Franz Kafka (Profile) 

Karolina Watroba says she finds the best way to understand a writer is to understand their readers. This explains the thinking behind her open-ended exploration of Franz Kafka. Sometimes in her brisk and lively study, she alights on the author himself: his letters to lovers, his travels beyond Prague and his novels such as The Trial, The Castle and The Metamorphosis. But she is just as likely to free-associate her way from Brexit to Ian McEwan, Richard Dawkins, the Prague Spring, tourist souvenirs, Haruki Murakami and AI. Rarely does she dwell on any topic for long before some other Kafka connection catches her attention, his continuing resonance with everything and everyone from software companies to South Korean novelists seeming to prove his artistic worth.

As the centenary of Kafka’s death approaches, she focuses on those times and places where the writer has spoken most loudly to us. ‘As the coronavirus pandemic rages around the world, one text in particular seems to come into its own,’ Watroba writes, thinking about The Metamorphosis Indeed, readers in Glasgow will recall that the last Scottish theatre production to open before lockdown was an adaptation of The Metamorphosis by Vanishing Point, with a cast including actors from Italy where the pandemic was in full swing. The show was prophetic in its vision of characters which, she writes, were ‘held captive by the fragility of their own bodies’.

That Watroba quotes my own review of the show only adds to the Kafkaesque circularity as I now write about her book in turn. Kafka’s writing, she argues, is unusually open to interpretation, the disorientation flummoxing some readers and enchanting others. He is not an easy read, but in difficult times he reflects our sense of alienation. Bright, accessible and chatty, Watroba’s book holds Kafka up to the light to reveal fragments of his elliptical appeal. (Mark Fisher)

PODCASTS KICKING BACK WITH THE CARDIFFIANS (BBC Sounds) 

Erstwhile teenage voice of an angel, now occasional television presenter, Charlotte Church is back behind a microphone for the snappily titled Kicking Back With The Cardiffians. Eschewing the usual celebrity-oncelebrity format, this weekly podcast promises a laid-back and authentic series of conversations between Church and her friends and family, exploring working-class life in the Welsh capital.

She begins by interviewing her father, James, whose humour and warmth is immediately endearing. Discussions range from his upbringing in the Canton area of Cardiff in the 1970s to his diagnosis with AL amyloidosis seven years ago. The following episodes turn to Church’s lifelong friend, Kyla Scott, and then her mother, Maria. Both prove engaging, though the second episode starts shakily with Church and Scott swept up in giddy nostalgic reveries, temporarily relegating us to the periphery of their tightknit bond.

There is always the risk, in such intimate family stories, of completely alienating the listener. Yet when James speaks of his life philosophy in the face of a terminal illness, or Maria talks about her struggles as a young single mother, there is little evidence of self-indulgent sentimentality, only heartfelt and universal wisdom. It may be tempting to see Kicking Back With The Cardiffians as a vanity project on Church’s part, but doing so ignores the podcast’s greatest strength. As a document of familial love and a paean to Cardiff, it reminds each listener to savour the stories of their own loved ones and the places that have shaped them. (Eve Connor)  New episodes available every Thursday.

 Published on Thursday 2 May.

An all-star cast has gathered for an immersive new audio take on George Orwell’s 1984. Kelly Apter insists that relying on such major players hasn’t diluted the disturbing power of Big Brother and Room 101

When George Orwell’s dystopian novel 1984 was first published in 1949, no doubt readers of the time thought it distinctly possible that everyone’s lives would indeed head in that direction by then.

Our free will would be compromised, liberty curtailed, and leaders simply lied to favour their own ends. While some of that is true to a greater or lesser degree, at least the only ‘Big Brother’ we’ve had to endure is a reality TV show.

