The Skinny July 2022

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July 2022 Issue 198

Creative tranformations with Michael Pedersen, Indepen-dance and Wim Wenders

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June 2022 - Chat

THE SKINNY

The Skinny's sound of the summer 2022 Daft Punk — Get Lucky CMAT – No More Virgos Rina Sawayama — This Hell Christine and the Queens — Je te vois enfin Daft Punk — Get Lucky Swiss Portrait — Freak Daft Punk — Get Lucky Jill Scott — Golden Daft Punk — Get Lucky Bo Burnham — 1985 Bo Burnham — Microwave Popcorn Yard Act — The Overload, or possibly The Minions MUNA — What I Want My Chemical Romance — The Foundations of Decay Sky Ferreira — Everything is Embarrassing Loods — Cold Hands, Warm Heart Daft Punk — Get Lucky Koffee — Shine Listen to this playlist on Spotify — search for 'The Skinny Office Playlist' or scan the below code

Issue 198, July 2022 © Radge Media Ltd.

July 2022 - Chat

Get in touch: E: hello@theskinny.co.uk The Skinny is Scotland's largest independent entertainment & listings magazine, and offers a wide range of advertising packages and affordable ways to promote your business.

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Championing creativity in Scotland Meet the team We asked – What are you reading just now?

Editorial

Rosamund West Editor-in-Chief "Boy Friends by Michael Pedersen because I am extremely on brand."

Peter Simpson Digital Editor, Food & Drink Editor "There are copies of The New Yorker all over the house. My advice: don't subscribe to something then *immediately* go on holiday."

Anahit Behrooz Events Editor "The Neopolitan Quartet, Elena Ferrante what are you going to say at my funeral now that you've killed me etc."

Jamie Dunn Film Editor, Online Journalist "I’m currently reading Andrew O'Hagan’s Mayflies and listening to Hanya Yanagihara’s A Little Life – coincidentally both are profound meditations on life, death and male friendship. I've been crying a lot."

Tallah Brash Music Editor "The last book I read was Arusa Qureshi's excellent Flip the Script, a deep-dive on women in UK hip-hop, part of 404 Ink's 2021 Inklings series."

Nadia Younes Clubs Editor "Tenement Kid by Bobby Gillespie to get hyped for the Screamadelica tour!!"

Polly Glynn Comedy Editor "I've just finished reading My Mess is a Bit of a Life by Georgia Pritchett AND Silence of the Girls

by Pat Barker. Wildly different books both read across four days (thanks COVID)."

Eilidh Akilade Intersections Editor "People Person by Candice Carty-Williams – big fan so far."

Eliza Gearty Theatre Editor "The Skinny."

Heather McDaid Books Editor "Nudes by Elle Nash."

Business

Production

Laurie Presswood General Manager "The Skinny."

Dalila D'Amico Art Director, Production Manager "Klara in the Sun by Kazuo Ishiguro."

Christian Gow Marketing & Commercial Assistant "How Not to be a Boy by Robert Webb."

George Sully Sales and Brand Strategist "Hyperion by Dan Simmons, but full disclosure I've been on the last chapter for about six months because I keep forgetting that books

Harvey Dimond Art Editor "Transcendent Kingdom by Yaa Gyasi."

Lewis Robertson Digital Editorial Assistant "The Madman's Library by Edward Brooke-Hitching."

Sales

Sandy Park Commercial Director "Anything but The News."

Tom McCarthy Creative Projects Manager "I've been revisiting one of the Scottish Classics: Irvine Welsh's Ecstasy."

Phoebe Willison Designer "Orwell's Roses by Rebecca Solnit."

THE SKINNY

Editorial Words: Rosamund West

W

elcome to our most abstractly-themed issue of the year (so far). Ahead of next month’s extremely concretely-themed all of the arts festivals return, we’ve taken a moment to pause and reflect on art’s transformative, therapeutic power – hence the REFLECTIONS issue.

Our lead feature is an interview with Michael Pedersen, the poet-now-author and Mr Neu! Reekie!, whose prose debut is released this month. Entitled Boy Friends, it explores friendship and loss, meditating on male grief in the wake of his best friend’s death. The cover art for the book is also particularly beautiful, and the illustrator has kindly shared another of his works as this month’s poster. Turn to the centre spread for your pull-out poster by Nathaniel Russell.

As German auteur Wim Wenders’ masterpiece Paris, Texas returns to cinema screens, one writer reflects on the its central character’s physical and psychological journey and the masculine urge to walk into the desert. Indepen-dance, the award-winning inclusive dance company for disabled and non-disabled people, present their biennial international festival in Tramway this month. We talk to them about what to expect from the Gathered Together programme, and their aims in transforming perceptions about inclusion around the world.

Finally, taking the ‘art’s transformative power’ idea extremely literally, we have our Scottish degree show round-up for the year. Read our reports on these exhibitions which have

literally transformed the lives of graduates in Edinburgh, Glasgow and Dundee.

Film also meets Iranian filmmaker Panah Panahi to discuss his bittersweet family road movie, Hit the Road, and we talk to the new head of Edinburgh International Film Festival to find out what’s in store. In a TV opinion double pager, we consider the problems of the Star Wars franchise, as Obi-Wan Kenobi arrives on screens. And, as cultural gatekeepers express outrage at Gen Z’s discovery of Kate Bush through Stranger Things, we share an argument for contemporary pop cultural education.

Music talks to Yorkshire band Working Men’s Club to learn about their forthcoming second album, Fear Fear. We meet Belfast’s most under-appreciated band, Robocobra Quartet, and discuss their ‘no guitar’ policy. POWA, Fanny Riot and Popgirlz tell us more about the launch of Friendly Festivals in Scotland, working to make music festivals safer for all.

As Scottish label and design studio LuckyMe turns 15, we have a look back through their evolution alongside a frankly mind-bending composite image they have kindly created for the occasion. Comedy talks to Alison Spittle about her impending Fringe show, Wet. In design, we look at Local Heroes’ new V&A Dundee range of specially-commisioned furoshiki, Daytippers!

And in Intersections, we speak to women about their experiences with ADHD diagnosis, while one writer ponders the nature of home, identity and belonging.

July 2022 — Chat

On the cover The Kirkwood Brothers, Jonny and Jordon, are Glasgow-based artists whose work often revolves around neurodiversity and mental health in an effort to dispel related stereotypes.

Working collaboratively as brothers, Jonny and Jordon create art through conversation, recapturing the popular culture from their childhood. Humour is a central vehicle to their practice, affording both brothers agency over their own experiences.

I: @kirkwoodbrothers kirkwoodbrothers.bigcartel.com

Poster artist This month's poster is by Nathaniel Russell, whose illustration is featured on the cover of Michael Pedersen's Boy Friends.

Russell was born and raised in Indiana. After college, Russell spent several years in the San Francisco Bay Area making posters, record covers, and woodcuts. He returned to his home city of Indianapolis and now spends his time creating drawings, paintings, fake fliers, sculptures, cut-outs, and music. Russell’s work is regularly shown all over the world in both traditional galleries and informal spaces, usually surrounded by an expanding list of friends, collaborators, and like-minded artists. nathanielrussell.com

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Love Bites

Love Bites: Marriage On Screen This month’s columnist reflects on dating shows, marriage, and trusting in love Words: Lara Delmage

M

July 2022 — Chat

arriage is an archaic institution, an event that epitomises the Madonna-Whore complex. The bride floats down the aisle, like a virgin, but is still dtf (down to fuck). Even now, when most ‘try before they buy’, the ceremony remains unchanged, the woman in white still upholding the virginal ideal. It is a not-soveiled transaction used to fool little girls into longing to be traded from one man to another in return for that elusive thing: love.

Yet despite these sentiments I simply can’t shake my obsession for dating shows where the prize is unconditional love. In Married at First Sight, Love is Blind, and The Bachelor, the currency is long-term partnership. Frivolous flings are frowned upon as a symbol of emotional immaturity, and monogamy reigns supreme. Those who are unable to commit to the small pool of participants in these love ‘experiments’ are failures. Peeking through my fingers, I can’t get enough of the drama.

By episode 22 of Married at First Sight Australia I wondered if I too, as a die-hard monogamist (failed polyamorist), secretly coveted the gamble of laying everything I have on the line and giving it to someone else. I realised that I wasn’t just in it for the entertainment, but that I actively admired the courage of those trusting in the ‘experts’, even when the odds are against them.

Perhaps marriage is becoming just that, a highstakes game show that tantalises us with the thrill of living as one half of a whole. And don’t get me wrong, I’m still not sold on the whole marriage thing, but I’m surprised that watching a bunch of Aussies marry some random stranger made me warm to the idea. It made me feel that asking someone to love you forever isn’t such an outlandish thing – if you remove all the ceremonious misogyny bullshit, that is.

Crossword Solutions Across Across 9. ALL EARS 10. TRIBUTE 11. LISZT 12. STILLNESS 13. DAYDREAMER 15. YAWN 17. HUDSON MOHAWKE 21. MICE 23. SYNDICATED 25. AT A GLANCE 27. SAMOA 28. HIT HOME 29. DIURNAL Down 1. BALLADS 2. BLESS YOU 3. LAY TO REST 4. AS IS 5. STRIKE GOLD 6. BILLY 7. EUREKA 8. LESSENS 14. ANNOYANCES 16. NARCISSUS 18. KETAMINE 19. EMPATHY 20. IDEALLY 22. CHATTY 24. ALOOF 26. ENDS

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Heads Up

It’s the month that Scotland’s festival season fully kicks off and things are ramping up, with big music showcases, film festivals and citywide art exhibitions everywhere you turn.

Compiled by Anahit Behrooz Image: courtesy of Gathered Together and Tramway

Heads Up

Summer Resonancy Pianodrome, Edinburgh, until 11 Sep Edinburgh’s quirkiest venue is taking centre stage this summer. Establishing semi-permanent residence (at least for the summer) in the Old Royal High School after its stint at Hidden Door, this micro-venue - constructed entirely from old pianos - plays host to an excellent July programme before its also excellent Fringe programme. Especially exciting is its free lunchtime concerts (Weds-Sun in July, every day in August), with plenty of Fringe previews on the rota.

Gathered Together Tramway, Glasgow, 6-9 Jul Established by Glasgow-based Indepen-dance, a dance company focused on promoting inclusive forms of dance, Gathered Together is a gorgeous festival of dance by some of the most boundary-pushing international companies. Highlights from the programme include dance film screenings, a photography exhibition in Tramway’s upper foyer, and evening performances by the likes of Barrowlands Ballet and Aya Kobayashi.

Acrillics & Friends SAFAR Film Festival Ice Age at Gathered Together

Photo: Douglas Robertson

Image: courtesy of SAFAR Film Festival/CCA

Pianodrome Acrillics Photo: Sarah Barr

Endless Summer The Hug and Pint, Glasgow, until 31 Aug The Hug and Pint’s Endless Summer programme is here (as I sit writing this it is pelting rain, but what can you do) and it’s a banger. Spread out over two months, the lineup includes gems from Scotland and further abroad, including the likes of Flipper, Ichiko Aoba, Azamaiah, Lemon Drink and Apollo Ghosts.

Image: courtesy of The Hug and Pint

Farha, directed by Darine J. Sallam

Image: courtesy of artist

CCA: Centre for Contemporary Art, Glasgow, 15-16 Jul SAFAR Film Festival is the only film festival in the UK dedicated to Arab culture and the arts. Normally a London affair, this year sees screenings taking place across the UK to celebrate their tenth anniversary, with three screenings at Glasgow’s CCA. We’re particularly excited about Farha, a period piece about the Palestinian Nakba, and Shall I Compare Thee To A Summer’s Day?, a queer musical followed by a director’s Q&A.

The Mash House, Edinburgh, 10 Jul, 11pm For a bit more of a hardcore edge to your Sunday, head to The Mash House for a late-night session with DJ duo Acrillics, supported by Bessel and neb. Spinning through their extensive collection of techno, breaks, and house, their step-fuelling set is a perfect, high-energy way to see out the week.

Strength, Saoirse Amira Anis, We Rise at Edinburgh Art Festival

July 2022 — Chat

Edinburgh Art Festival Various venues, Edinburgh, 29 Jul-29 Aug This year’s Edinburgh Art Festival draws inspiration from the Union Canal, which celebrates its 200th anniversary (happy birthday!) this year. Highlights from the programme include public art and performances along the canal by artists and community groups, a new exhibition at Edinburgh Printmakers by First Nations artist Nadia Myre exploring migratory routes and indigenous storytelling, and Platform 2022, the festival’s annual showcase of four early-career artists.

King Tut’s Summer Nights

Image: Gabriel Stella

Photo: Adama Jalloh

CCA: Centre for Contemporary Art, Glasgow, 5-10 Jul

King Tut’s, Glasgow, 14 Jul-27 Aug Image: ourtesy of King Tut's

Image: courtesy of V&A Dundee

Village Storytelling

The Hug and Pint

Nubya Garcia

Sincerely Valentines

Sincerely, Valentines: From Postcards to Greeting Cards Cailleach

Edinburgh Jazz and Blues Festival

V&A Dundee, Dundee, until 8 Jan 2023

Book Klub

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Various venues, Edinburgh, 15-24 Jul

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Photo: Reto Schmid

HAIM

16 Nicholson Street, Glasgow, 7-24 Jul A collaboration between artist Beth Shapeero and NGO Empower Women for Change, this striking exhibition is made up of a large-scale screenprint installation co-created by various women in a series of workshops at the gallery space. Dynamic, abstract forms and colours come together to examine and celebrate ideas of experimentation, risk-taking, and intercultural exchange.

HAIM Image: Nell Cardosa

Cooking Sections + Sakiya: In The Eddy of the Stream Royal Botanic Garden, Edinburgh, until 18 Sep A new exhibition at Climate House (formally Inverleith House) in Edinburgh’s Botanic Gardens, In the Eddy of the Stream brings together sculpture, installation and audio from the Turner Prize-nominated Cooking Sections and Palestinian collective Sakiya. Highlighting the environmental impacts of land clearances, this exhibition marries Scottish history with the Palestinian present for a moving and radical exploration of colonial legacies.

Photo: Neil Hanna

The Afterlight still

To Stand in the Full Sun Photo: Kelly Green

In the Eddy of the Stream

Heads Up

Image: courtesy of Glasgow Film Theatre

The OVO Hydro, Glasgow, 14 Jul, 6:30pm Sister trio Alana, Danielle and Este Haim have had quite the couple of years: their third studio album Women in Music Pt. III was released to critical acclaim in 2020, and just last year all three starred in Paul Thomas Anderson’s latest flick Licorice Pizza.

Now finally on tour after many a COVID delay, their show promises a joyous dose of their groundbreaking pop.

Beth Shapeero + Empower Women for Change: To Stand in the Full Sun

The Afterlight

Photo: Svatá Lucia

Various venues, Glasgow + Edinburgh, 27-29 Jul In a time of increasing digital artefacts, there’s something very special about a film that is a defiantly material object. The Afterlight, a stunning cinematic collage made up of fragments and glimpses of early 20th-century cinema, exists only as a single 35mm print currently touring the UK. Find it for one night only at Glasgow Film Theatre on 27 July, and then at Edinburgh’s Filmhouse on 29 July.

Bolu Babalola

Maranta

Central Belters Bolu Babalola

All details were correct at the time of writing, but are subject to change. Please check organisers’ websites for up to date information.

Various venues, Edinburgh and online, 8-15 Jul

Figures of Speech: Future

Photo: Susan McFadzean

Image: courtesy of Barrington Reeves

EMBASSY Gallery: Annuale 2022

Scottish Storytelling Centre, Edinburgh, 22 July, 7:30pm

Image: courtesy of Lucas Pereira Elias Magic City

Annuale 2022

Magic City: Carnival With Florentino

Becky Sikasa

Becky Sikasa

Sub Club, Glasgow, 22 Jul, 11pm — 9 —

Jeda Pearl, Figures of Speech

Sneaky Pete’s, Edinburgh, 24 Jul, 7pm

July 2022 — Chat

Various venues, Glasgow + Edinburgh, 20 Jul-26 Aug Split between Sneaky Pete’s in Edinburgh and Broadcast in Glasgow, this weeks-long showcase of homegrown and touring talent has somehow managed to encompass so many of our favourite bands. Head to Sneaky’s for the likes of Grace & The Flatboys, Swiss Portrait or Cheap Teeth, or hit up Broadcast for Jupiter Strange, MARANTA, Blush Club and much more.

The Portobello Bookshop, Edinburgh, 13 Jul, 7pm Self-proclaimed romcomoisseur and patron saint of New Girl Bolu Babalola heads to The Portobello Bookshop this month to launch her debut novel Honey and Spice, a delicious fake dating rom-com set in a liberal arts university in England. In conversation with, cards on the table, yours truly, the evening takes place in the bookshop as well as on a livestream, with a signing afterwards.

THE SKINNY

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THE SKINNY

All details correct at the time of writing

Photo: Alexandro Paul Storr Costra JessieSigrid Ware

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Wiki

Wings of Desire

July 2022 — Events Guide

Film Many of New German Cinema auteur Wim Wenders’ best films trade in existential cool and a weary malaise, and some of them are screening at Glasgow Film Theatre, Dundee Contemporary Arts and Filmhouse in Edinburgh this month. Catch his compelling adaptation of Patricia Highsmith’s Ripley’s Game, The American Friend (12-14 Jul, Filmhouse; 23-28 Jul, GFT); his dreamy love-letter to the romance of Berlin, Wings of Desire (7 Jul, DCA); and two brilliant, bittersweet road movies, Alice in the Cities (5-6 Jul, Filmhouse; 18 Jul, DCA) and Kings of the Road (9-11 Jul, Filmhouse; 10-13 Jul, GFT; 28 Jul, DCA). His masterpiece, Paris, Texas, is on general release from 29 July.

GFT crown Christoper Nolan their latest CineMaster this month – The Prestige (5 Jul) and Inception (17-19 Jul) both screen on 35mm while his epic sci-fi Interstellar (24-26 Jul) gets the full 70mm treatment. There’s also a triple bill of his Dark Knight Trilogy on 9 July.