Reading or listening to 1984 in the year 2024 is a very different proposition to those who first grasped Orwell’s novel in their hands. The eponymous year has come and gone and although surveillance cameras have indeed been installed, the ‘Thought Police’ are nowhere to be seen. Orwell’s vision of the future, although magnified for narrative effect, was dark and troubling. And despite losing some of the descriptive nuance and political edge, this new ‘immersive listening experience’ most certainly captures that.

There are fewer words (this version comes in at three hours 27 minutes, whereas a straightforward reading takes just over 12 hours) but a good deal more drama, thanks to an epic, sweeping score, lavish sound effects and a stellar cast. Andrew Garfield takes on the central role of Winston Smith, a civil service-type employee at the ‘Ministry Of Truth’, who sees Big Brother’s lies for all they are. Andrew Scott (legally obliged to appear in everything at the moment) is the mysterious high-up Party member O’Brien, Tom Hardy plays a booming Big Brother, and Cynthia Erivo is a suitably strong Julia. With the likes of Romesh Ranganathan popping up in supporting roles, it’s a dream team of strong performers.

Joe White’s script may have carved away huge swathes of Orwell’s original, but he’s focused on the parts that really lend themselves to audio. The confessional nature of Winston’s diary entries feel whispered, hurried and dangerous. So too his rebellious thoughts about the manipulative diktats of The Party. Garfield executes these perfectly, leaning into the microphone for breathy moments of personal disclosure, then moving away with a cheery disposition for fake interactions with colleagues. Incarceration and death stalk Winston, and Garfield embodies his fear of being ‘deleted’ as acutely as he expresses his passionate love for Julia.

The dramatisation comes with a ‘listener discretion advised’ warning, and it’s true that this isn’t for the fainthearted. It’s chilling to hear parents call their children away from a playpark to watch a public hanging (and even more disturbing to hear glee in the children’s voices). Torture scenes in the infamous Room 101 are replete with screams of agony and fear, and listening to somebody’s will being slowly dismantled isn’t easy to hear. That said, stick your headphones on for maximum dread.

podcast of the month

ALBUMS LA LUZ News Of The Universe (Sub Pop) 

Somewhere on the outskirts of California there’s a version of psychedelic rock that’s unsullied by The Doors’ druggy excess or the nightmare cult of Charles Manson. In those sun-drenched hinterlands, the genre’s original kaleidoscopic colours and flower-power communes remain gleaming and idealistic, a paean to love and ever-expanding consciousness. News Of The Universe, the third album from Shana Cleveland’s band La Luz, has unearthed these beginnings to craft a sound of curious optimism and exploration, with lyrics that evoke the aura of someone who’s grown a third eye in the centre of their forehead and loves what it’s showing them.

Its tone is summed up by lead single ‘Strange World’, an insistent guitar cruncher in which Cleveland robotically croons ‘look alive in the strange world/infinite in the strange world’. Here, the mystery of nature is a scifi landscape filled with wonder and surrealism. Combining Sgt Pepper’s Lonely Hearts Club Band and Strange Days without sounding kitschy is a tricky balancing act, yet News Of The Universe manages it deftly, avoiding quirky anachronism by creating a knotted world all of its own.

Beneath its bright-eyed sonics are complicating signs of murk such as the sudden breakdown into fuzz pop of ‘Always In Love’ or a fastpaced freakout for the album’s title track. Then there’s ‘Blue Moth Cloud Shadow’, which sounds like the lovechild of Jefferson Airplane and Phil Spector, or ‘Moon In Reverse’, a droning guitar jam that could have been cribbed from Captain Beefheart’s personal archives; you can almost hear someone blowing the dust off the magnetic tape before they put it on.

BOOKS OISÍN MCKENNA

Evenings And Weekends (4th Estate) 

In Oisín McKenna’s firecracker of a debut, past lives and present realities collide over two sweltering days in London. As the oppressive June heat bears down, relationships are tested to their limits and his protagonists come to life-altering conclusions.