FOALS

Photo: Jacob Consenstein

Photo: Lucy Hunter Self Esteem

Music TRNSMT takes centre stage from 8-10 July in Glasgow Green with Paolo Nutini, Niles Rodgers & Chic, Beabadoobee and Kitti playing on Friday, The Strokes, Foals, Wet Leg and Self Esteem on Saturday, and Lewis Capaldi, Wolf Alice, Sigrid and Rianne Downey on Sunday. The following weekend Doune the Rabbit Hole returns to the Cardross Estate in Stirlingshire (14-17 Jul) with a more alternative-leaning lineup featuring the inimitable Patti Smith, sleazy disco punks Warmduscher, art-rock tree worshippers Snapped Ankles and disco legends Boney M, as well as a whole host of extraordinary Scottish talent like Belle and Sebastian, Camera Obscura, Teenage Fanclub, Sacred Paws, Honeyblood, Poster Paints and Stanley Odd. In the capital, the Edinburgh Jazz & Blues Festival runs from 15-24 July with our top picks including Mercury Prize-nominated jazz quartet Dinosaur (17 Jul), Graham Costello’s STRATA (18 Jul), Georgia Cécile (19 Jul), Kitti (21 Jul), Nubya Garcia (21 Jul), Nathan Somevi Trio (22 Jul) and MDNMTH + AiiTee (22 Jul). Also in the capital this month, concerts are back at Edinburgh Castle with some stalwarts of the Scottish scene – Deacon Blue and Texas – taking over its esplanade on 9 and 14 July respectively.

There are some big shows in Glasgow this month too, with LA sister trio Haim playing the OVO Hydro (14 Jul), while fellow west coasters Modest Mouse float on to the Barrowlands on the 20th. At the cosier end of the spectrum, in Edinburgh Courtney Marie Andrews plays Voodoo Rooms (5 Jul), Richard Dawson & Circle play Summerhall (13 Jul) and New York rapper Wiki, formerly of hip-hop group Ratking, plays Sneaky Pete’s (27 Jul), the night after playing Glasgow’s Broadcast.

Elsewhere, Green Door Studios celebrate their 15th birthday with a party at The Old Hairdresser’s (9 Jul), while The Wife Guys of Reddit launch their new EP at the same venue the following week (16 Jul). And keep your eyes peeled for some of the country’s most beloved small venues who have a bigger than usual emphasis on local bands this month. King Tut’s Summer Nights runs from 14 July to 27 August, with Dundee synthpoppers Echo Machine (23 Jul), an early highlight. Meanwhile The Hug & Pint offer up Endless Summer where you can catch Magpie Blue (10 Jul) and Lemon Drink (31 Jul), while Sneaky Pete’s and Broadcast bring back Central Belters; catch Constant Follower at both venues (20 and 21 Jul), and Swiss Portrait at Broadcast (23 Jul). [Tallah Brash]

Photo: Kate Johnston

What's On

THE SKINNY

Portrait of a Lady on Fire

Photo: Travys Owen

July 2022 — Events Guide

Photo:Matthew A. Williams Nightwave

Clubs There are two big parties taking place across Scotland, no matter what your music taste, to kick off the first weekend of the month (or at least the first weekend by our print schedule).

In Glasgow, there’s A Night of Italo Disco at The Berkeley Suite. And in Edinburgh the following night, Redstone Press & Friends returns to Sneaky Pete’s with Jon K, Elle Andrews and Lewis Lowe in tow.

Then it’s back to Glasgow we go for a couple of birthday parties, and my brief yet feeble attempt to wedge in as many door puns as possible. First up, legendary Glasgow recording studio The Green Door Studio celebrates its 15th birthday party at The Old Hairdressers on 9 July. And as one door closes, another one opens (yes, I’m aware this doesn’t make sense in this context), as the following week The Yellow Door celebrates its eighth birthday party at The Berkeley Suite on 15 July.

Dundee troupe Le Freak and friends bring a new day festival to the city with their Newport Pier party – not the one made famous by The O.C. we’re afraid – on 16 July. The same weekend in Glasgow, the legendary Sub Club celebrates its 30th anniversary with its two-day ​​Sub Club Southside Weekender in the Queen’s Park Arena on 16 & 17 July, with headliners Hunee and Kerri Chandler.

Gqoming in hot with two Scottish dates this month is Gqom pioneer DJ Lag, following the release of his debut album, Meeting with the King, earlier this year. He plays Stereo in Glasgow on 22 July and Sneaky Pete’s in Edinburgh on 23 July. And if you fancy a warm-up, Isoscelees are throwing a party at Leith Arches, with all proceeds going to the Scottish Refugee Council.

And there’s one last festival to round off the month, as new kids on the block Junction 1 bring their summer festival to Glasgow’s Morris Park from 29-31 July. Across the weekend, you can expect to catch an eclectic mix of acts, including The Wailers, Soul II Soul, Groove Armada and Kelis, as well as more local names like Rebecca Vasmant and Nightwave. [Nadia Younes]

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Rebecca Vasmant

Image: courtesy of the artist

Art Three new commissions at Collective consider the social and cultural histories of the gallery’s current site at Edinburgh’s City Observatory. Annette Krauss has worked with Collective over several years to produce A Matter of Precedents, which examines the Observatory as site of ‘common good’ and ‘collective property’. The second commission, The Beast by Ruth Ewan, is a ‘surreal animated morality tale’ focusing on a retelling of the life of ScottishAmerican steel magnate Andrew Carnegie. The final commission at Collective is Camara Taylor’s backwash, which invokes a conversation with Scotland’s myriad waterways using video and mixed media, drawing on an array of historical paraphernalia. Taylor’s and Krauss’s exhibitions continue until 4 September, with Ruth Ewan’s open until 8 September.

Embassy Gallery presents Annuale, a grassroots festival of contemporary art that takes place from 8-15 July across Edinburgh and online. The Annuale will launch with a night of performance art at The Wee Red Bar. Also in Edinburgh, Fruitmarket presents Daniel Silver’s exhibition Looking – a body of new works on paper and an array of ceramic vessels and figures that spans the gallery and its new Warehouse space.

At the CCA in Glasgow, Scott Caruth’s and Alexander Hetherington’s exhibition Seen and Not Seen navigates questions of visibility, queer identity and knowledge production. The show continues until 16 July. While at the

Shall I Compare You to a Summer’s Day?

Image: Steven McLaren

Dj Lag

Less bombastic are the exquisitely tender films of Céline Sciamma, which are screening at Filmhouse as part of Over the Rainbow, their regular strand celebrating queer cinema. It’s a complete retrospective of Sciamma’s directorial features, including sweet coming-of-age film Tomboy (9-10 Jul), the powerful teen friendship drama Girlhood (16-17 Jul) and her sweeping lesbian romance Portrait of a Lady (23-24 Jul).

Arab cinema gets a compelling showcase at SAFAR Film Festival. The London-based event has been around for ten years, and marks this anniversary by going on tour across the UK. One of the stops is the CCA in Glasgow, where a trio of films screen: Farha (15 Jul), Our Memory Belongs to Us (16 Jul) and Shall I Compare You to a Summer’s Day? (16 Jul) – the latter a wild sounding queer musical inspired by the One Thousand and One Nights folktales.

If al fresco cinema that doesn’t break the bank is more up your street, head to Glasgow Queen’s Park, which continues its season of free outdoor screenings. Among the lively lineup we recommend The Rocky Horror Picture Show (10 Jul), Pulp Fiction (11 Jul), The Warriors (13 Jul), Withnail ​​ and I (14 Jul) and Purple Rain (22 Jul).

if i cant have sunshine ill take-, 2022 -3, Camara Taylor

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Image: courtesy Glasgow Zine Library

CCA, also check out the annual Glasgow Zine Fest (2-3 Jul), which this year focuses on the theme of ‘collective autonomy’. Meanwhile, at The Gallery of Modern Art, Clara Ursitti’s exhibition Amik spans the geographies of Canada and Scotland, focusing on histories of trade and exchange, taking the form of found objects, films and sound works.

Towards the end of July, the two-day Sufi Festival (23-24 Jul) features exhibitions by Peter Sanders, Ӧmer Saruhanlioglu and Nadia Djavansir, all taking place at Tramway, Glasgow. [Harvey Dimond]

Glasgow Zine Festival

Image: courtesy Wikimedia Commons Robert Burns

IRA con Cuerpos, Ila Malaver

Photo: Rich Dyson Harry Josephine Giles

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July 2022 — Events Guide

Photo: Hussina Raja Dean Atta

Poetry Re·creation is a blistering new anthology by contemporary queer poets, edited by Éadaoín Lynch and Alycia Pirmohamed, published by Stewed Rhubarb Press. The anthology features an incredible array of poets including Mary Jean Chan, Andrew McMillan, and Courtney Conrad. A dazzler of a launch night is planned for 30 July and will take place in Life Church on Edinburgh’s Davie Street/W Richmond Street. Joelle Taylor, Dean Atta, and Harry Josephine Giles are all performing and there will be a Q&A session with the editors, Éadaoín and Alycia.

There is a new open mic night taking place in Typewronger Books every second Monday of the month (July through to October), hosted by little living room. This one isn’t just for poets, but also for storytellers, singers, and other creatives who would like to use the performance platform. Keep your eyes on little living room’s Instagram, Twitter, and Facebook for details on how to book tickets. It’s also open to performers under 18, so younger poets, please come along!

Indie publisher Bad Betty Press is teaming up with Loud Poets to bring a night of poetic revelry to the Scottish Storytelling Centre, 2 July. The two are bringing together a dynamic line-up of spoken word and poetry, featuring Molly Naylor, Shanay Neusum-James, and Gray Crosbie. The event will also feature an open mic section – just sign up on the night to get your place on the stage.

Poetry is also at the heart of Scotland’s most loved festivals this year. At Belladrum Tartan Heart festival, Hamish MacDonald is curating and hosting the Verb Garden, which features poets such as Stephen Watt, Julie McNeil, and Kevin Graham. [Beth Cochrane]

Image: courtesy of Gathered Together and Tramway

Theatre Kicking July off in style is the legendary Bard In The Botanics (until 30 Jul), taking place outdoors in Glasgow’s picturesque Botanic Gardens. Highlights include two brand new versions of A Midsummer’s Night’s Dream (until 9 Jul) and The Tempest (14-30 Jul). It’s not all just Shakespeare, though – Kathy McKean’s new version of Greek Tragedy Medea, starring Nicole Cooper, will be on until the 9th.

In Tramway, Indepen-dance, an award-winning inclusive dance company for disabled and non-disabled people, will be presenting an international, four day festival of dance. Gathered Together (6-9 Jul) features local and international work exploring the intersection between personal and political identity – read more about it in our article on p28. Also taking place at Tramway is the Sufi Festival, a two-day weekender showcasing leading practitioners of Muslim arts from the UK and further afield (23-24 Jul). The line-up includes free music, theatre, poetry, storytelling, ritual ceremonies of devotion (whirling) and interactive workshops, as well as a Sufi conference.

Fancy a musical? Tron Theatre are hosting the world premiere of John Byrne’s Underwood Lane (14-30 Jul), written in tribute to his Paisley buddy Gerry Rafferty. Over in Edinburgh, you can catch the return of Footloose after its two critically acclaimed tours and London West End run (Edinburgh Playhouse, 19-23 Jul). For something a bit different in Scotland’s capital, why not head to Redcoats in Residence at Gladstone’s Land on the 9th? You’ll be thrown into the world of the 1746 Jacobite Rising and greeted by wandering actors in costume and character.

Early birds catch the worm, as they say. If you want to avoid big Edinburgh crowds, you can catch the previews of some Fringe and EIF shows at the tail-end of July. The National Theatre of Scotland will be kicking off their big political show Exodus, written by Uma Nada-Rajah, on the 28th (Macrobert Arts Centre, Stirling; then Traverse Theatre, Edinburgh). Alan Cummings’ brand new piece of dance theatre Burn, an examination of Scotland’s National Bard, begins on the 30th (at Beacon Arts Centre, Greenock) before heading to Edinburgh’s King’s Theatre on the 4 August.

[Eliza Gearty]

July 2022

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5 Meet the Team — 6 Editorial — 7 Love Bites — 8 Heads Up 11 What’s On — 16 Crossword — 46 Intersections — 49 Music 55 Film & TV — 58 Design — 61 Food & Drink — 62 Books 63 Comedy — 65 Listings — 70 The Skinny On… David Lemm

Features 20 Poet and author Michael Pedersen discusses his prose debut, Boy Friends, an exploration of male grief and friendship.

23 As German auteur Wim Wenders’ masterpiece Paris, Texas returns to cinemas, we examine the urge to walk into the desert.

24 Degree shows returned in person – we review the class of 2022 in Edinburgh, Glasgow and Dundee.

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23

24

28 Indepen-dance introduce Gathered Together, their inclusive dance festival arriving at Tramway this month.

31 Panah Panahi on his debut, bittersweet family road movie Hit the Road.

34 We meet Yorkshire band Working Men’s Club to hear about their second album, Fear Fear.

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31

34

35 Belfast’s Robocobra Quartet on new album Living Isn’t Easy and their ‘no guitar’ policy.

36 A pull-out-and-keep poster by artist and illustrator Nathaniel Russell.

39 We chat with POWA, Fanny Riot and Popgirlz about the launch of Friendly Festivals in Scotland.

40 As influential Scottish label LuckyMe turns 15, we take a look back over its formative years.

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43 Stand-up and podcast star Alison Spittle on her newest Edinburgh Fringe show, Wet. 44 Does the new Obi-Wan Kenobi series solve the Star Wars franchise’s problems?

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44

Image Credits: (Left to right, top to bottom) courtesy Michael Pederson; Paris, Texas; Chloe Grieve; Clare and Lesley; Hit The Road; Lillie Eiger; Colin Armstrong; Nathaniel Russell; Viki Mladenovski; LuckyMe; Karla Gowlett; Obi-Wan Kenobi

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On the website...

Reviews of gigs from St. Vincent, Biffy Clyro, Peaches, Harry Styles and others; The Cineskinny podcast (every other Thursday, listen early and listen often); a deep dive on Primavera Sound and a write-up from NOS Alive – and look out for news from the Edinburgh International Film Festival from 20 July

July 2022 — Contents

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Shot of the month Nick Cave @ Primavera, 28 Jun 2022 by Magdalena Zehetmayr

1

2

3

4

9

6

7

8

10

11

Across 9. Ready to listen (3,4) 10. Homage – not the greatest song in the world (7) 11. Composer (d.1886) – Z-list (anag) (5)

12

13

July 2022 — Chat

5

12. Silence – inertia (9)

14

13. Someone with their head in the clouds (10)

15

15. Involuntary sleepy noise (4) 16 17

18

19 21

17. Glaswegian music producer Ross Birchard – unhooked whams (anag) (6,7) 20

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23. Published via multiple outlets simultaneously (10)

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25

28

21. Cheese lovers (4)

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29

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Down 1.

Ditties (7)

2. Gesundheit (5,3) 3. Bury – conclude (3,2,4) 4. With no changes (2,2) 5. Be wildly successful – let's irk God (anag) (6,4) 6. Boy goat (5) 7.

"I've got it!" (6)

8. Abates (7) 14. Nuisances (10) 16. He's so vain, I bet he thinks that myth is about him (9) 18. Drug – take mine (anag) (8)

25. Immediately upon looking (2,1,6)

19. Compassion (7)

27. Polynesian country (5)

20. In a perfect world (7)

28. Get through – have the intended effect (3,4)

22. Talkative (6)

29. Not nocturnal (7)

24. Detached (5) 26. Tips (4)

Compiled by George Sully

Turn to page 7 for the solutions

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June 2022

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June 2022

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Theme Intro July 2022 – Reflections

T

he theme for July is a little bit amorphous – in the calm before the August festivals extravaganza, we’ve taken a moment to celebrate art’s power to reflect and transform.

Our lead feature is an interview with poet and author Michael Pedersen, whose prose debut Boy Friends mines his experience of grief to explore the nature of love and friendship. And as Wim Wenders’ masterpiece Paris, Texas returns to

cinemas, we ponder the urge to wander in the desert for emotional healing.

Indepen-dance’s inclusive dance festival, Gathered Together, arrives in Tramway – the organisers tell us about how they are working to change the face of dance around the world. Finally, our most transformative of creative experiences, the degree show. We report back from the class of 2022’s exhibitions in Edinburgh, Glasgow and Dundee.

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Books

A Contract of Friendship As he prepares to unleash his first book of prose, Boy Friends, we meet Michael Pedersen to discuss friendship, love and grief Interview: Kirstyn Smith

I

n a book that’s filled with musings and fascinations and reminiscences on friendship, there’s a section towards the end of Boy Friends that imagines a more constitutional way of looking at things. Author Michael Pedersen leans back against his erstwhile legal training to conjure the concept of a friendship contract. What would it be like if there were a set of tenets and principles that covered fidelity, forgiveness, behaviour, grief?

“It would enable us to view friendship on our own terms and safeguard ourselves from toxic friendship or friendship under duress,” he mulls.

“What are we offering as a friend under these circumstances, and what do we expect in return?”

What happens when you push friendship too far? What are the clauses for termination? And what about when a friendship is taken from you far sooner than you want? In part, Pedersen is

July 2022 – Feature

Photo: The Portobello Bookshop

ruminating on the hierarchies of grief – where do we stand among the hordes of mourners, when can we talk about something else, go back to work, post a selfie?

Boy Friends began as a homage to Pedersen’s late and dear friend Scott Hutchison, growing into a celebration of male friendship and a deep dip into the highs and lows of mental illness and grief. “[The idea of a friendship contract] helped me understand where I was without [this] friendship. Here’s what we’re entitled to when this is no longer around: periods of grieving, emotional compensations. Imagine all that was impossibly spilled down in this fictitious contract. It would give us a bit more of a crutch at a time when the world was crumbling.”

Of course, he goes on to concede, it would be impossible to draft and would have to be constantly envolving. And that’s the thing: ongoing friendships can’t be pinned and spread like a butterfly. So, Pedersen turns his lepidopterism to the ones in his past, celebrating his favourite boy friends gone by. It’s a linear non-linear epistolary read that charts both his life in friends and more or less the year after the loss of his very best one.

As Boy Friends reveals early on, Pedersen is someone who just has a lot of feelings. “That’s what my mum told me during these periods of emotional turmoil, painting the day’s dramatics in positive swirls. I took it to heart, thought of it like a superpower.” For context, this passage comes after he’s held a solo vigil in the rain following his first experience of death – his hamster Pepsi. But this is an identity that seems to fit; Pedersen talks about relating hard to a misremembered Counting Crows lyric, “I feel things twice as much as you do,” in one of those fits of teen angst. it’s only natural that he brings his all-giving, all-loving, all-feeling nature into his friendships.

“I didn’t know where to put all the energy inside of myself,” he says. “I was looking for friendships that wanted to

Michael Pedersen

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swallow the other person up really quickly. I wanted this comrade-in-arms, this fraternal, all-encompassing bond. I wanted it immediately, and yesterday, and fast.”