Maggie, pregnant and being priced out of the city she loves, faces the prospect of returning to her Essex hometown with partner Ed. He loves Maggie but struggles to make a living in London. Ed also has a hidden history with Maggie’s best mate Phil, who is about to be evicted from his commune home. Phil, meanwhile, has fallen for his enigmatic housemate Keith who inconveniently already has a boyfriend. Finally, Phil’s mum Rosaleen has been diagnosed with cancer and needs to break the news to her son while simultaneously trying to reconcile with ghosts from her own past.

McKenna mixes up an addictive brew of social history, politics and family drama, fizzing with sex and sexuality, all fused together by seamless storytelling. His characters are fully formed, none of them short-changed, and he captures heartbreak and regret so beautifully, as well as the ache of eras coming to a close.

Evenings And Weekends distils the essence of life in the capital at a particular moment in all its gritty, sweaty glory, from party-loving highs to soul-shattering lows. As secrets and lies gradually reveal themselves to us, McKenna’s captivating tale makes you hunger to know what life holds next for Maggie, Ed, Phil and co. (Paul McLean)

 Published on Thursday 9 May.

Cleveland has called these songs ‘haunted psychedelia’ and you can see what she means; these aren’t pastiches, but the ghosts of an American past inhabiting the present. Each is an echo through time, rebounding into 2024 with the clatter of a band reconfiguring music history for their own ecstatic vision.

(Kevin Fullerton)

 Released on Friday 24 May.

ALBUMS THE LEMON TWIGS

A Dream Is All We Know (Captured Tracks) 

The precocious and prolific D’Addario brothers, Brian and Michael, literally hail from Hicksville, USA. Though now based in cosmopolitan Brooklyn, they continue to practice a hermetic, self-sufficient creativity. If there is an instrument Brian can’t play, he has yet to meet it. If there is a musical reference post-1974 in their armoury, it has still to surface in their effusive strictly analogue MOR pop stylings.

No sooner had fourth album Everything Harmony been dispatched in 2023 than work began on its follow-up. A Dream Is All We Know, released exactly a year later, refines the retro aesthetic familiar to their cult army of fans: creamy, carefree vocals, breezy harmonies, blithe rhythms and effortlessly catchy melodies barrel forth with barely a breath drawn between songs.

‘My Golden Years’, a joyous canter made for summer, is a veritable period piece, equal parts early Elton John and Beach Boys, with even a dash of Neil Sedaka in its classic easy-listening pop construction. Those intertwining Beach Boys falsetto harmonics are back in full effect on ‘They Don’t Know How To Fall In Place’, embellished with a characterful vaudeville organ break. The brazenly Beatley whimsy of ‘Church Bells’ is acknowledged in the couplet ‘my love waits for me on the Jersey side, her love waits for her on the Merseyside’, and the brothers are audacious enough to go for a ‘moon’/‘June’ rhyme on the pastoral pop of ‘Ember Days’.

‘Peppermint Roses’ references early and late Beatles sounds, blending the beat drive of early Fabs with the instrumental inventiveness of later work. Other influences are available, with ‘Sweet Vibration’ recalling the baroque pop prettiness of The Left Banke, the Sean Lennon-produced ‘In The Eyes Of The Girl’ gushing doe-eyed doo-wop style, and ‘Rock On (Over and Over)’ chugging along merrily in 70s pub-rock fashion. (Fiona Shepherd)

 Released on Friday 3 May.

TV THE JINX (Sky Documentaries) 

Documentarian Andrew Jarecki (Capturing The Friedmans) returns to an active crime scene with this second season of The Jinx. The original series made worldwide news when subject Robert Durst (believing no one could hear him) confessed to several murders during its final episode. This continuation examines the aftermath of that 2015 broadcast, covering Durst’s arrest, murder charge and eventual death in custody aged 78, while interviewing prosecutors about tracking down various ‘burlesque’ figures who associated with him.

‘He would be free today if he had just kept his trap shut’ is a quote that sums up the story so far, but how was he caught and why did he confess? Jarecki details the manhunt leading to Durst being finally nabbed in possession of a latex mask, a map of Cuba and a lame excuse: ‘I was on meth’. Aiding and abetting him were old friends including a juror from his previous murder-trial acquittal, wowed by Durst’s ‘money power’ and ‘celebrity status’. Even in custody, Durst was keen to cut a sweetheart deal, asking detectives ‘what can you do for me?’

If season two doesn’t have the electrifying charge of Durst’s hot-mic confession, the sober reconstructions and primary-source footage adds valuable detail to a disturbing picture of a man able to cut up his victims’ bodies effectively yet unable to operate his own voicemail. If season one inevitably left some questions unanswered, this next set shows how consequence eventually caught up with an unrepentant killer.

(Eddie Harrison)

 New episodes available every Monday.

OTHER THINGS WORTH STAYING IN FOR

A packed month of things to do indoors or consume on your travels including a biographical drama about a highly convoluted escape plan, an unlikely symphonic celebration, and the sequel to a beloved literary hit

ALBUMS

IGLOOGHOST

Tidal Memory Exo was created while Iglooghost (aka Bristol-based Irish producer Seamus Malliagh) was squatting in an old MOT garage on the Kent coast and features this DIY polymath experimenting with his own vocals.

n LUCKYME, Friday 10 May.

CAPERCAILLIE

Celebrating 40 years in the business, Karen Matheson and co have collaborated with the BBC Scottish Symphony Orchestra for Re-Loved, the first time they have dabbled in symphonic arrangements.

n Vertical Records, Friday 10 May.

BLANCMANGE

Spanning the years 1979–2024, Everything Is Connected tracks Neil Arthur’s band all the way back to the beginning and those heady synth-pop days of yore (direct your ears towards ‘Living On The Ceiling’ for evidence of their glory). A whopping 38 tunes make up this vibrant collection.

n London Records, Saturday 11 May.

BOOKS COLM

TÓIBÍN

In Long Island, a sequel to the author’s monster hit Brooklyn, Ellis Lacey receives a shocking piece of news that takes her back to Ireland and a world she thought was long behind her.

n Picador, Thursday 23 May.

PODCASTS

POP CULTURE MOMS

Pals, pop-culture aficionados and mothers to toddlers, Andie Mitchell and Sabrina Kohlberg talk to writers and celebs of various types for a weekly natter about fictional mums. Celeste Ng and Melissa Rivers have been on so far.

n ABC Podcasts, new episodes available on Tuesdays.

HALFWAY

Patricia Allison, George MacKay and Lenny Henry star in this sci-fi mystery thriller in which a tech company can help people communicate with their dearly departed thanks to a radical piece of AI simulation.

n Audible, all episodes available now.

TV BODKIN

With a vague whiff of Only Murders In The Building, a trio of podcasters throw themselves into investigating the mysterious disappearance of people in an Irish town many years prior.

n Netflix, Thursday 9 May.

THE BIG CIGAR

André Holland, Tiffany Boone and Alessandro Nivola star in a biographical drama about the Black Panther Party leader Huey P Newton’s highly elaborate plan to flee America and head to Cuba. Don Cheadle directs the opening two episodes.

n Apple TV+, Friday 17 May.

INSOMNIA

Adapted from Sarah Pinborough’s novel, Vicky McClure stars as a successful careerist who is suddenly incapable of falling asleep and fears she might experience the same fate as her mother who suffered a psychotic breakdown at the same age and with the same condition.

n Paramount+, Thursday 23 May.

The Big Cigar (and bottom from left), Iglooghost, Insomnia, Halfway

31 MAY

– 9 JUNE

Incredible fresh floral masterpieces by Scotland’s talented florists

THE Q& A WITH TIM KEY

Whether he’s on a radio or in book form, the award-winning Tim Key dazzles and delights listeners/readers with his verse work. This poet, comedian, actor and magazine-show host’s sidekick (fictional) grapples with our Q&A, taking in Tokyo, Delhi and a local sofa along the way

Who would you like to see playing you in the movie about your life? Who do you think the casting people would choose? For me it’s Macfadyen. God knows who they’d choose. I’d obviously throw my hat in the ring but they’d want someone more of a name.