This sense of hyper emotionality comes in some sense from the media he consumed, from love songs and poetry and fantasy literature – Sam and Frodo's companionship in Lord of the Rings seems to have particularly struck a chord. Taking this intensity into early friendships isn’t without its drawbacks, though – friendships made at our emotional zeniths can be short-lived, intense and fragile. Until he actually sat down to write Boy Friends, Pedersen hadn’t realised how many of his seminal friendships – the ones most full of love, entered into most vehemently, and perhaps hardest to deal with – were no longer in his life.

“When I looked back at them and they’d all expired, I was looking for some sort of formula that would make sense of them,” he says. “Because that would give me the apparatus to learn how to celebrate this friendship with Scott which was no longer around for an entirely different reason. I thought if I could work out how to celebrate these lost friendships, then I’d fortify myself to celebrate this friendship which was more cruelly taken away.”

Scott is the entity that permeates the book in the same way he permeated Pedersen’s life: wholly, joyously and lovingly. Their friendship reads like a movie: Pedersen paints him performing under lights that illuminate him in the way he deserves; they take unimaginable trips to South Africa where they perform and drink and tour and love; they eat together, so much food and so many meals – each as bright and bountiful as the imaginary dinner scene in Hook. It’s a fairytale made real, and Pedersen’s poetic voice feels custom-made to twist his words beautifully together to paint each Scott scene with love and care.

“All my memories of Scott are full of joy and laughter and silliness and smuttiness, and there are these deep sentimental conversations, but always completely engulfed in humour,” he says.

“He had an interesting face I’d find myself staring at more than any other face. I often was thinking about the mechanics that were going on in his mind. Even as someone who was privileged

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Photo: The Portobello Bookshop

Books

Faber, 7 July, £14.99

July 2022 – Feature

enough to have very close conversations with him, you only got what he wanted you to have. He was the care keeper of his emotions, because they were so big, abundant and encompassing.”

Pedersen often found himself psychoanalysing where Scott’s face – his gaze – was taking him. He could have been anywhere. And when the news came that Scott was missing, he was everywhere and everything. In the unyielding betweentime that punctuated Scott’s disappearance and discovery, Pedersen came across an oyster shell: a bonding motif for the two friends – they published a book together called Oyster a year before Scott died. “I’ve still got it. I don’t see myself giving it away ever.” In death, we tend to give meaning to things we might not ordinarily seek out – perhaps as a way to assert control over the uncontrollable, perhaps yearning for meaning in something so uncanny.

“I do it constantly and with conviction and compassion, even if it’s just to enable me to have the conversation with the world that I want to have,” says Pedersen. “If these curios and bibelots can become a vessel for me to confirm or to assure myself under the circumstances, then for sure I’ll do it.”

Another night, months later, Pedersen sees Scott’s face in a disco ball – a heart-lifting way for him to communicate. “The grief comes where it comes. It’s unpredictable, it’s visceral, it’s this sort of eccentric, capricious beast of a thing, so why not take control over certain elements of that? I think it’s really important for us to do an audit of our memories and our own lives and objects and curios and how they fit into the wider kismet and cosmos of it all.”

The disco ball apparition seems a fitting way to remember Scott: twirling in shattered light as music swells. A glitzy, hedonistic way to remember a friendship that brought so much glitter into two men’s lives. Boy Friends too, its vivid pinks and purples and unyielding tumblings of male love and friendship is just as sparkling, sensual, and sweet.

Boy Friends

“I was looking for friendships that wanted to swallow the other person up really quickly. I wanted this comrade-in-arms, this fraternal, all-encompassing bond. I wanted it immediately, and yesterday, and fast” Michael Pedersen

faber.co.uk — 21 —

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Walkabout With Wim Wenders’ masterpiece Paris, Texas back in cinemas this month, one writer explores the film’s central motif of a taciturn man trying to make amends after abandoning his life and his loved ones Words: Rory Doherty

Film

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own lives they were watching. But a side-effect of this father prioritising his son is a growing restlessness in Walt and his wife Anne. They realise that, as things threaten to shift once more, this time they risk losing more than Travis. Even though he’s come back to repair his life, Travis still can’t help pulling a family apart.

This rift characterises Travis’s abilities to reform and atone.

The pain he caused while present in his family’s life, and the pain he caused by leaving, is tackled in a manner that’s equally avoidant and blunt, in the process reigniting dormant wounds he’s not capable of mending. In the film’s delicate, aching final stretch, Travis runs out of places to run in a conversation of confrontation, vulnerability, and confessions with his estranged wife, Jane. Sat on either side of a pane of reflective glass in a peep-show booth, faced with literal reflections and garishly artificial decoration, the awesome landscapes of Paris, Texas feel remote and ungraspable. The space is crowded with pain, and two wounded souls won’t leave until it’s accounted for.

It benefits Travis to think that his choice to disappear into the desert was a masculine urge, just as it benefits him to think it was because the vast, crowded-yet-unpeopled expanse of America was too overwhelming for said masculine person to bear. Such explanations divert from the piercingly personal truth: what hurt Travis led to him hurting others. Maybe America promises too much for the modern man, maybe the eternal lure of possibility can really be found if you venture far enough out into a deserted land, but ultimately the blame for Travis’s alienation doesn’t belong to his gender or country – it belongs to him.

For some men, the option of abandoning your existence, your history, your memory isn’t just appealing. Compared to living with faults you feel are irredeemable or repairing wounds you can’t articulate, it’s preferable. I’ve listened to men describe the desire to wipe their entire life clean rather than engage in the messy process of fixing mistakes and improving faults, made more impactful by how much I recognised it as something I’ve felt myself. But how can we hope to survive by severing our access to empathy, an urge more natural than anything we think of as masculine? It was guilt that made Travis run out into the desert, and even if he didn’t know as soon as he reappeared, guilt brought him out of it too.

Paris, Texas is rereleased 29 Jul by Curzon Glasgow Film Theatre and Filmhouse in Edinburgh are running Wim Wenders retrospectives throughout July; see the cinemas’ websites for more information

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July 2022 – Feature

ne of the first – and worst – plays I wrote as a teenager was a two-hander about someone announcing their desire to be adrift in space, floating into oblivion, with no connection to anything earthly. It, sadly, won me no Pulitzer Prize (rather a series of question marks in red ink from my teacher). But it did highlight a fairly common adolescent experience: finding the world utterly overwhelming from within the confines of your head, articulated in abstract ways as to not sound like you just want to die.

This feeling is not by its nature masculine, and not just because no feelings are. Our awareness of the near universality of this experience has only compounded in an age where you can open Twitter or TikTok and be greeted by someone precisely describing your most private psychological distresses, framed with a flippant, “am i the only one who…?” Moreover, archaic assumptions of what behaviours are ‘masculine’ are being challenged through increased platforming of LGBTQ+ perspectives, with straight people learning how complex and fluctuating experiences outside heteronormativity can be.

Paris, Texas – Wim Wenders’ collaboration with Sam Shepard that follows a taciturn wanderer called Travis (Harry Dean Stanton) who returns from the desert and tries to mend relationships with the family he walked out on – comes from a different time (1984) and a singular vantage point: a German auteur director (Wenders) and an American dramatist (Shepard). They interrogate the American soul in a way that’s both intimately authentic and from a distinctly outsider perspective.

Wenders doesn’t seem interested in classifying what behaviours are inherently masculine. When unassuming Texan Travis abandons his family to run headfirst into the surrounding expanse of the west Texas desert, only to return an amnesiac four years later, there’s no suggestion his choice to irrevocably alter the lives of his wife, son, and brother is biologically or culturally imprinted on him. Rather, what makes Travis so quintessentially masculine is not what he does to remove himself from the pain he caused others, but, upon return, how gradually aware he becomes of his own woundedness.

There’s something methodical about the way Travis acclimatises himself to his own life. He’s seemingly only capable of fostering one relationship at a time. After his patient brother, Walt, displaces him to the Californian home where he’s been raising Travis’ young son, Hunter, Travis struggles to reconnect with the boy. Does he even remember what a father is? A fascination is kindled after they both watch Super 8 home movies, the past freshly illuminated to them as if it weren’t their

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The Grand Return After two years of limited (or non-existent) physical degree shows, defiant graduates from DJCAD, Edinburgh College of Art and Glasgow School of Art present a series of ambitious and expansive showcases

Art

Words: Lottie Whalen

Duncan of Jordanstone, Dundee

July 2022 – Feature

Stepping into the studios of Duncan of Jordanstone College of Art and Design for the first in-person graduate degree show since 2019, it’s a delight to find a cohort of students with a sharpened sense of the material world and our experiences of it. The result is an often colourful, lively show incorporating immersive and experiential elements that revel in the return of physical visitors.

Mixed media artist Nathan Price presents a vivid collage brought to life in three dimensions.

Referencing the layers of graffiti and detritus that

make up the urban environment, and with nods to Keith Haring and Jean-Michel Basquiat, Price conveys the feeling of freedom and the buzz of city streets. The overwhelming sensory experience of city life also plays out in Farah Hussain’s surreal installation. Viewers are led down a dark corridor, which opens onto a vibrant club room, complete with checkerboard dancefloor and oversized pink soft sculpture head. It’s a joyful celebration of queer nightlife and the potential of queer spaces for subverting identity.

Marly Merle’s striking wearable landscape develops similar themes of transformation, imagining the power to transport oneself to an alternative reality through avant-garde costumes. In Digital Interaction Design, Jonathan Anderson’s Clubometer – a block made to be embedded in city streets, giving live updates about the busyness, vibe, and sweatiness of nearby nightclubs – also speaks to the welcome return of nightlife and communal experiences.

Rachel Bride Ashton’s wonderfully inventive mixed-media installation playfully invites viewers to take part in rituals of the body, specifically the ‘monstrous feminine’ body she explores in ceramics, papier mâché sculpture, and film. The vulva of her sculpted squatting Nub Land, Marly Merle

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woman becomes a portal, with viewers compelled to lie on their backs underneath to see a film celebrating the power of birth. By bringing together human, animal, plant life and bacteria, Bride encourages us to embrace the non-human that makes up so much of our lives.

Bride’s interest in ceramics, textiles, and processes of labour is echoed elsewhere in the show. Complementing Bride’s celebration of birth, Eilidh Guthrie’s multimedia installation Forest Breathing explores the body’s return to the natural environment after death. Her pit-fired sculptures uncannily resemble tree limbs and chunks of charred flesh, a powerful reminder of our return to the earth after the body’s decomposition.

Charlotte Maishman’s haunting house installation similarly stages a confrontation with mortality. Its skeletal form is made of porcelain, fastened together with steel bolts, and weighs the same as an average human body. It’s an eerie reminder of the body’s vulnerability and strength; the image of an empty house seems to symbolise the losses we’ve collectively experienced over the past few years.

In the textiles department, Sandra Junele’s labour-intensive process transforms waste scraps of yarn into sculptural shapes that are then moulded into modernist modular wall panels. Rebecca Rodger’s turn to rug tufting in lockdown results in a fluid, abstract wall hanging, a work of queer craft that upturns boundaries between domestic and fine art forms. Joshua McCullough’s striking quilt pieces play with the intimate, affective qualities of the form while also reaching outwards, to open a space for sharing and support.

The panels narrate McCullough’s experience of a manic episode, using detailed embroidery and appliqué techniques to cover the fabric in religious iconography and personal scenes. Drawing on the Catholic confessional, the viewer is encouraged to pin a square to the quilt, with a comment on their own experiences of mental health struggles. This moving work emphasises many of the other students’ turn to forms of making and immersive experiences that welcome participation. This optimistic, surprising show serves as a timely reminder that so much of art’s meaning is made in the material interactions between artist, artwork, and audience.

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Art Special

June 2022 – Feature

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Art

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July 2022 – Feature

Edinburgh College of Art At Edinburgh College of Art’s 2022 degree show, there’s a palpable sense of joy that its beautiful building has come back to life and is once again filled with ambitious, energetic work. There are few direct references to COVID in the art on display, although there is a recurring interest in spaces of dwelling and belonging. On the other hand, there are also representations of inhospitable places, betraying the impact of successive lockdowns and periods of isolation on this group of students.

Rachel Glen returns to her childhood bedroom with an installation that evokes a cosy nostalgia. A gauzy purple curtain and purple tufted rug frame a painted garden scene, where a child’s birthday party is set up; for Glen, art provides an escape to simpler times. A sense of dreamlike nostalgia runs through Mia Takemoto’s beautiful painted panels. Dynamic shapes and patterns weave between fragmented family scenes, suggestive of the Roots and Routes of the work’s title and the memories that are carried along the way.

Takemoto’s technique and use of materials – tempera painted on wood veneer – draw out the work’s themes of cultural hybridity, mixing influences from the artist’s Eastern and Western heritage.

Olivia-Anna Boden’s mixed media work invites the viewer into a youthful space of fantasy and fairytale, inspired by the story of the Swan Princess. Combining embroidery, painting, and found objects, Boden creates a surrealist-inspired mythology dedicated to girlhood and its transformative potential. Her use of textiles reflects a wider interest in materiality and making that is found across many of the exhibiting students’ work.

Isabella Inskip’s ethereal, silky sculptures are the product of 3D printing. By transforming natural flowers into delicate technologically produced objects, Inskip raises questions about the

boundaries between the natural and the artificial, the artist and the designer. Working between painting and textiles, Jessica Austin opens up liminal spaces and gothic portals to other worlds. In her polyesterstuffed textile works, tender imprints of the body foreground touch and expand the space of the canvas outwards.

In the textile department, Chloe Grieve’s Shape Play uses Bauhaus-inspired modernist forms to explore how design shapes our experiences of mental health and healthcare spaces; bold colours and lush textiles offer a less sterile, cold environment that makes hospitals and healthcare environments more hospitable, homely places.

Many of the students find less comfort in the home. Rebecca Ryan’s sculptural installation Neighbours features two adjacent metal-framed houses, linked by a patch of artificial grass. Keying into ideas of access and exclusion, only one house is open to the garden space; Neighbours plays on the false equivalence created in areas of cities, where the extremes of deprivation and luxury often sit side by side. Ryan’s use of plain fabric for the houses’ structures further emphasises a sense of instability and impermanence that defines many people's relationship with home in modern society.

Nearby, Lian Ryan’s green gauze maze heightens a sense of the unreality of the boundaries and structures that surround us.

Hannah Grist repurposes familiar domestic objects into strange, unhomely sculptural forms.

Rusting metal radiators are bent into scarred, skeletal new shapes, or stacked to build imposing towers. A tired, grubby bathtub (complete with a — 26 —

Shape Play, Chloe Grieve

tatty bar of soap) attached to four large bicycle wheels suggests an obscure instrument of torture.

The title of her installation – Self-Neglect in the Comfort Zone – is a dark allusion to the self-care trend perpetuated by sanitised Instagram images, as well as the disconnect between idealised notions of home and, for many, the reality of poorly maintained, uncomfortable living spaces.

Phoebe Logan’s large vivid canvases also locate the bathroom as the focus of demands to care for and perfect the self, from a feminist perspective.

Her chaotic, graffiti-style paintings show the overwhelming demands to perform femininity and the contradictory pressures to display and minimise the body that many women face. Naked figures are swept up in a swirl of confessions and declarations and sucked down the plughole. Others vomit and unashamedly display their bodies, refusing to be contained or, in Logan’s words, to be ‘dwelled upon’.

Lucy Mulholland’s wooden Cat Ladder offers a playful escape up and out of the studio, while also encouraging us to think about nonhuman experiences of everyday spaces. Similarly, Monument to Hope and Futility celebrates flies fleeing an open window, a playful symbol of the artist’s own wildness and freedom. Like many of her peers, Mulholland’s works are on a level of scale, experimentation and ambition only offered by the studio – the fact that artists and visitors alike have been welcomed back inside at last is a celebration for all.

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Art

Louis Syed-Anderson

Glasgow School of Art Not all the textile works are intimate and introspective; in fact, several of the artists working with stitching and fabrics extend their practice outward to involve other makers. Meadhbh Corrigan’s Abolition Workshop Quilt is a powerful statement of solidarity with incarcerated people and their families, made with eight other students during reading and stitching workshop sessions. A collaborative act of care that counters the cruelties of the carceral system, Corrigan’s quilt was then sold to raise funds for Glasgow Prisoner Solidarity Collective.

Knitter Kitty Glover created many of their stitched creatures in collaboration with attendees of Platform’s weekly Clack and Yak group. The whimsical beasts are the product of social, intergenerational gatherings, where people exchange knowledge and skills in an informal, unacademic environment. Patchwork curtains frame Nancy Pilkington’s otherworldly installation, a childhood den made of ragged squares of pink fabric. Inside, a small sailing boat complete with a patchwork sail promises escape and adventure. Frayed seams and the tattered objects displayed inside cast this as a place of creative repair. Katie Hogg’s candycoloured installation takes a brighter and bolder approach to spaces of fantasy, using contrasting textures and soft sculptures to encourage play.

Several Fine Art Photography students have also chosen to foreground the physical materiality of their medium. Louis Syed-Anderson gathers different-sized images printed on a variety of textures, arranging them across the room to form a landscape. Navigating the installation, the viewer gets up close to the detailed surfaces and — 27 —

materials Syed-Anderson captures as if encountering a geological structure. Spencer Dent’s Genderless combines costume, portraiture, and weaving to celebrate androgyny and nonbinary gender. Dent’s screen-printed self-portraits recall Dada Cabaret Voltaire performances and Leigh Bowery’s avant-garde costumes; their use of PVC adds a tactile edge which is emphasised further in a woven work, showing a ghoulish face stretched on an iron frame.

Emerging from a time marked by isolation and physical separation, it’s unsurprising that communication and its limits emerge as another recurring theme. Kathleen Lodge finds humour and comfort in everyday phrases, some of which are specific to her native East Midlands, printed in plain text. The mass-produced objects she chooses to brand – mugs, beer bottles, beermats, cushions – evoke homely, comforting spaces. Lodge commemorates and elevates the commonplace interactions that take place in the area into something more permanent.

Words become (quite literally) sharp and weighted in Tiago Rodrigues’ work, where flippant, sarcastic and nihilistic phrases become sculptural forms crafted from chains, barbed wire, and bricks. Rodrigues’ tapestry work strikes a more melancholic note: in one example, the stitched word ‘Saudade’ (from Portuguese, with no equivalent in English, referring to a deep sense of yearning) bulges from a canvas entitled Get Well Soon.

Rodrigues’ mixture of hard defiance and nostalgic longing sets the tone for the show, in which an array of urgent, interesting voices emerge from the gloom, promising exciting things to come from Scotland’s new generation of artists.

July 2022 – Feature

2022’s final year students faced unprecedented difficulties, spending almost two years away from the studio and their creative communities. Despite this, the show is a largely optimistic and energetic affair. It’s exciting to see students of all disciplines being bold in their choice of materials and broad in examining approaches to their practices.

Distance from the studio has encouraged inventive experimentation in a range of mediums, with textiles emerging as a particularly generative area.

Anuschka Barlas’s beautifully rich tapestries make full use of the medium’s slow intensity.

Using Shetland wool to weave intimate self-portraits and close-up abstract fragments of the Scottish countryside, Berlas’s textile work has the dreamlike quality of distant memories recalled through a haze of nostalgia. The self becomes a landscape, woven into and from its surroundings.

Nuala Ambramson turns to embroidery to create a sense of self and belonging. Working with golden thread and metallic beads, the pieces draw on Byzantine wall hangings with surprising flourishes: the flesh and bone of a rib cage, or a naked woman’s silhouette in a piece titled Petit Mort.

Anna Winther’s embroidered used napkins commemorate meals and family occasions.

Decorative beaded sections mark the stains and spillages mopped up by each napkin over the course of a meal. Wither’s napkins tie craft’s labour-intensive, slow process to a reaction against the consumer culture that encourages us to throw away used items. The simple white squares evoke a sombre, ghostly atmosphere, which speaks of the many missed celebrations of the pandemic years.

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Theatre

Inclusive

Dance July 2022 – Feature

Indepen-dance on their international inclusive dance festival, Gathered Together Interview: Roisin O’Brien

“A

nybody who is interested in cutting edge dance with a difference would be interested in this festival.” Festival administrator Dawn Hartley is talking about Gathered Together, Indepen-dance’s biennial international Inclusive Dance Festival. The festival is returning for its fourth iteration at Tramway in Glasgow Wednesday 6 until Saturday 9 July after a forced hiatus in 2020 (due to… you know what).

Based in Glasgow and directed by Karen Anderson, Indepen-dance is an award-winning inclusive dance company for disabled and nondisabled people. Gathered Together has grown out of an awareness that the profile of inclusive dance within Scotland needs to be raised, explains Hartley, as well as a drive to bring international work to the stage in Glasgow so that people can connect to it.

There is something unique about a festival, Hartley explains. “It’s a really lovely opportunity for the dancers to see that this is something they can aim for. There’s a real sense of togetherness.”

Additionally, “within the sector, it becomes a ‘mustdo’. There’s a lot of networking, especially after such a long time apart, and a lot of re-establishing things.”

The festival comprises performances from Scottish companies such as Birds of Paradise Theatre Company and Barrowland Ballet, and international artists. Curtis and Co from Germany present Exploring Borders, where three dancers and an acrobat explore their own borders, while Resident Island Dance Theatre from Taiwan present Ice Age, an international inclusive choreographic collaboration between visually-impaired choreographer Chung-An Chang and disabled choreographer Maylis Arrabit.

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There are also workshops for professionals and members of the public, and all workshops and performances will be audio described and BSL interpreted. The festival also includes exhibitions from Project Ability artists and dancer Dylan Lombard from Young 1’z (Indepen-dance’s youth company), as well as films, including Irish integrated dance company Croí Glan’s Armour Off which won Best Documentary at Catalyst Film Festival.

ConCuerpos from Colombia are one of these international collaborations. The company is directed by Laisvie Ochoa and is the pioneering inclusive dance company in Colombia, she explains. Ochoa and others were inspired to start the company in 2007 after they invited people from the pioneering Candoco Dance Company (an inclusive dance company based in England) to direct an integrated dance workshop. Since then, they have been working in three main areas: education, artistic, and research.

Ochoa is heartened by the change she has seen in Colombia since their formation: “We have influenced dance a lot because now in other companies we see the participation of people with disabilities. Not that the companies call

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former Scottish Ballet principal dancer Eve Mutso, and featuring striking visuals and a new score from composer J.P Waksman, it is performed by Independance’s Small Ensemble performance group on the Saturday evening. Mutso will also perform later that evening with Joel Brown in 111, an intricately crafted duet between two powerful dancers.

Performing in Entwined is Julie Spence, who has been working with Indepen-dance since 2015, first as Creative Dance Assistant and now as a Dance Worker. With Entwined having been on pause for many years, Spence is looking forward to that sense of ‘achievement’ when the group finally manage to perform it: “It’s going to be magical!”

Mutso would regularly come to rehearsals to watch the group practice. From there, Spence explains, Mutso was able to create movements or creative tasks that she felt would show off the strengths of each individual dancer.

There is a very strong connection within the group: “We all have that passion for dance and it makes you feel secure and trust in your own movements.” It’s an enthusiasm and passion that seeps through the organisation and all those who speak for it. For Spence, there will likely be some “happy tears” on the night.

Gathered Together 2022, Tramway, 6-9 Jul

July 2022 – Feature

Ice Age

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Theatre

one event in Colombia’s history: 9 April 1948, also called El Bogotazo. The presidential candidate Jorge Eliécer Gaitán – who “advocated for the underdogs”, explains Ochoa – was assassinated, which sparked a wave of violent riots across the city and began a period in Colombia known as ‘La Violencia.’ “A collective rage took over, it was a huge social explosion.”

Ochoa noticed that this sort of explosion had happened several times throughout Colombia’s history and in response to different injustices. “I wanted to analyse it. What are we going to do with all this rage?” By putting it on stage, “we need to see it to somehow understand it – in order to heal.”

Threaded throughout the festival are performances from Indepen-dance’s different performance groups. “A big focus for the whole of Indepen-dance”, continues Hartley, “is to provide the chance for their dancers to show off their work on an international stage, with international performers – it’s so exciting for them.”

The Adult Performance Company performing on Wednesday night are premiering Aya Kobayashi’s Huddle. “It’s got a lovely soundtrack,” enthuses Hartley. “I was sitting in the hall outside the rehearsal studio a few weeks ago just listening to the amazing music. [Aya] did say ‘it’s based around the lives of penguins’. And when I said that sounded interesting, she looked at me to say: ‘YES. It’s going to work!’ I’m quite intrigued by that, Aya’s work is always so sensitive and on-the-button, it gets you right there.”

One work that has been in the making since before the pandemic is Entwined. Directed by

Photo: Huang Jyong Jhe

themselves inclusive but that they are open to include different types of people, which for us is wonderful as we see more presence of artists with disabilities in different contemporary dance festivals.”

One of the projects ConCuerpos is bringing to the festival is a work-in-progress looking at disability and dance in COVID times.

At the time of speaking, Ochoa happily states that they are very much “in the middle of it!”, taking joy in that uncertainty that comes from being deep in the creative process. The company had been doing a lot of work through online and digital mediums even before the pandemic, so were able to jump into a remote way of working with relative ease.

They were then put in touch with Nancy Lombard, a Reader in It's a Must, Clare and Lesley Social Policy and Sociology at Glasgow Caledonian University, who began research to examine the role of dancing in the lives of disabled people during lockdown in Scotland and Colombia.

Lombard’s son is a member of Young 1’z. The resulting creative and research collaboration between them has been a series of online workshops, which will culminate in an in-person workshop when they all physically meet in Scotland, before a final performance. Ochoa is very excited for them all finally to meet: working online has been great, but also a bit “weird” as during the workshop “you are so excited, you finish the phone call and then… you are alone in your room.”

ConCuerpos are also bringing their work IRA, which translates as ‘rage’ in Spanish. The first part is directed by Diana León and the second by Ochoa, both working with the same dancers, composer and lighting designer. León’s part focuses on how rage emerges from a very subjective place, “how this feeling emerges in the face of social injustice and makes you move, like a motor source” states Ochoa.

Ochoa’s directed part looks at rage from a collective point of view. Ochoa chose to focus on

July 2022

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THE SKINNY

Road Less Travelled Iranian filmmaker Panah Panahi – the son of Jafar Panahi – makes his debut with bittersweet family road movie Hit the Road. He speaks to us about creating cinema within Iran’s oppressive regime and the importance of combining heartbreak with humour Interview: Nathaniel Ashley Film

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How much is Hit the Road about the things that are left unsaid?

What remains unsaid is at the heart of our culture, even above politics or the current situation. Iranian culture is a social structure in which you cannot be honest, you cannot express your opinions or needs or your reactions. You always have to think about what’s acceptable socially. I mean, the relationship between the father and (eldest) son is something I’ve experienced, you cannot just express freely how you feel. You don’t even know how you feel, because you first know what you’re allowed to say or not allowed to say, before realising what you actually feel. This has structured our way of being, our way of feeling, so much so that it is a part of our DNA. Above that, there is

the political structure which is also extremely oppressive and defined by its restrictions. It’s not that I’ve decided to make a film about what’s been left unsaid, it’s that when I’m telling the story I see what options remain for me, and the things you cannot say, what you can say. That becomes my material in my film.

Do you think there’s an element of guilt that stays with people who do leave Iran?

I think it depends on how you see yourself in life and how you see yourself in society, but I think for myself, whenever I try and consider this option of leaving the country, this is what makes me hesitate, this is what makes me wonder if I would feel bad once I saved my own life. I wonder if I wouldn’t feel that I would have been more useful in my own country for my own society.

Rayan Sarlak is an absolute force of nature – how did you find him and what was it like directing him?

I was extremely lucky to meet this child. He was the third kid that I saw, and immediately when I saw the energy that he had, this ease that he had in being with others and talking with people, I said: “This kid I need.” I didn’t even audition him, to keep his freshness and spontaneity.

He had no script and he could not read. So every morning, it was his mother who would read it to him and he would start learning his lines and once he knew them, I would take him aside and start playing with him, joking with him, talking with him to make him reach the appropriate level of energy for the scene of the day. Once he had this — 31 —

“What remains unsaid is at the heart of Iranian culture” Panah Panahi level I would just send him on the set. As soon as I went to him to say that something had to be a bit more subtle, he immediately understood it. He even suggested to me how to improve some of the moments where it’s all a bit too heavy; he had an intuition every day. I think he’s the most impressive genius I’ve worked with.

Hit the Road is a film that combines whimsy with great sadness. What makes the combination of comedy and tragedy so potent?

That’s really how I experience life. The films that I like, the films that I find lifelike, both aspects are there, tragedy and comedy, laughter and tears. If there’s only laughter or only crying, it’s quite monotonous and boring for me. The interest is the combination of both and this is also how I see life.

That’s my character and my way of expression. I’ve seen it in my own life, in the happiest moments of my life, how easily I can all of a sudden switch to my darkest mood, and also when everything is really bad, how I still keep this hope and this ability to laugh about things.

Hit the Road is released 29 Jul by Picturehouse Entertainment and reviewed on p. 55

July 2022 – Feature

or many in Iran, fleeing the country and its authoritarian regime seems to be the only way to find freedom. Yet in director Panah Panahi’s debut film, Hit the Road, that desperation to escape is tinged by the sadness and guilt that comes from leaving behind the people you love.

The film initially seems to be following a family on a simple road trip, but it quickly becomes clear they are attempting to smuggle their eldest son out of the country. Despite its heavy subject matter, Hit the Road is surprisingly sprightly, full of familial bickering between the eldest son and his irascible father. Ahead of the film’s release, we speak to Panahi about the current political atmosphere of Iran, and how he discovered Raylan Sarlak, the 11-year-old who plays the family’s irrepressible youngest child.

THE SKINNY

An Evening in Edinburgh Advertising feature

Edinburgh’s incredible architecture comes to life at night, with awesome bars, delicious food and unique experiences to enjoy Words by: The Skinny

xploring Edinburgh is fascinating, but exploring a compact hilly city can mean a bit of walking. The good news is Edinburgh is full of great places to wind down and spend your evening, from rooftop bars overlooking the city, to one-of-akind restaurants in unexpected settings.

Photo: Forever Edinburgh

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July 2022

Unique restaurants Edinburgh’s Old Town is a warren of closes and wynds, with truly spectacular locations for an evening meal. The Witchery (352 Castlehill) is a stunningly swanky Edinburgh institution, all 17th century oak panelling, baroque flourishes, and equally exciting food. Roxburgh Court has undergone a dramatic transformation in recent years, and El Cartel Mexicana are one of the new residents. The Edinburgh-owned Mexican restaurant has a fantastic vibe and excellent options for fans of tacos and margaritas, just off the Royal Mile.

In Leith, The Pitt street food market (125 Pitt St) offers the chance to spend your evening with an alfresco beer in their courtyard and dinner from some of Scotland’s best food trucks.

In Tollcross, Timberyard (10 Lady Lawson St) plays host to some inventive cooking in a 19th century props warehouse, with a great view of Edinburgh Castle waiting outside. In the New Town, Noto (47a Thistle St) is tucked away between Rose Street and George Street, but if you can find it, it’s a cool minimalist space serving brilliant small plates.

Cosy pubs and cocktails Edinburgh is home to some of the very best cocktail bars in the UK, and a group of them are clumped together in the New Town.

There’s Bramble (16a Queen St), an underground speakeasy with moody lighting and brilliant cocktails; Lucky Liquor Co (39a Queen St) is bright and breezy upstairs with a pool room downstairs; Panda and Sons (79 Queen St) is hidden behind the pretence of being a barber’s shop, but inside it’s a warren-like bar with excellent drinks.

Elsewhere, Paradise Palms (41 Lothian St) is an all-action dive bar in the Southside with incredible neon decor and a charming outdoor patio. The Raging Bull (161 Lothian Rd) has an outrageously bright yellow exterior and no fewer than six variations of the espresso martini. If you want a taste of Italian aperitivo, head to Hey Palu (49 Bread St); the wine list is fantastic and the negronis are exceptional.

For a relaxing pint, Cloisters (26 Brougham St) serves up delicious ales in a building designed by Robert Rowand Anderson, the architect responsible for Bristo Square and the Scottish National Portrait Gallery. Teuchters (26 William St) is a rustic nook in the middle of the West End, ideal for a whisky by the fire. Down by the Shore, Carriers Quarters (42 Bernard St) is thought to be the neighbourhood’s oldest pub, while Nobles (44a Constitution St) is a classy and elegant slice of Victoriana with expertly-restored stained glass windows to let in that golden hour light.

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The Witchery

THE SKINNY

Photo: Forever Edinburgh

Advertising Feature

Sunset in Edinburgh

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July 2022

Discover more places to go and things to do in Edinburgh at edinburgh.org

Royal Mile Photo: Forever Edinburgh

Things to see and do Edinburgh is packed with well-programmed and characterful cinemas – take your pick from the art deco, family-run Dominion in Morningside, the century-old Cameo Cinema in Tollcross, or the brand-new Everyman Cinema at the St James Quarter with its cocktail bar and at-seat service. Filmhouse on Lothian Road is also excellent, bringing together films from around the world under one roof.

If you’re feeling more active, a private karaoke booth at Supercube in the New Town and Cowgate or the retro arcade games and drinks at NQ64 on Lothian Road, might be up your street. Ghillie Dhu runs regular ceilidh nights if you really want to burn off your dinner, or if you’re feeling more cerebral, take a trip to the Royal Observatory on Blackford Hill for s ome stargazing.

As well as those options, one of the best ways to spend an Edinburgh evening is being out and about among the city’s incredible history and architecture. Edinburgh is incredibly photogenic no matter the weather (be sure to tag #ForeverEdinburgh in your snaps). Head up the Royal Mile to the Castle Esplanade and look down on the city at dusk; walk through Holyrood Park and see Arthur’s Seat and the Crags catching the last of the light; or journey up Calton Hill for the sunset.

Teuchters Landing Photo: Forever Edinburgh

Beer gardens and rooftop bars When the weather cooperates, Edinburgh has a great mix of street-side beer gardens and rooftop bars to check out. The Beehive in Grassmarket has a spacious and secluded beer garden beneath the castle, while Cold Town House offers a unique rooftop view complete with repurposed ski lifts for seating. Elsewhere in the Old Town, the Nor’ Loft bar in the new Market Street Hotel (​​6 Market St) has a great city view and a champagne selection to go with it.

Down at The Shore, Teuchters Landing (1c Dock Pl) is truly unique – how many bars have their own pontoon? Grab a pint or a single malt, and hover gently over the water. Over in the New Town, the beer garden at the Cumberland Bar is always lively with students and locals enjoying the sun in the shade of a frankly enormous willow tree. Rooftop 51 at the Moxy hotel on Fountainbridge offers a different vantage point, and the Royal Dick bar at Summerhall is a sprawling suntrap alive with buzz from the arts venue. At the border of Leith and the New Town, the Glass House Hotel’s rooftop area is vast, tranquil, and gives a great view down Leith Walk.

THE SKINNY

Perspective on Life We speak with Working Men’s Club’s Syd Minsky-Sargeant to find out more about the Yorkshire band’s forthcoming second album, Fear Fear

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yd Minsky-Sargeant is an enigmatic presence. The Working Men’s Club leader heads up one of the most curious band dynamics in Britain. Officially a four-piece along with Liam Ogburn, Hannah Cobb and Mairead O’Connor, Minsky-Sargeant is the only one playing on the group’s desolate synth-pop second album Fear Fear, an ambitious advancement on their self-titled debut that sounds as if Giorgio Moroder had a lovechild with New Order.

Refusing to be drawn too deeply into the inner workings of the group, Minsky-Sargeant says firmly: “No one else plays on the record. Not to be dismissive of the band, because they inspire me in other walks of life, but the recording process is just me.” Following the acrimony around the first release that saw two original members of the band depart in less than pleasant circumstances, Minsky-Sargeant is much happier now with the lineup, and how the current crop have accepted their role is to gravitate around his creative force: “It works well the way it does.”

The prodigal 20-year-old started working on Fear Fear not long after the 2020 release of their self-titled debut during the peaks of the pandemic.

On the surface, it’s a piece of work that, while undoubtedly personal, reflects the milieu of anxiety, restlessness and division that has permeated through society over the last two years. It is of course a time where there is a lot to be fearful of; whether that be COVID’s sustainability or the

renewed threat of nuclear war or rampaging inflation, Fear Fear is a sign of the times.

While Minsky-Sargeant admits the unprecedented events of recent times influenced him “definitely up to a point”, he says the inspiration for the gloomy material on Fear Fear is coming from his own “personal perspective”. He adds: “Not to dismiss the big things going on but it’s more my own thoughts in relation to what I’ve suffered with, and my existential anger with what’s going on in the world.”

Fear Fear is a body of work that does confront a 21st century angst in really quite direct terms. In particular, Money Is Mine pulses with a repetitive hook about mental health but MinskySargeant is evasive when it comes to how directly it was drawn from his own experiences. “It’s a song that’s not necessarily specific to me,” he says, “but it’s not necessarily from anyone’s perspective. It doesn’t have to be about me.”