What’s the punchline to your favourite joke? Something about a pig. Not good on the details. But the point was that it was expected to be a duck.

If you were to return in a future life as an animal, what would it be? Big if: I’d take ostrich at this stage.

If you were playing in an escape room name two other people (well-known or otherwise) you’d recruit to help you get out? My friend Lord. He’d be gutted if he didn’t get the gig. And then maybe Jelson. Obviously we’re not getting out.

When was the last time you were mistaken for someone else and what were the circumstances? Lembit Öpik thought I was the organiser of the comedy night he was booked to perform at.

What’s the best cover version ever? ‘Mamma Mia’ by Tom Basden.

If you could relive any day of your life, which one would it be? Camping in a bivouac in a forest 40 years ago. We saw a deer.

Whose speaking voice soothes your ears? Cribbins.

Tell us something you wish you had discovered sooner in life? That if you’re brave at football you don’t get hurt.

Describe your perfect Saturday evening? Pub.

If you were a ghost, who would you haunt? Not haunt, but I’d take an interest in Harry Kane, I suppose.

What’s your earliest recollection of winning something? Fancy dress, second place, only gave it to me because I was crying. Dressed as a potato tbf.

Did you have a nickname at school that you were ok with? And can you tell us a nickname you hated? Keyzee’s OK. None that I hated. You can usually work with it.

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? Big if: but probably Banananaramama.

When were you most recently astonished by something? Delhi.

What tune do you find it impossible not to get up and dance to, whether in public or private? I can usually resist that stuff.

Which famous person would be your ideal holiday companion? Klopp.

As an adult, what has a child said to you that made a powerful impact? My friend’s daughter put me onto Squid Game

Tell us one thing about yourself that would surprise people? Half-Welsh.

When did you last cry? Watching the sitcom Here We Go

What’s the most hi-tech item in your home? I have a printer which connects to my phone through Wi-Fi.

What’s a skill you’d love to learn but never got round to? I’d bite your hand off for piano and Japanese.

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? Lose the bedroom I guess. Sleep on the sofa. Don’t love losing my clothes but we are where we are.

If you were selected as the next 007, where would you pick as your first luxury destination for espionage? Big if: happily go to Tokyo if it came about.

Tim Key’s Poetry Programme (30 episodes of it) can be heard on BBC Sounds; Tim Key: Chapters is out now published by Utter And Press.

hot

shots

Edward Scissorhands is obviously a story ripe for punning, but we’ll just go for one, with it having carved a place in the public’s heart since its movie debut in 1990 and now as a Matthew Bourne dance extravaganza, playing at Festival Theatre, Edinburgh (14–18 May) and Theatre Royal, Glasgow (21–25 May).

For the less cynical out there, the fact that Sweden is hosting Eurovision this year (11 May) is a wonderful coincidence given that it’s 50 years since ABBA won with ‘Waterloo’. This year’s extravaganza will be on BBC screens and you can enjoy the foursome via iPlayer action such as ABBA At The BBC and ABBA: Against The Odds.

To help mark the bicentenary of London’s National Gallery, 12 classic artworks are going out on tour across the UK, with Edinburgh’s National Galleries Of Scotland: National (10 May–8 September) receiving Vermeer’s ‘A Young Woman Standing At A Virginal’ (also known as ‘Lady Standing At A Virginal’) which dates from around 1670.

PICTURE: THE NATIONAL GALLERY

PICTURE: BBC

Children Are Stinky

Recirquel: Paradisum

Bronwyn Kuss: Sounds Good YUCK Circus

Camille O’Sullivan: Loveletter Afrique en Cirque

Gracie