Fear Fear also seems to build on a central theme from the debut – disconsolate frustration at small town life. On Circumference he sings: ‘Walking around this futile place / Such a disaster uneducated’. He describes it as his “perspective on life”, that he wouldn’t want it to be “wider than my own viewpoint”, stressing that he is not putting down small towns in general, just that he didn’t always have it happy in Todmorden, the quiet market town in West Yorkshire where he grew up.

Photo: Lillie Eiger

July 2022 – Feature

Music

Interview: Sam Moore

“I do enjoy juxtaposing lyrics and music at the same time. It’s nice.

It’s quite funny in a dark way to show both sides of something” Syd Minsky-Sargeant, Working Men’s Club For all the downbeat lyricism, Fear Fear is an album that booms and grooves with euphoric synths and bouncing rhythms that wouldn’t be out of place at a rave in the middle of an industrial estate.

Minsky-Sargeant says it was deliberate to create a dissonance between the fatalistic lyrical content and the booming sonics: “I do enjoy juxtaposing lyrics and music at the same time. It’s nice. It’s quite funny in a dark way to show both sides of something in a way people wouldn’t expect.”

It’s been nothing short of a whirlwind few years for the young man. Some of the tracks that made it onto Working Men’s Club’s first album were penned when he was just 16, and getting signed shortly after he experienced the chaos of the music industry at a breakneck pace without getting the opportunity to find himself and his sound with few onlookers. But he says it’s an experience he wouldn’t change for anything: “It’s been surreal but I guess there’s no right way or wrong way of doing it as it’s all I know. A lot of good stuff has come over the last two years. I’ve got to release two albums and people are listening to them. My job is to make music and I feel fortunate to do so.”

Minsky-Sargeant is a restless spirit, always creating, always tinkering, always searching for that piece of technology that can best communicate his feelings. When we speak he’s in the studio working on tunes, a process he commits to most days. Is he starting to put together the skeleton for album three? He won’t say but we can’t wait to hear what it is.

Fear Fear is released on 15 Jul via Heavenly Recordings

Working Men’s Club

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workingmensclub.net

THE SKINNY

Weights and Measures We chat with Belfast’s Robocobra Quartet and discuss everything from capturing the energy of their live shows on their new record to why Ed Sheeran should try something new Interview: Max Pilley

Music

Photo: Colin Armstrong

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Robocobra Quartet

“If you spend your whole life eating McDonald’s, why not try some Korean food or go to the Asian supermarket?”

Chris W. Ryan, Robocobra freeform maelstrom of warring saxophones in a therapeutic, cleansing and ultimately joyful relief of tension. It is the one track where the band allowed for substantial in-studio improvisation and it reaps dividends. “Chromo Sud is very much a catharsis,” says tenor saxophonist Thibault Barillon. “I didn’t approach it intellectually as such, it’s about what it feels like.”

“For me, you’ve got to have positivity,” replies Ryan. “A lot of our stuff has light and shade. We’re not a gothic band, there might be moments of weight, but there will be moments of light and levity too, that’s just what life is like.”

The band, who formed while studying at the Sonic Arts Research Centre (SARC) at Queen’s University Belfast, have a mischievous ‘no guitar’ policy to their membership. “Guitars can be used for good or evil,” Ryan explains. “Look at Richard Dawson and his beautiful use of guitar, but then look at fucking Ed Sheeran or a billion boring, shite guitar bands that are bland and recreating something from the 70s. Anyone can play guitar, but why don’t they play harp? Try something else! If you spend your whole life eating McDonald’s, why not try some — 35 —

Korean food or go to the Asian supermarket?”

Robocobra Quartet’s music instead revels in its bass and saxophone leads, and the precious spaces in Quartet between. Ryan’s full-time work as a music producer and engineer – he has helmed recent projects by fellow Irish bands Just Mustard, NewDad and Enola Gay – heightens his appreciation for the minutiae of recorded music and, as he puts it, the musical Trojan Horse, or “stealing little interesting ideas from the avant-garde and encasing them into what we are.”

That embrace of the experimental mindset, along with the band’s particular combination of styles, makes it no surprise that they were cited as an early influence by the all-pervasive Black Country, New Road, a link the band are more than comfortable with. “When we were trying to sell our first album,” says Ryan, “nobody knew how to describe our music. Now, it’s like, cool, it sounds like Squid or Black Country, New Road. If it pushes people forward into being interested in strange new music, then let’s do it. I’m happy to be the Daniel Johnston to someone else’s Nirvana.”

Living Isn’t Easy is out now via First Taste Records Robocobra Quartet play Broadcast Glasgow on 28 Aug robocobraquartet.com

July 2022 – Feature

sk almost anyone in the Northern Ireland music community to name the most under-appreciated band in the region and you’ll hear the same name over and again: Robocobra Quartet. Led by drummer/vocalist Chris W. Ryan, they have been mainstays on the live music circuit for a decade now, performing a freewheeling collision of loose jazz and driving post-punk. Their third album, Living Isn’t Easy, is their most cohesive body of work to date, melding the two poles of the band’s musical identity into one fearsome, steamrolling juggernaut.

There are – for now – six permanent members of this ‘quartet’, although for each performance they stick strictly to a rotating four-musician lineup. Just as the personnel vary from night to night, so too do the flavours of music on offer: one week you’ll find them in a concert hall at a European jazz festival, the next in a sweaty underground indie venue, both equally natural homes.

Their enviable live reputation stems from their willingness to embrace the infinite possibilities that on-stage improvisation can offer, and for the new album, they channel that stage version of the band into the studio setting. “I love hardcore and punk bands like Bad Brains and the Ramones who made killer debut albums that they recorded in a day, because it was just their live show,” says Ryan. “The live thing is usually where we really win fans, so this time we thought, why don’t we really try to capture some of that energy.”

It makes for an intoxicating listen, where tracks can swing from a vibrant, jaunty skip to a crashing, swirling headspin on a whim. Ryan’s vocals, meanwhile, are delivered in such spoken, conversational tones that the listener can feel as though they are intruding on his personal diary entries. “Sometimes the spoken word can be quite melodramatic or artificial,” says Ryan, “but for me, I just love all those little interesting things about the voice when we speak to each other. I like mining those adages and colloquialisms.”

Far from a contrived style, Ryan’s delivery serves to accentuate the lyrical themes that dominate Living Isn’t Easy: the helplessness associated with navigating a way through late-stage capitalism as a young creative, the crushing reality of the housing crisis and, most pointedly, the mental health pandemic (the band members’ own antidepressant doses were etched into the runout groove of their 7” Wellness single). “I’m actually quite a positive person,” Ryan argues. “I have this optimistic nihilism. What makes me comfortable is that nothing matters, and so there is freedom in that.”

It is an attitude that explains the album’s centrepiece, Chromo Sud, on which our protagonist wails against the impossibility of owning his own home over an agitated, taut arrangement, before the track blossoms into an expansive,

THE SKINNY

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FLWRPWRS, Nathanial Russel

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July 2022

THE SKINNY

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THE SKINNY

Best Practice With an aim to make Scotland’s music festivals safer for all, we chat with POWA, Fanny Riot and Popgirlz about the launch of Friendly Festivals in Scotland Interview: Ashley Stein Illustration: Viki Mladenovski

Music

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fully on board, like Kelburn Garden Party who we are currently working with.”

Popgirlz were brought into FFS due to their 2020 Scotify campaign, where diversity issues were highlighted within Spotify’s ‘Scotify’ playlist, and their lecture series which breaks down Vick Bain’s Counting the Music Industry research and discusses inequalities within playlisting. Popgirlz founder Rachel Alice Johnson says: “FFS is a crucial campaign that aims to ensure the safety and health of attendees and workers at Scottish music festivals. Festivals should be fun and sociable, where music can be enjoyed safely.”

The FFS dataset will be updated monthly and has already received positive responses from TRNSMT, Hidden Door and Celtic Connections. As POWA states: “FFS wants to stop predatory behaviour at festivals and having a sexual harassment policy clearly displayed will hopefully prevent someone being assaulted this summer. It’s that black and white. Prevention-based approaches like policies and education programmes are the world standard for tackling gender-based violence.”

Evidently, good intentions in the form of signposting to support services is not enough, and a sexual harassment policy is worthless if it’s not visible to ticket buyers, staff and performers. Music festivals must prove they can provide a safe and enjoyable experience for all by providing clear policy, investing in safeguarding training, and ultimately taking responsibility for what happens at their event. The safe, supportive and inclusive music industry we want is attainable, but only if those at the top are willing to make changes that benefit everyone.

“Festivals should be fun and sociable, where music can be enjoyed safely” Rachel Johnson, Popgirlz

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Four more organisations tackling sexual assault and harassment in the music industry Girls Against Girls Against is a non-profit that stands up against sexual assault and misogyny in the live music scene, and acts as a support network for victims. girlsagainst.co.uk Good Night Out Campaign The Good Night Out Campaign helps nightlife spaces and organisations better understand, respond to and prevent sexual harassment and assault, through specialist training, policy support and an accreditation programme. goodnightoutcampaign.org Gig Safe Glasgow Gig Safe Glasgow is a non-profit that hosts help desks within venues to tackle issues such as harassment and discrimination, as well as to provide a general sense of security to whoever is in need. gigsafeglasgow.co.uk Association of Indpendent Festivals The Association of Independent Festivals is the UK’s leading non-profit festival trade association and creator of a charter of best practice aimed at tackling sexual violence at festivals. aiforg.com If you run a festival and want to talk with FFS, email: info@friendlyfests.com friendlyfests.com

July 2022 – Feature

2018 YouGov poll found that 43% of female music festival goers under 40 had experienced unwanted sexual behaviour, with only 2% of incidents being reported to the police. The statistics were shocking, especially considering the Association of Independent Festivals had launched its charter of best practice, aimed at tackling sexual violence at festivals, just one year prior.

Four years on, perhaps due to little evidence of change, AIF has relaunched its charter, with 103 UK music festivals signing up. In Scotland, however, it has taken the joint effort of three activist groups to work towards inciting real change.

POWA (Protection of Women in the Arts), Fanny Riot and Popgirlz have collaborated to create Friendly Festivals in Scotland (FFS), a dataset detailing which Scottish music festivals have clear policy published on their website about the prevention of sexual harassment and assault.

Before publishing the dataset, FFS contacted each festival, giving them the opportunity to commit to publishing a clear sexual harassment policy on their website. Shockingly, only one festival – HebCelt – had a visible policy before FFS was launched. The dataset offers a new way for ticket buyers, performers and staff to see what festivals are committed to safeguarding against sexual harassment.

Edinburgh-based musician and activist Lou Mclean tells us why having access to this information is so important: “Almost every female musician, staff member and attendee I know has experienced some form of harassment or assault at a festival. Backed by the YouGov research, and supported by other organisations, we have a chance to make Scotland’s festivals safer. Although the literature focuses on cis women, I know genderqueer people and men who have also experienced this. It’s important for all of us to make a stand and say this is not acceptable. It never was, we were just expected to put up with it.”

FFS is based on Fanny Riot’s FLAPS project which supports Scottish Music Festivals to make their 'event' safer by being “present at festivals with a safer space tent, engaging with the public and providing on-site first responders to any sexual misconduct issues” says Marie Williamson of Fanny Riot. “FLAPS has one rhetoric – consent and respect – and we want festivals to ensure they are being visible and proactive in this too. FLAPS has been met with resistance; some say their festival doesn’t need a safer space as they are already doing enough. Unfortunately, this isn’t the case when looking at the statistics and listening to personal stories. There are those, however, who are

THE SKINNY

Lucked Out Clubs

Record label and design studio LuckyMe celebrates its 15th anniversary this year, so we looked back at its history, from its early days on MySpace to its game-changing releases Words: Nadia Younes Image: LuckyMe

July 2022 – Feature

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ast your minds back to 2007, an undeniably huge year for pop culture. It was the year the first ever iPhone was launched, Preston walked off Never Mind the Buzzcocks, Britney shaved her head, and Ross Birchard – better known as Hudson Mohawke – launched his Valentine’s Slow Jams series with then little known record label LuckyMe. Birchard revived the series in February this year, following a five-year hiatus and marking its 15th anniversary. The series began and continues to be presented by LuckyMe – the record label and design studio co-founded by Birchard alongside Dominic Flannigan, Martyn Flyn and Mike Slott – which has gone on to become one of the most influential record labels of the last decade.

LuckyMe’s roots date as far back as 2002, when Flyn first came up with the name, and it existed in different guises in the years following; as a club night in Glasgow and an EP title for a joint project between Birchard and Flannigan. But LuckyMe officially became an entity on 7 July 2007, when it launched its first website. The label’s first official release came in October that same year with Hudson Mohawke’s Ooops! EP, released in collaboration with Glasgow’s Wireblock Records – which later went on to become one of the three labels that formed Numbers – and Rub A Dub.

“The chopped and skewed visual aesthetic mimicked the wonky electronic/hip-hop hybrid sounds the label was producing”

During this time, the label was also showcasing its artist roster through a series of club nights across Scotland. Some of its earliest club nights took place at Edinburgh’s Octopus Diamond – now known as The Mash House – as part of the label’s brief LuckyMe: Drums party series. It’s at these parties in Edinburgh where Flannigan and Flyn met close label affiliate Russell Whyte, better known as Rustie, who co-founded LuckyMe’s club offshoot in Glasgow, Ballers Social Club, alongside promoter Joe Coghill.

From the off, LuckyMe had a distinct visual identity, incorporating Flannigan’s art school background. The chopped and skewed visual aesthetic mimicked the wonky electronic/hip-hop hybrid sounds the label was producing. It felt like an underground take on the stuttering productions pioneered by Timbaland, who was riding high in the charts at the time and whom Birchard has cited as one of his favourite producers.

Making its way up during the age of MySpace, LuckyMe was ‘internet’ before it became a subculture. Before the birth of SoundCloud rappers and TikTok sensations, there were MySpace bands and Tumblr girls. As the very first social media platform to reach a global audience, MySpace allowed the label to put out releases whenever and however they saw fit and enabled them to transcend location; to not be bound by one genre or place.

And as LuckyMe’s presence started to grow online, so too did its artist roster. With a quick glance at the label’s discography over the years, you’ll find a who’s who of experimental electronic artists from Scotland and beyond. Jacques Greene, Lunice, Baauer, Machinedrum and S-Type are among those with multiple releases on the label, but it’s Birchard who is perhaps LuckyMe’s biggest success story.

After signing to Warp Records to release his debut album Butter in 2009 – for which fellow LuckyMe alumni Konx-om-Pax designed the artwork – Birchard began to gain more mainstream — 40 —

“Making its way up during the age of MySpace, LuckyMe was ‘internet’ before it became a subculture” success but kept close ties with LuckyMe. So when it came to releasing his debut EP with TNGHT – a collaborative project between himself and Canadian producer Lunice – in 2012, the two labels joined forces.

TNGHT, quite literally, changed the game, and the big names came knocking. Birchard was swiftly signed to Kanye West’s G.O.O.D. Music imprint as a producer and enlisted to produce tracks on West’s 2013 album Yeezus and its 2016 follow-up The Life of Pablo. This brought about further interest, and he went on to produce more tracks for some of the biggest names in hip-hop, including Drake, Lil Wayne and Azealia Banks.

In the meantime, Flannigan and Flyn were being made offers to sign over the rights to LuckyMe from some of the biggest record labels going, but they refused. Since then, the pair have continued to run LuckyMe between offices in Edinburgh and London but with an artist roster that spans across the globe, and the label has been responsible for some of the most interesting and innovative releases of the last decade. It has also expanded its work in the design world, branching out further into photography, videography, installation, creative direction and fashion.

Over the last 15 years, LuckyMe has set the standard for independent record labels across the world and helped define the sound of a generation, without ever giving up what it stands for and always remaining two steps ahead.

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Clubs

July 2022 – Feature

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July 2022 – Feature

Theatre

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THE SKINNY

Wet, Wet, Wet Stand-up and podcast star Alison Spittle talks to us about her newest Edinburgh Fringe show, the importance of context, and only a little bit about poo Interview: Louis Cammell Comedy

O

could say years ago and they’re not able to say now. And it’s like, there’s actual curtailing of freedom of speech happening now and the government are involved and [they] don’t seem to care about that.”

The contrast between current affairs and crass has laid the path for her new show. “I was originally going to make it fun,” she says, “but now it’s also about violence and other stuff.”

As Spittle says though, “There’s a distrust of people who find lots of stuff funny all the time. [It’s why] context is so [important]. I love doing stand-up at The Pleasance and I love doing it in a room but like, if I did it on a bus I’d get sectioned.”

Alison Spittle: Wet, 3-28 Aug, 4.45pm, Pleasance Courtyard Follow Spittle on Twitter @AlisonSpittle, Instagram @alisonspittle, and listen to both Wheel of Misfortune and The Guilty Feminist wherever you get your podcasts

July 2022 – Feature

— 43 —

Photo: Karla Gowlett

n her own birthday, Alison Spittle is in her room, on Zoom, very generously giving us her time. It’s the same room she lived in throughout lockdown, only with more in it. “I’m just sort of surrounded by gravestones of hobbies that I thought I could do,” she says. This year, with things looking more optimistic, her mind is on the Fringe. “Edinburgh suddenly feels very real now. The whole process of writing the show and promoting the show.”

But she’s set on not losing out on the joyousness of the Fringe: “I don’t see the point in just not going mad this year.

Because we get told constantly, you know, there’s war, there’s going to be a cost of living crisis, everything is bad. But just to have fun will be great. Shit happens but essentially we’re going to be at the biggest arts festival in the world. I’m scared of the financial aspect of it of course, but I recommend it to everyone: Just have a great summer this year. Because if you have a bad summer this year, it’s not going to help you in the winter.”

Spittle’s finding the promotional aspect particularly difficult though. “It’s very surreal, trying to promote your comedy show without giving too much away.” Part of the issue is people expect her to always be in joke-machine mode; the one she enters when writing for TV shows like Have I Got News For You. “I did [a talk show] yesterday in Ireland. Everything is supposed to be funny but… there’s a bit in my new show [Wet] about contraception and how a contraceptive had destroyed my mental health at one point. And they were like, ‘Oh yeah, tell us more about the coil!’ And in my head I’m like, ‘no but this is live, I can’t tell people [that stuff when] there’s a man cooking a stir-fry...nearby.”

And the preconception doesn’t just follow her onto television.

“I went to a funeral once and a close relative of mine was like, ‘No fucking jokes today, Alison!’ and I was like, ‘No, I am a human, I’m capable of knowing what’s appropriate and what’s not.’”

Perhaps her BBC Sounds podcast Wheel of Misfortune, replete with countless stories of defecation that she and Fern Brady (and now a guest co-host) gleefully read out, has contributed to this occasional perception of Spittle as ‘puerile’, as the Daily Mail put it. (“I love that [they] called us [that]. I was like, yeah you’re correct.”) She’s even picked up her own IRL poo anecdote. “I’ve had an audience member shit themselves at a Fringe show,” she says with only minor prompting. “A reviewer had come in… [I got] three stars and d’you know what? Fair.”

She leans into a self-deprecating caricature throughout the conversation. “Essentially I’m just a clown,” Spittle says at one point. But anyone who has heard her on The Guilty Feminist podcast knows that she’s more than just a jester. The show has a die-hard listenership that she praises for taking real-life action against the topics discussed on the show, such as the UK Police and Crime Bill; a series of controversial changes to the way protests are policed that would come into effect this April.

“The policing bill [discussed in episode 247] was something that really interested me,” she says, “because it’s an actual attack on free speech, essentially, and comedians go on about free speech all the time. It drives me mad that I think some people equate freedom of speech with slurs that they

Alison Spittle

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I’ve Got a Bad Feeling About This Film

Recent Star Wars films and shows have struggled to deliver the mythic tropes that fans desire without feeling like they’re retreading old ground. How does the new Disney+ series Obi-Wan Kenobi fare?

Words: Ben Nicholson

July 2022 – Feature

W

hen Disney bought Lucasfilm in 2012, the potential of a rejuvenated Star Wars brand seemed infinite. A decade on, a patchy record has seen ambition curtailed – particularly on the big screen – amid a growing sense that the company doesn’t quite know how to handle its prized property. When The Force Awakens was released in 2015, reactions primarily ranged from broad enjoyment to ecstatic rapture, but within the dissenting voices, often cited was a feeling of déjà vu in the film’s re-tread of overly familiar story beats. This very issue has come to be something of a defining quandary during the following seven years of Star Wars projects: how to move forwards while also paying homage to, and capitalising on the cultural cache of, the existing stories.

This predicament has come to the fore in various guises: moments of fan service like Darth Vader’s explosive cameo in Rogue One; vitriolic responses to Rian Johnson’s defying of expectation in The Last Jedi; laboured and unimaginative placatory decisions that plagued the next instalment, The Rise of Skywalker. The same dichotomy was evident in the best and worst moments of recent Disney+ shows The Book of Boba Fett and The Mandalorian – the latter is held up as an example of Lucasfilm managing to strike the right balance.

This ongoing issue has recently resurfaced in the shape of Ewan McGregor’s return in the limited series Obi-Wan Kenobi. It is not McGregor’s return itself that has caused umbrage. While the prequel films were often lambasted, McGregor’s portrayal of a young Alec Guinness was considered a highlight by many. However, the notion of a series depicting a period in which that character is, canonically, a hermit living in the desert, left some significantly less than enthused.

New Star Wars films seem to have been placed on indefinite hiatus but the Disney+ upcoming roster is overflowing with familiar names in titles like The Book of Boba Fett, Andor and Ahsoka. It’s difficult to disagree with the underlying point and there is no denying that forcing stories to navigate in increasingly labyrinthine narrative spaces with predetermined conclusions runs the risk of becoming tiresome.

There is also, though, the consideration that Star Wars trades in a marriage of the new and the familiar, and it always has. In recent times, there has been regular reference to a quote in which Star Wars creator George Lucas described the films as like poetry – in as much as the stanzas rhyme.

These rhymes are effectively the mythic tropes that

Lucas used to construct the first six chapters of the story and they continue to supply a blueprint: the déjà vu people felt watching The Force Awakens was also present when watching The Phantom Menace, as both are rhymes that complement A New Hope. In the same way that John Williams’ music for Star Wars is adept at picking out motifs and developing them in new ways, so the Star Wars mythos returns to scenarios, visuals, and dialogue but also, when it’s successful, it – crucially – takes them in new directions.

Ultimately, the reception to the different titles seems to have correlated fairly closely with how well the project was perceived to have calibrated this required balance. Lucasfilm’s head honcho Kathleen Kennedy recently implied that the casting of Alden Ehrenreich as a young Han Solo was the reason for the failure of Solo. But that doesn’t quite scan. People went wild for Donald Glover’s take on the beloved character Lando Calrissian, after all. Perhaps it’s also possible that the film missed the mark with its rhymes? At the other end of the scale, The Mandalorian seemed bold and free while actually leaning heavily into familiarity; its two main characters are slightly reimagined versions of fan favourites, and it is mired in existing lore while co-opting guest star appearances from characters

— 44 —

previously seen in animated shows like The Clone Wars and Rebels.

And so, to Obi-Wan Kenobi. In the first few episodes, the show felt like it was doing little new with format or material, but as it found its feet it became a compelling set of character studies – not least in the way it deepened the complex relationship between Obi-Wan and Darth Vader. It was filled with allusions to prior stories, including an episode that riffed on the last section of the popular video game Jedi: Fallen Order and concepts that borrowed liberally from the original, prequel and sequel trilogies, as well as animated series. While the lack of central jeopardy might understandably have put certain people off – several main characters are known to still be alive and well ten years after these events – it did deliver three impressive character arcs and a suitably sombre tone, along with memorable action set pieces. Did the world need to know what Obi-Wan was up to in the desert? Perhaps not, but this felt like a Star Wars offering that delivered an emotionally satisfying vignette while both breaking some new ground and sticking the delivering of a well-composed rhyming scheme.

Obi-Wan Kenobi is streaming now on Disney+

THE SKINNY

Gen Z’s Cultural Education Film

Gen Zs are discovering the delights of Kate Bush through coming-ofage sci-fi hit Stranger Things, and cultural gatekeepers are outraged.

But they shouldn’t get in such a tizzy. Classic art has always been recontextualised by contemporary pop culture Words: Lucy Fitzgerald

I

ing curiosity in young people?

The imperious reaction to Bush’s resurgence is a somewhat elitist one. Who cares if some kids had no clue who Kate Bush was until last week?

They are interested now, and widened accessibility is never a bad thing. Surely, if you believe in the quality of something so passionately, you want it to live on, as posterity is owed its mastery too.

This condescending attitude towards young people being excited about something is not only annoying but completely unfair. Today, there is no wholly prescriptive or organic way to consume culture. In the digital age, it will continue to be increasingly fragmented (shoutout to TikTok) so we should be grateful that Kate Bush’s soundtracking in this instance was so tastefully executed; integral to the plot, its poignant placement complemented the emotional stakes and, hardly an anachronistic imposition with Stranger Things being set in the 80s, the song’s full evocative shine remained intact.

Young people navigating culture today are totally overstimulated – the sensory overload and volume of content to consume is inordinate. So, if a couple of songs or films, no matter how famous and beloved, fall through the cracks, that is okay (remember when, in 2019, Billie Eilish, then 17, was shamed for not knowing who 70s rock group Van Halen were? Ridiculous). The obvious impossibility of knowing everything must be acknowledged

“One of the great things about art is, no matter what the circumstances are… the art is always going to be there essentially unchanged, ready for you, waiting for you, to be ready to receive it” Wesley Morris — 45 —

– everyone has to do some culture catch-up at some point. To indulge the logic of the contrarians in question, we will always meet inconsistency. For example, I doubt anyone who levels this attack has recognised every sample in every song they’ve ever heard. Art has always involved recontextualising and reimagining what came before.

Furthermore, I believe it does not matter how cheesy or “lamestream” the context of a first experience of a respected piece of art is. As a Zoomer consumer myself, it was Harry Styles who properly introduced me to Fleetwood Mac, after integrating his cover of The Chain into his regular setlist. It was The 1975 who made me aware of Federico Fellini with 8½ imagery in one of their music videos. An extremely mediocre Netflix teen dance movie (Work It) with a cast of C-list, former Disney stars introduced me to Thus Spoke Zarathustra, the seminal text of German philosopher Friederich Nietzsche. Disney Pixar’s Cars presented me with a spectrum of country legends, from James Taylor to – stay with me on this – Rascal Flatts. Another personal launch pad, dare I say pedagogy at its peak, was Glee covers, baby.

The show’s obnoxious oeuvre genuinely gave me an expansive education on the modern American songbook. Not the most sophisticated examples, I know, but through cringe comes clarity. May we all swim through a cultural estuary, where the lowbrow tide meets the highbrow stream.

Indeed, there can be tremendous value in retrospective learning through pop culture. For example, while not knowing anything about The Good Friday Agreement is a stinging reflection on the deliberate gaps in the British school curriculum, learning of its detail via Channel 4’s Derry Girls is pretty damn productive.

Ultimately, of course, it is natural to wonder how someone might have missed such a ubiquitous product of the zeitgeist, but it does not warrant condemnation. The redundancy of the negative online reaction to Gen Z discovering classic cultural texts through modern media is clear: it is a vain attack. After all, isn’t a stamp of approval from the youth a good thing? It means your tastes are still relevant and cool! You are not yet obsolete! I for one know that if in 37 years from now the kids are just discovering the merit of Doja Cat, I will champion their curiosity, nourish their interest, and share in their joy.

Stranger Things Season 4 is currently streaming on Netflix

July 2022 – Feature

n the weeks since season four of Netflix’s Stranger Things dropped, Kate Bush’s haunting 1985 masterpiece Running Up That Hill (A Deal With God) has climbed the transatlantic charts.

Topping iTunes and Spotify and now being reserviced for radio play, its triumphant mainstream renaissance is thanks to the popular sci-fi drama prominently featuring it in multiple episodes and a new generation of kids discovering its glory. But such enthusiasm from Gen Zs immediately sparked an intense online reaction, with older Twitter users disapproving of commercial titan Netflix, in 2022, being the entry point for so many into Bush’s illustrious and dynamic catalogue. But why stir up such a gatekeeping, pointlessly snobbish response? At the end of the day, does it really matter where these young people accessed the art from?

In fact, a lot of recent media directed at the teenage/young adult demographic is getting increasingly referential to iconic cultural figures and works, from the Gossip Girl reboot casually praising the magnum opus of Hong Kong auteur Wong Kar-wai to Riverdale imitating The Godfather and neo-noir classic Chinatown (“Forget it, Jake. It’s Chinatown” becoming “Forget it, Jughead. It’s Riverdale”).

It is easy to dismiss this trend: it’s screenwriters flexing their bank of cultural references without actually serving the plot; it sounds verbose and pretentious when it’s coming out of a teenage character’s mouth; and ultimately it’s asking to be mockingly memed. And it is even easier to dismiss the young viewers who then eagerly relay such new-found cultural references.

But it is important to choose meaning over mockery, because really, Riverdale dropping Truman Capote quotes on the regular is actually useful.

The literary references in the baby Fifty Shades movies, the After trilogy, and Netflix thriller YOU are productive beyond their momentary name drop. They don’t exist in a vacuum; young people majorly benefit from them. They act as gateway introductions, function as a wellspring of culture, giving points of access to art that predates the young viewers consuming it, and significantly, they are presented through a modern framework.

Absorbed at a formative age, this is serious connective tissue for exploring and establishing identity through art. So why shun their fresh interest? After all, what is healthier than potentiat-

THE SKINNY

Structures in Mind The conversation around ADHD is increasingly opening up – but there’s still a lot that goes unsaid. We speak to women about their experiences with ADHD diagnosis, the structures which dominate, and workplace professionalism

July 2022 – Feature

Intersections

Words: Rosie Priest Illustration: Rachel Browne

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hat do the patriarchy, racism, and capitalism have to do with ADHD? It turns out quite a lot.

For women and folk from marginalised genders, approaching your GP to talk about a potential ADHD diagnosis can be frustrating.

Susan, a medical student, told me that “the first GP I spoke to basically laughed in my face, saying there was no way I could be studying medicine and have ADHD. I left feeling like I had embarrassed myself, and that feeling sat with me for a long time.”

That feeling of embarrassment, brought on when you finally reach out and ask for some help, is very familiar. “Were there any significant moments in your childhood that you can think of?” a psychiatrist asked me last week during an assessment for ADHD medication. I wasn’t sure how to answer so I talked about my father trying to burn the house down with me in it. Then I worried I’d been overly personal, and found myself sweating through my t-shirt with anxiety and embarrassment, running through my response in my head. I felt my face burning up; I was unable to focus; the psychiatrist’s words were just background noise to my own internal voice. I’m not sure what I expected, but I left their office with tears streaming down my face. Part relief at feeling heard by a professional for the first time, part devastating embarrassment from feeling like I had overshared.

Of course, I hadn’t. And, similarly, Susan would go on to receive a formal diagnosis some years after that initial GP appointment. But as women we’ve been taught to feel embarrassment or shame about being different – even if that difference comes from experiences inflicted upon us, completely out of our control. The embarrassment we feel trying to get support is created by the (patriarchal) world around us.

I spoke to some other incredible women about their experiences of navigating a late diagnosis of ADHD. Kyla says, “A lot of people who don’t fit in the diagnostic criteria and ones who have a later life diagnosis, typically women, may

“If the world allowed women to exist without the need to fit into a capitalist 9 to 5 regime, I’d never have ended up on this ADHD journey”

come from a rough family life, or just not having the support system in school or wider society. The internalised ableism and the intense critical lines are then masking trauma so hard to fit in and to fix themselves and to be better.”

Masking typically involves covering up your ADHD symptoms, often mirroring those around you, requiring intense and exhausting concentration. But Kyla’s words made me realise that the brilliant job I had done of masking the trauma of a chaotic and complicated childhood was also playing out by masking my ADHD. And so, late ADHD diagnosis isn’t just about uncovering the masking we’ve done to fit in: it’s also about uncovering the masking we’ve done to hide trauma.

For Charlene, her experiences of seeking diagnosis have been even more complex. “As a Black woman, that caricature of a young white boy with ADHD being disruptive in school, I am so far from that stereotype that I don’t think I was ever taken seriously.” Charlene’s experiences reflect the racial health gap within the UK, in which Black people and People of Colour are not offered the same health support as white people. Despite spending the last four years chasing a diagnosis, Charlene has never been given the opportunity to be seen by a psychiatrist. “I was put on a waiting list at one point, but when I moved house of course that all got juggled around and lost. I don’t have the energy to keep chasing.” My — 46 —

two-year-wait for a diagnosis seems small in comparison. For Charlene and many others, self-diagnosis is the only diagnosis they may ever get. Of course, this means medication is not available.

But getting to the stage of medication is not without its complications. Kyla recalls: “Day one of trying meds I cried about three times just from the sheer quiet of my brain and [that] I could focus on my work. The whole purpose of the meds is to be able to focus on work in the workplace and that’s gross and capitalist and frustrating.”

I think about that focus on work a lot. If the world we lived in were less ableist, if I was allowed to work in fits and starts, to exist chaotically, to ‘overshare’ in professional settings without being engulfed by embarrassment, perhaps the urge to seek medication would be less. If the world allowed women to exist without the need to fit into a capitalist 9 to 5 regime, I’d never have ended up on this ADHD journey.

The women I spoke to talked about feeling overwhelmed, stressed and exhausted. But if the patriarchal structures which force intense masking on women with ADHD, the racist structures that disallow PoC equal access to medical treatment, and the capitalist structures ableist ways of working were dismantled, would those feelings remain? My guess is not.

THE SKINNY

Feeling Scottish Looking to the future, one writer reflects on Scottish identity and finding joy in communities of colour Words: Hazel Peters Illustration: Jacqueline Briggs know that there are Guyanese people who look like me, while in Scotland very few folk seem to look like me.

For a long time my existence in Greenock was miserable. I realised my peers didn’t see me as the same type of Scottish as them, and the best survival tactic was suppressing my mixed/Black identity and Guyanese and Caribbean culture. If I didn’t talk about my culture and identity, people could almost forget that I was different. Emphasis on almost. It was exhausting holding together the palatable-to-white-people persona that I had so carefully crafted. I sat quietly in class, not sharing my thoughts on the racism and sexism of our education system, or my readings on Black British history. I locked these parts of my life away, myself my only confidant. I felt trapped.

At age 13, I began to plan my escape. As soon as I finished high school, I was off to an English city. English cities promise an ethnic diversity that Scotland’s cities simply don’t (the 2011 census found that 44.9% of the population in London was white British and 53.1% in Birmingham, compared to 78.6% in Glasgow). Images of me walking down the street and simply seeing other Black and brown faces played in my mind like a film montage. In this film, the protagonist’s deepest desire

is just to feel normal for once in her life.

In hindsight, I believe this intense drive to leave Scotland was due to the lack of family and friends tying me here. I had nothing to lose by leaving and everything to gain. My Guyanese family live in the USA and we have a close relationship, despite the distance. I may always physically be present in Scotland, but mentally and emotionally I’m often elsewhere.

However, recently my tunnel vision has begun to clear. Eighteen months ago, I joined Intercultural Youth Scotland (IYS), an anti-racist charity for Black and People of Colour. IYS provides a weekly youth group in Edinburgh, with a focus on nurturing creative talent. A couple of train rides away, I found a space that affirms my identity and people who share similar cultural references and experiences. Suddenly living in Scotland wasn’t (and isn’t) so bad. I have finally found happiness, community, and opportunity here. Racism hasn’t disappeared, but it no longer feels like my survival depends on assimilation into white culture.

Subsequently, moving to England no longer feels so urgent. England still promises many things that Scotland doesn’t, but these things now come with a cost – namely, potentially losing the joy and connection I have found. What I have now is precious.

I don’t want to make a choice out of fear. IYS has taught me that I am capable of creating connections and community from the ground up.

At first, I was just the new girl from an unknown town, joining a close-knit group. If I can form meaningful connections once, I should be able to do it again. For me, home is wherever I find belonging. In that sense, I have multiple homes. My home can be with my family overseas or in Scotland; it can be at IYS in Edinburgh; maybe in the future it will be in England.

While my relationship to living in Scotland has changed, my relationship to being Scottish hasn’t. I just don’t feel very ‘Scottish’.

Nevertheless, I have found a strong sense of self without having a strong national identity and I am content with that.

July 2022 – Feature

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“I may always physically be present in Scotland, but mentally and emotionally I’m often elsewhere”

Intersections

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cotland is my home, but it hasn’t always felt like home. I have lived in Greenock, a small town on the River Clyde, my whole life, and yet I haven’t found a sense of belonging until recently. My life there has been characterised by being the ‘only one’. Until my younger sister started, I was the only person with Black heritage in my primary school. Even in secondary school, there was never another Black girl in my year and I was always the only Person of Colour in my friend group.

Little microaggressions, like always being asked if I’m a tourist when there is a cruise ship in town, have made it clear to me that I’m not considered Scottish – and they undoubtedly contribute to why I don’t feel ‘Scottish’. Yes, I’m not only Scottish.

I’m Guyanese too. But I’ve lived in Scotland my whole life, so I believe I should ‘feel’ Scottish.

I have always felt alienated from the ‘Scottish identity’. It’s an identity often perceived and portrayed as primarily white meaning that, in the eyes of others, my Guyanese culture and Blackness cancel out my Scottishness.

In comparison, I feel like a woman; I feel mixed race; I feel Black. I see myself in women, mixed people, and Black people because parts of their experiences mirror my own. Similarly, I see myself in the Guyanese identity. It is comforting to

Marchw 2020

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THE SKINNY

Album of the Month

Album of the Month Nina Nastasia — Riderless Horse Released 22 July

by Temporary Residence Ltd rrrrr Listen to: This Is Love, The Roundabout, Nature

Love and The Roundabout a very specific physical power, less like a recording and more as if you’re sat in front of her as she unleashes the song from within her for the first time.

This sense of a song being born in real time extends to the guitar playing as well. Not in an improvised way; rather it’s minimal, and never showy but always developing with feeling. It’s crucial to the lightness of touch that the record has a feeling of delicate hope that hovers in even its darkest songs. It gives the several songs of gentle joy across the album their buoyancy, never more evident than in the springy fingerpicking that carries Blind as Batsies along on its lovely wind of precarious optimism. It’s this simplicity, coupled with her ever gorgeous but similarly understated voice, that makes a song like the glowering Nature hit so hard. It feels coiled, primed to burst at any moment.

It’s been a long time, but Riderless Horse is a timely reminder of what Nina Nastasia has always done. Great songs, performed brilliantly, to devastating effect. A record of powerful simplicity, and a stunning return. [Joe Creely]

Read more online: theskinny.co.uk/music/reviews/albums

Working Men’s Club Fear Fear

Viagra Boys Cave World

Gwenno Tresor

RRRRr “an acutely refined album fuelled by energy and agitation”

RRRRr “warped, but excellent, post-punk excursions”

RRRRr “a thrilling and beautiful return”

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July 2022 — Review

The more than a decade between Nina Nastasia’s last studio album Outlaster and her new one Riderless Horse is the result of, in her own words, “unhappiness, overwhelming chaos, mental illness, and my tragically dysfunctional relationship with Kennan.” The Kennan in question is Kennan Gudjonsson, Nastasia’s former partner, manager and producer, whose 2020 suicide and the relationship they had, colours the album. It’s indicative of Nastasia’s talent as a songwriter that this period has brought a record as powerful and quietly emotionally vibrant as this.

The record strips away the full band and strings approach that were so key to the gothic atmospheres of her previous works, and leaves in their place just her voice and delicate guitar playing. It’s a brave move – the use of strings throughout her career has felt as crucial to her sound as her voice or guitar, but it pays off, often in remarkable fashion. The new, unadorned style gives an immediacy to her playing, a sense of closeness.

This, combined with Steve Albini’s typically naturalistic production, removes any obfuscation from the songwriting giving songs like the bruising This is

Albums

THE SKINNY

Superorganism World Wide Pop Domino, 15 Jul

rrrrr

July 2022 — Review

Listen to: Black Hole Baby, On & On

Katy J Pearson Sound of the Morning Heavenly Recordings, 8 Jul rrrrr Listen to: Sound of the Morning, Howl, Storm to Pass

A smorgasbord of sound and energy, World Wide Pop is Superorganism’s ambitiously weird take on pop.

Subverting ‘pop’ isn’t new, which makes it all the more special that in a saturated scene Superorganism have pulled off something wholly unique and – most importantly – fun. ‘Don’t mind me, I’m just a fruit fly that’s floatin’ on by’, Orono Noguchi drawls on Into the Sun over a backdrop of chaotic synths, drums, and a melody that progressively gets more complex and trippy. Her signature nonchalant delivery signals that, at times, amid absurdity and chaos, all that’s left to do is kick back and enjoy the ride.

WWP’s future-facing sound draws more from the ‘cut-and-paste’ ethos of the indie heyday than hyperpop. Indeed, many of the now five-piece, who hail from South Korea, Japan, Australia, New Zealand and the UK initially met online, making World Wide Pop all the more fitting, alluding to the collaborative spirit underpinning their work. While maximalism is at the heart of this record (at times on tracks such as Solar System it almost veers towards too much of too much), on the whole it finds the sweet spot between chaos and structure, silliness and depth, and it’s a banger.

[Anita Bhadani]

Katy J Pearson says she places an emphasis on longevity – that she wants to gradually perfect her craft over the course of several albums rather than chase overnight success.

Her second attempt might be too early to adjudicate, but it certainly seems we can take her at her word.

Granted, none of the singles from Sound of the Morning reach the same heights as Miracle or Take Back the Radio, but the album boasts undeniably matured songwriting and a fuller sound.

While it would be great to hear more complex writing in places, Pearson knows how to use simplicity to her advantage – The Hour is a repetitive and stripped-back lament for absent family members that leaves you wallowing in its sadness.

Sound of the Morning is filled with delightful instrumental details, from the title track’s opening rumble that suggests distant storm clouds, to the chromatic bassline on Alligator, to Black Midi’s Morgan Simpson’s stand-out drumming on Storm to Pass. Pinning it all together, as always, are Pearson’s birdsongadjacent vocals. It’s excellent, and filled with momentum, even if she could have gone a bit more ethereal on the ‘ooh-aahs’ at the end – we know she has it in her.

[Laurie Presswood]

Helena Celle Music for Counterflows False Walls, 15 Jul rrrrr Listen to: Music for Counterflows

Paolo Nutini Last Night in the Bittersweet Atlantic Records, Out Now rrrrr Listen to: Through the Echoes, Radio, Everywhere

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Commissioned for the online 2021 iteration of Glasgow’s Counterflows festival, this month sees Kay Logan’s work as Helena Celle, Music for Counterflows, get both a digital and physical release.

Musically, Logan weaves an hour of uninterrupted oceanic smothering. Whirling distant notes, immaculate rhythms and full mid-EQ washes all build the complex assemblage that functions as a tender, constructed organism of sound. We are fully submerged in process with Music for Counterflows and the work, built using MaxMSP, a visual programming software, is a journey full of an interdependent reactivity, a symbiosis of pushing, pulling and revolving.

Immense beauty comes from the play and interaction between Logan and these AI processes; there’s a latent sense of taking centre stage for all the crashes and melodies involved as they submerge and reemerge into immaculate textures that shimmer on the surface. It does well in muddying composition and performance with occasional dramatic outbursts that feel performed rather than composed.

Music for Counterflows is a top-drawer production that pushes at the edges of a particular technology in a considered, engaging and beautiful way. [Tommy Pearson]

Paolo Nutini’s return to music has been long awaited. Now, he returns with his most musically expansive album to date – Last Night in the Bittersweet. Finding himself writing more on bass guitar, tracks like Lose It, Acid Eyes and Led Zeppelin-esque opener Afterneath channel a new side to Nutini that’s both dark and enticing. However, other tracks like Petrified in Love and Desperation fall into the bracket of mediocre indie bangers – they lack in authenticity and would’ve been better saved for a super deluxe edition release.

But, it is undoubtedly the tender side to Nutini that shines through the most here. Through the Echoes is tear-inducing with its achingly beautiful choruses and is arguably his best track to date. Radio is also a hook-laden delight while the anthemic Everywhere shows Nutini in the lineage of Otis Redding with his trademark soulful vocals.

The album’s vast soundscapes show shades of psychedelia with soul, folk, rock and indie across its 16 tracks. Occasional spoken word excerpts add nice intimate touches with themes of love, heartache and introspection at the forefront of Nutini’s endearing lyrics. It’s not faultless, but Nutini still glimmers with magic on this magnetic new record. [Jamie Wilde]

THE SKINNY

Wu-Lu Loggerhead Warp Records, 8 Jul rrrrr isten to: Blame, Night Pill L (feat. Asha)

Miles Romans-Hopcraft’s debut album as Wu-Lu is an absolute nexus of influence. Loggerhead displays in abundance RomansHopcraft’s growth as an artist and varied listening: the shifting of genres, the restless approach to instrumentation and the range in vocal styles leave the album at once disparate but somehow coherent in its vision.

The punk wailing found on South (feat. Lex Amor), the almost Beck-like sounding Calo Paste (feat.

Léa Sen), and the breaks in lead single Blame, that morph into a mumbling skramz, all blur the album into a dizzying monster of uncertainty. This uncertainty is especially expressed on Calo Paste which lyrically targets rent, instability, and low income, bookended with the looped refrain: ‘I don’t wanna see your mental health go to waste’.

These swings, these shifts, at times feel as if there are 12 opening tracks for 12 albums here, which is both jarring as well as a phenomenal feat to pull off with any coherence.

Pensive, resting beats provide a backdrop to the album’s many experiments with it really popping in its quieter moments of lyrical reflection and confrontation. Loggerhead requires repeat listening to discover its true depth. [Tommy Pearson]

L isten to: Red Bird Pt. 2 (Morning), Dandelion

Maggie Rogers Surrender Polydor Records, 29 Jul rrrrr L isten to: Overdrive, That’s Where I Am, Want Want

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Maggie Rogers’ viral video plucking from relative obscurity back at the onset of what is now a glittering career seems almost quaint as unknown stars rocket to popularity at an eye-watering speed. But her rather too finely produced and overthought debut album has won her a surprising longevity. The title for her new album, Surrender, suggests an unclasping from that.

Rogers’ vowelly voice can be an unaffecting and expressionless instrument, which makes the unhinged production on the opening suite of songs feel particularly impressive, replacing the tasteful flower girl indie-pop of her previous work with songs that are brash, chunky and loud, especially on lead single That’s Where I Am, which turns the drums up to thrillingly ear-splitting levels. It works – Rogers’ voice becomes just another layer in the distorted mix. She may be singing about sex on Want Want, but it’s the placement, rather than the content, of her singing that makes it both pleasurable and able to convey a pleasure.

It’s a shame then that Rogers doesn’t commit to that oversaturated sucker punch. The baggy mid-section gives over to pared back singer-songwriter fare that reins it all in, the record’s bright flame burning out rather too fast. [Tony Inglis]

July 2022 — Review

isten to: 10:36, See You Soon, L Talk

Florist Florist Double Double Whammy, 29 Jul rrrrr

‘The home is a garden that I can’t keep alive’, Emily Sprague sings on Dandelion – one of many apt gardening metaphors found on Florist albums. The band’s new self-titled release is their first as a full band in five years, functioning as a form of rewilding. Recorded during a monthlong retreat, the band fill these songs with space and natural ambience; birds, crickets and rain noise duet with its members on a heartfelt collection of loose and explorative folk songs.

The band nails their melancholic atmosphere. Gentle resampled sounds and improvised guitar become a dreamlike base on the many instrumental interludes that keep us in Florist’s hypnotic spell. These half-formed pieces make each fully-formed song hit with new impact. Red Bird Pt. 2 (Morning) and Sci-fi Silence become gorgeous moments of clarity. On the former, Sprague reflects on the fleeting nature of memory after the passing of her mother. She searches for her own moment of clarity on a return to her childhood home, finding solace in the consistency of nature.

Florist already feels like an album to live and grow with. It’s a warm hug which asks the listener to smell the flowers every now and then. [Skye Butchard]

Albums

Beabadoobee Beatopia Dirty Hit, 15 Jul rrrrr

Welcome to Beatopia, Bea Laus’ (aka Beadaboobee) fictional, childhood wonderland once forgotten, now newfound and repurposed. After a personally damaging public embarrassment led Laus to shut its gates as a child, album two provides artistic license to reinvent the magical land as a boundary-free space for musical experimentation.

Laus bravely embraces her imagined world through not only sonic exploration but its successful discovery too. She soars through a variety of tones, including lullaby-like ballads, jittery jazz-infused pop, moving midwest emo and, of course, prickly post-rock. With the album credits as wide-spanning as Matty Healy, Jack Steadman, Georgia Ellery and even some of Laus’ best friends, it’s easy to understand the expansive array of soundscapes that appear here.

While Beatopia is audibly nostalgic, carrying a polished, defined early-noughties retro altpop/rock, Laus’ softly-sung lyrics are firmly placed in the now. Vulnerable and open, Laus’ heart is worn firmly on her oversized cardigan sleeve as she embarks on a courageous journey towards self-acceptance, shedding the fear to be herself, and sharing the real Bea Laus with the world. [Dylan Tuck]

THE SKINNY

Music Now This month's new Scottish music column explores forthcoming releases from Nicole Cassandra Smit, wor_kspace, The Wife Guys of Reddit, Gordon McIntyre and more

Photo: John Mackie

July 2022 – Review

W

ith festival season fully back in June, it was hard to keep up with new releases. Towards the end of the month Glasgow funk and hip-hop collective DOPESICKFLY released the infectious Red Light, while Glasgow brother and sister pairing Cloth released the eerily sublime Lucid, announcing in the same breath that they’d been signed to Mogwai’s Rock Action label, with new EP, Low Sun, to follow in October.

In July, there are some pretty big releases to look out for in the world of Scottish music. Idlewild celebrate the 20th anniversary of The Remote Part with a special vinyl reissue on 15 July, Amy Macdonald releases Don’t Tell Me That It’s Over, a new collection of reimagined fan favourites on 8 July. Following a run of small shows ahead of his headline slot at TRNSMT this month, Paisley’s favourite son Paolo Nutini returns with Last Night in the Bittersweet, out now. Turn back a page to read our full review of the record. At the more experimental end of the spectrum, on 15 July Glasgow’s Kay Logan releases Music for Counterflows under her Helena Celle moniker. Above our Paolo review you’ll also find some very favourable thoughts on this one.

Fresh from playing our stage at Kelburn Garden Party, Edinburgh-based Indonesian-Swedish singer-songwriter Nicole Cassandra Smit releases her debut album of original material on 8 July via Liljekonvalj Records. Having already caught the ear of BBC 6 Music’s Craig Charles for her inaugural single, Strong Woman, her debut album Third In Line truly levels up. In places, the record calls to mind artists like Nuyorican Soul, Nitin Sawhney and Moloko-era Róisín Murphy, the latter particularly on the bass-led Quest.

A record conceptually split into three parts, it reflects the role Smit plays within three generations of women in her family.

Effortlessly fusing together a multitude of styles from jazz, blues, trip-hop, hip-hop, R’n’B, alt-soul and more, instrumentally it’s a wonder as soaring strings dance with shuffling drums, guitar, bass, brass, electronics and more. The addition of guest vocal turns from the likes of Philadelphian rapper Kameelah Waheed and Edinburgh’s Joseph Malik feel perfectly placed, too, elevating the record. But the star in all of this is Smit’s exceptional and always assured voice which is nothing short of captivating throughout; no matter if it’s at a more vulnerable moment or over a thick groove, Smit oozes with soul and endless character.

Finlay MacDonald released his self-titled debut album as wor_ kspace on 1 July; he’s an artist whose glitchy music concrète compositions and bending synths of his ext_ended Nicole Cassandra Smit

EP had us smitten last August. Recorded on laptop in MacDonald’s own ‘Analogue Mountain’ tape-based studio (see: brick shed), three of the tracks from that EP – song, transfer and weekend – now have a new home on wor_kspace. They’re perfectly peppered throughout this 11-track record, where even more delicious electronic beeps, bloops and more collide with MacDonald’s dreamy vocals. Oh, and there’s The Wife Guys of Reddit some lovely vocoder work to be found here too. Yes please and thank you very much.

Further into the month, on 15 July self-professed purveyors of ‘soupy rock’, Glasgow’s The Wife Guys of Reddit (named after a King Gizzard subreddit) release The Wife Guys Walk Into Oncoming Traffic. Opening with the charming Wife Guys Diss Track, it’s quickly clear that their music is just as tongue-incheek as their name. Overall, this EP is an incredibly satisfying brand of slacker indie all its own; sounding just as good when they ramp up the BPM as when they slow it right down; lazy, jangly guitars, murky underwater vocals and unexpected bossa novas keep us well and truly on our toes.

On the same day, Ballboy frontman Gordon McIntyre releases his debut solo record, Even With the Support of Others, via Lost Map Records. Born out of a commission from Elizabeth Newman, artistic director of the Pitlochry Festival Theatre, following a request from her to write some songs to form part of their Shades of Tay lockdown special.

Conversations about the natural world, cities, landscapes, countrysides, bridges and rivers form the basis of this ten-track album. Delightfully connected to the world around us, there’s a gentle and melancholic sincerity to McIntyre’s voice making for a wholly soothing listen.

Elsewhere, Declan Welsh & the Decadent West release their Impermanency EP on 4 July, with Jack Brotherhood’s hilariously titled Live, Laugh, Jack Brotherhood EP due on 22 July. There are a whole host of singles out this month too from the likes of Blush Club, who release the exciting Ornamental Ponds (1 Jul), the title track of their forthcoming EP due later in the year. On the same day Zak Younger Banks releases Shadow in the Sun, while Clare Grogan’s Altered Images releases Beautiful Thing. On 6 July, Scotland-based rapper Psweatpants releases the UK garage-indebted The Rave (ft. Priya), while on 8 July, Edinburgh-based R’n’B and electronic artist philomenah releases lavender, singer-songwriter Rachel Jack releases Colour Me Unimpressed, and Lou Mclean goes all synthpop on RBF – short for resting bitch face, of course.

— 52 —

Photo: George McFadyen

Local Music

Words: Tallah Brash

THE SKINNY

Spotlight On...

King Wine Interview: Niamh Carey

K

ing Wine have been on the go for almost ten years now, bringing bucketfuls of charisma and video game nostalgia to many a dingy Glasgow basement bar. Part electro-pop, part Mario soundtrack, the duo’s instrument of choice is a Nintendo Game Boy, programmed by Craig Wilson to accompany Ruthie Kennedy’s bubblegum vocals about teenage escapades. They make a charming duo that, in this writer’s opinion, are one of Glasgow’s best kept secrets.

King Wine’s live shows are the stuff of legend: sporting orange jerseys, exercise shorts and a CBBC-style hypemanship, the duo earnestly shake their bodies while singing about attractive TV broadcasters and riding their bikes in the summer.

There’s a lot going on all at once, and in the wrong hands it could easily slip into something naff. But instead the duo craft a magic combination of teenage nostalgia and comic electronica that leaves audiences feeling both confused and overjoyed.

The enduring charm of King Wine’s shows is soon coming to those not immersed in Glasgow’s live scene, thanks to the release of their self-titled debut album next month. We catch up with the pair to find out more.

The Skinny: You’ve been delighting unsuspecting audiences with your live shows since 2013. What made you decide to release your first record now?

Craig Wilson: We’ve been sitting on these songs for so long, and it’s tempting to keep writing new ones, but then I ask myself ‘Why do you keep writing songs if you don’t even put out the first ones that you think are good enough to put out?’ Plus there was the pandemic – that delayed things.

there. I would say it’s definitely been a separate but together process, although I’ve been learning LSDj and Craig’s been doing a lot of writing. I’m excited to switch it up for our new music.

King Wine’s lyrics are punchy, honest and playful.

Are there any particular themes you enjoy exploring?

RK: I think I’m trying to reclaim teenage emotional intensity for myself. Trying to be anti-embarrassment… or actually, pro-embarrassment. I’m very up for embarrassing myself with overly earnest, heart-on-your-sleeve lyrics.

CW: Life’s too short.

RK: Life’s too short! I want to allow people to express themselves freely. That’s my only goal: to be as honest as possible, and if it’s cheesy then that’s good! Everyone needs a bit of cheese in their lives.

CW: It ain’t easy being cheesy.

RK: That’s for damn sure.

Your live shows are pretty unique – one part kids TV show, one part choreographed bedroom dancing, plus a little gymnastics sprinkled in for good measure. What do you hope people get out of watching your shows?

CW: I think it’s what Ruthie said before, about not feeling embarrassed. The mantra that I had when we started the band was: ‘If you see someone enjoying themselves on stage, then you’ll enjoy yourself as well’. All my favourite bands do that.

There’s nothing wrong with going up and being totally serious, but we want people to see that we’re daft, we’re having a good time. We’re the focal point of the room which gives the audience permission to go daft as well.

As Glasgow’s finest Game Boy-produced band, can you talk a bit about your production process?

Ruthie Kennedy: Craig writes the backing tracks on a music production programme called LSDj (Little Sound Dj) on a Game Boy cartridge, which he sends to me. I write the lyrics and the vocal melody, and then we kind of workshop it from

RK: I think it’s fair to say that we’re both quite anxious, high-strung people, so it’s a moment of release for us. That sense of release is definitely something I want to give to other people as well.

CW: When I go up there, I don’t have to worry, because I’m not me, I’m Craig from King Wine. He can do whatever he likes, there’s no consequences for him.

RK: I think it’s really interesting that you say that, because for me, I don’t feel like I become someone else, I feel like I become more myself.

CW: Maybe not someone else, but it’s like a part of myself I’m allowed to reveal.

RK: Yeah, I think that should bleed more into everyone’s real lives. I think everyone should be more weird – the weirdest, truest version of themselves.

What’s next for King Wine?

RK: Our debut album is coming out on 27 August!

And we’ll be doing a show at The Hug and Pint, one of our favourite venues. We have some exciting shows coming up that we can’t wait to announce.

CW:: We’d like to do a big tour, that’d be fun.

RK: And obviously writing new music…

CW: Releasing the four other albums we’ve written.

RK: Next year: tenth anniversary tour.

CW: Special box set. Live DVD. RK: Global fame.

King Wine is released on 27 Aug; King Wine play The Hug & Pint, Glasgow, 27 Aug instagram.com/kingwineband

Photo: Connor MacDonald

July 2022 — Review

Spotlight on...

Ahead of their debut album release, Glasgow’s King Wine talk to us about video game electronica and the joy of embarrassment

“My only goal [is] to be as honest as possible, and if it’s cheesy then that’s good!”

Ruthie Kennedy, King Wine

King Wine

— 54 —

THE SKINNY

Film of the Month

Film of the Month — Hit the Road RRRRR Released 29 July

by Picturehouse Entertainment Certificate 12A theskinny.co.uk/film

I

ranian filmmaker Panah Panahi’s debut feature is kind of a miracle. Not just because it was shot under a regime so strict that Panahi’s own father, acclaimed director Jafar Panahi, has been legally forbidden from practising his craft while his sister, Solmaz Panahi, was forced to flee the country after starring in one of their father’s films. But because it somehow manages to translate this anxiety into a film that moves with the lightness of a road trip flick.

Hit the Road is about a family of four who are making their way to the border where they have made arrangements to have their eldest son smuggled across. Naturally, their journey is marked by moments of intense fear, all four hearts skipping a beat any time another car lingers behind them too long. But for the most part, their rented vehicle acts as a safe haven, sealed off from the state’s suffocating influence.

Inside it, they blare pre-revolution pop hits from the radio and sing along at the top of their lungs. They draw on the windows with marker pens and snack on pistachios. They tease each other, dance together, argue and laugh. Rolling along the road in this bubble of privacy, they get to be funny, grumpy, petty and joyful. They get to be themselves, fully and fearlessly.

And it’s impossible not to get swept up into that effervescent family atmosphere because each of the four figures is so perfectly drawn. Dad (Hassan Madjooni) sits in the back with a busted leg, delivering punchlines in an earthy monotone. Mum — 55 —

(Pantea Panahiha) seems like she might be relegated to the role of worried caretaker only to bust out a devilish grin and a wicked one-liner. The younger son (Rayan Sarlak) is a total livewire – playing, pranking and arguing with the boundless confidence and absolute self-seriousness of a well-loved child.

And then there’s the older son (Amin Simiar), keeping his own counsel in the driver’s seat while life as he knows it recedes slowly into the rear-view mirror.

They create a whole world within the confines of that Mazda station wagon. You can feel their full history together in each exasperated sigh and pointed comment. These are people who have known each other or been known to each other for their entire lives, and it shows. And that lends the film its tragic undercurrent too. Because, for all of the cavorting and karaokeing, the knowledge of how this journey ends and why it was necessary always hangs in the air. But though the destination is inevitable, Panahi keeps finding avenues of escape – from the familial freedom found inside the car to an enchanting sequence in which father and son lay on the ground together and look up at the stars as they are slowly absorbed into the cosmos.

Hit the Road is elegant, elegiac and defiantly open-hearted. It’s never saccharine, just shot through with a love for its characters that refuses to be entirely quelled by the hardships imposed upon them. [Ross McIndoe]

July 2022 — Review

Director: Panah Panahi Starring: Hassan Madjooni, Pantea Panahiha, Rayan Sarlak, Amin Simiar

THE SKINNY

Scotland on Screen

Scotland on Screen: Kristy Matheson After 13 years of taking place in June, Edinburgh International Film Festival is moving back to join the August festivities. Ahead of EIFF’s programme launch, we chat to Kristy Matheson, the Creative Director overseeing the festival’s new era

July 2022 — Review

edfilmfest.org.uk

I

s there a tougher job in UK cinema exhibition than being head of the Edinburgh International Film Festival? From the outside, it appears not. This venerable institution – until COVID struck, the longest continuously running film festival in the world – has burned through four festival heads in the last decade. Two were emergency caretakers (James Mulligan, Nick Vardy), another didn’t hang around long enough to make much impact (Chris Fujiwara), and one brought few innovations during their stint in charge (Mark Adams).

No one could accuse EIFF’s new Creative Director, Kristy Matheson, of lacking innovation. In less than a year in charge, she’s overseen several major shake-ups, the chief one being the festival’s permanent move back to August since its controversial rescheduling to June in 2009. “The whole point of moving back to August is really about ensuring that film is central to that broader cultural conversation that happens in Edinburgh every summer,” she tells us. “Obviously the August festivals are important to local audiences, but it’s also a global gathering of people and talent, and I think it’s really important that film, as an art form, is in that mix.”

During our chat, which takes place a whole month before EIFF officially launches its programme, Matheson often brings the conversation back to her future audience. Keeping the paying punters in mind was a philosophy drilled into her during her first gig in programming back at her hometown film festival in Brisbane, Australia two decades ago. “The biggest thing I learned during that experience was the idea that, as a programmer, it’s not about you; you’re kind of irrelevant,” she says.

“What’s important is the films and the audience, and your job is just really putting those two things together.”

The annual Michael Powell Award is also changing. The original brief of the award was to honour imagination and creativity in British cinema. But with the festival returning to its original August slot, Matheson started thinking about the award in its new context. “When all these festivals were started in 1947, it was out of a spirit of internationalism, and this idea of collaboration,” she says. “It was using culture to mend bridges, bring people together rather than always constantly seeing the differences.” She also started thinking about the internationalism of the filmmaker the award is named after, and his long and fruitful partnership with Hungarian screenwriter and producer Emeric Pressburger. With this in mind, the prize is now dubbed the Powell & Pressburger Award, and will see five British films competing for it alongside five international titles “We’ve got ten films that we’re super, super happy with,” says Matheson of the competition lineup. “There are some first-time filmmakers in there, there are some very experienced filmmakers in there, there are people from all over the world — 56 —

Image: Courtesy of EIFF

Interview: Jamie Dunn

Filmhouse Cinema

in there. I don’t understand anyone who says ‘this has been a bad year for films’ because it’s like, you just haven’t dug hard enough.”

While we agree with Matheson that there is no shortage of great films in any given year, the challenge for EIFF has always been convincing filmmakers and distributors to show these films in Edinburgh rather than at another festival. The particular difficulty of EIFF’s positioning in the crowded festival calendar is something Mathison is well aware of. “Being in August puts us right in front of the busiest part of the film calendar in many respects,” she says. Falling close on EIFF’s heels are major festivals like Venice, Toronto, Telluride and New York, which all mark the start of awards season. “All of what we think of as the really big films of the year, they really sit in that last quarter,” says Matheson.

Anyone hoping that EIFF’s move back to August will mean more famous faces attending the festival might be disappointed. “That’s not the corridor that we sit in,” says Matheson, “and it’s not the programme we’ve set out to build. So spoiler alert: if you want seven days of red carpets, that’s not gonna happen.”

Matheson is almost ready to share what the programme will look like, but rather than feeling stressed, she’s in the middle of her favourite part of the process. “Watching the films is fun, but what I like the most is having discussions with my colleagues about the programme. It’s like I’ve gone on holiday to a cabin with four other people. And we’ve just been doing a giant jigsaw puzzle. There have been moments where I’ve been like, ‘I can’t find that piece, it’s really frustrating.’ But it’s been fun.

“And now the jigsaw puzzle is almost finished, so it’s great to be at this point and be able to go, ‘OK, wow, I can see that picture now.”

You can get the full picture of the puzzle yourself when EIFF launches its programme on 20 July.

Edinburgh International Film Festival runs 12-20 Aug across various venues

THE SKINNY

Film All Light, Everywhere Director: Theo Anthony

rrrrr

All Light, Everywhere

Nitram Director: Justin Kurzel

Starring: Caleb Landry Jones

rrrrr

Director: Jonas Carpignano

Starring: Swamy Rotolo

rrrrr

A Chiara filters morality through the moody gaze of the eponymous 15-yearold (Swamy Rotolo), whose world is about to crumble. When her father goes on the lam, Chiara’s eyes burn with questions about her family’s ties with the local organised crime outfit, the ‘ndrangheta. Dismissed by the adults around her, she takes it upon herself to find answers to her questions.

Director Jonas Carpignano opens a window on to a community where rituals and hierarchical structures are central. The film presents Chiara’s sister’s 18th birthday party and a drug deal in equally great, mundane details, not making a spectacle out of either. The usual, sensationalistic spiel on mob stories is stripped to the bone, with violence existing outside Chiara’s point of view and never being

Nitram

herself to the fact that all the toughlove parenting hasn’t exactly worked.

Through a malaise of angst and early-20s boredom, Nitram drifts in the Tazmanian suburbs until, in a strangerthan-fiction twist, he meets eccentric older heiress Helen, living a Grey Gardens-esque existence in a crumbling mansion, bizarrely becoming her live-in lover despite the 30-odd year age gap.

As with their deeply disturbing crime drama Snowtown (2009), director Kurzel and screenwriter Shaun Grant don’t scowl at their protagonists through a sanctimonious lens. Instead they let the drama unfurl slowly, perhaps hinting that male nihilism and small-town boredom create a vacuum in which terrible events are allowed to manifest. Idle hands are the devil’s playthings, especially hands that can easily access automatic killing machines. [Adam Stafford] Released 1 Jul by Picturehouse; certificate 15

A Chiara

Futura Director: Pietro Marcello, Francesco Munzi, Alice Rohrwacher

rrrrr

Influenced by Pier Paolo Pasolini’s Love Meetings, in which the Italian director took to the streets to ask people about their attitudes toward sex, Futura sees Pietro Marcello, Francesco Munzi and Alice Rohrwacher collaborate on their own state-of-the-nation travelogue.

From culinary students in Milan and trainee beauticians in Napoli to aspiring boxers from Calabria, the trio travelled across the country, asking a cross-section of young people about their hopes and fears for the future.

Where Pasolini was met with prejudice and bigotry, the trio encountered a generation worried about inequality, climate change and the rise of nationalism. The project began at the start of 2020, and at the midpoint of the film the faces of these youngsters suddenly become half obscured by masks due

— 57 —

exploited for its shock value or turned into a moral parable.

As in his previous films about the town of Gioia Tauro, Calabria, Carpignano works with non-professional actors. In interviews, the filmmaker has revealed he would only let his main cast in on what would happen in a scene directly on the day. This choice limits the interactions between the characters, but it allows their unspoken conflict to build up in hyperrealistic, semiimprovised conversations, brimming with such tenderness and urgency you’ll almost feel like you’re standing next to them.

Swamy Rotolo steals the show as Chiara. The young actor delivers a fierce performance, encompassing a wave of raw emotions the protagonist may have only just discovered, finding her rage and voice in an uneven trajectory. [Stefania Sarrubba] Released 15 Jul by MUBI; certificate TBC

Futura

to the outbreak of COVID-19. During the pandemic many teenagers expressed their anxieties about the future and here it’s no different, but throughout the film the trio are keen to point out that the pandemic did not create these problems; it simply made them impossible to ignore.

These interviews are interspersed with archive footage of similar investigations undertaken in the 1960s by Mario Soldati and Gianfranco Mingozzi, as well as footage from the 2001 G8 Summit in Genoa, where police violently attacked thousands of peaceful anti-globalisation protesters. This historical context helps draw out the film’s message about the importance of collectivism as well as suggesting how these interviews might be viewed in years to come, with Futura ultimately an important time capsule for a generation born into an era of global uncertainty. [Patrick Gamble] Released 8 Jul by Modern Films; certificate 12A

July 2022 — Review

The depressing slew of recent headlines telling of atrocities perpetrated by angry young men with automatic weapons may prove to be detrimental to the release of Justin Kurzel’s excellent new true-crime drama. A film not so much centered on the crime itself, but on the events leading up to one of the worst mass murders in Australia’s history.

The reliably intense Caleb Landry Jones plays the titular character (whose name is deliberately obscured), a brooding man-child who we first encounter antagonising his neighbours with firecrackers and handing out fireworks to the school kids at the local playground. His father, terrifically played by Anthony LaPaglia, is a tightly coiled bag of stress perpetually in dread of what antics his antisocial son will get up to next, while his mother (Judy Davis) has quietly resigned

Released 22 Jul by ICA Cinema; certificate TBC

A Chiara

Film

Can the act of seeing ever be removed from human biases? Did the invention and the subsequent ubiquity of the recorded image achieve this, or confirm it as impossible? Big questions fill Theo Anthony’s film, more essay than documentary, but thankfully they’re backed up by robust arguments and surgical filmmaking, and focused into an urgent modern topic: the intersection of state power and technology in police body cameras.

A wealth of philosophical statements are banded around the film, in cool, unfeeling voiceover as well as disconnected subtitles, but they never feel like platitudes. Rather, it feels like what we assume or take for granted about the act of seeing is being interrogated, presented in a

detached, sterile way that contributes to a feeling of slight dread, either by lingering on unnerving perspectives and firing an onslaught of images and data at the audience.

Filmed at various points over the past decade, the private companies worming their way into law enforcement throw up as many red flags as the institutions that welcome them. In his exposé of the fallacy of objective recording, Anthony is keen to highlight his own inescapable, biased presence behind the camera, but the film would benefit from tackling the topic more effectively than the few evocative moments that go undiscussed. But these flaws feel like human errors in a complex film about that very topic.

BE OBSESSED, a sign in a body-cam manufacturer threatens its workers.

With regards to Anthony’s film, such an imperative is unnecessary.

[Rory Doherty]

THE SKINNY

July 2022 – Review

Local Heroes

Photo: Paul Marr Daytripper by Manami Sakurai

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Souvenir Design Local Heroes

Daytrippers! is a special summer collaboration between Local Heroes and V&A Dundee celebrating Scotland’s contemporary design scene, which supports designers by commissioning limited edition, collectable design products Words: Stacey Hunter

L

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last year before joining V&A Dundee. Working together, our focus has been on how to make these wonderful items as locally, as sustainably and as cleverly as we possibly can, with zero wastage and ever mindful of our footprint. Daytrippers! genuinely is a ‘glocal’ project and a lovely way to welcome summer.”

Join us for three weekends of special events at V&A Dundee during July and August. Check the Local Heroes instagram feed for dates and times @localheroesdesign @manami_sakurai @ellenmartintextiles

July 2022 – Review

“In my everyday life, I gather my thoughts by seeing different kinds of art, reading books, watching movies and chatting with my friends. Then I start to draw to create designs that have a gentle message. I love hand drawing lines and I believe that free floating lines hold the warm personal touch. I use a variety of drawing and painting tools depending on my mood. I hope my colourful textiles can fill your day with joy and a nostalgic feeling.”

She studied fashion and textiles at Central Saint Martins and gained her experience as a textile designer in the UK, India and Japan. In 2019 she started MANAMI SAKURAI within the Taito Designers Village atelier.

Ellen Martin is based in Edinburgh and specialises in printed and dyed textiles. She spent four months studying in Kyoto learning traditional Japanese textile techniques which continue to inform and inspire her approach to design today.

She has created two new designs for our furoshiki range. The large design is called Maple which are known as kaede (frog’s hands), as well as momiji, which means both ‘become crimson leaves’ and ‘baby’s hands’.

“I lived in Japan during the spring and summer so didn’t get to see the spectacle of the maple trees changing colour, however there are some that are red all year round.”

Ellen’s smaller sized furoshiki is titled Omikuji. This design depicts the paper fortunes found at temples and shrines in Japan. Omikuji are often folded and tied to trees or on rows of wires in the temple or shrine grounds.

“Having only launched my design business two years ago, I feel privileged to have the support of Local Heroes and V&A Dundee.

Creating bespoke designs for V&A Dundee has been a joy and I can’t wait to see the finished pieces for sale in Scotland’s design museum!”

With a focus on hand-drawing, collage and repeat pattern, her work captures the details found in her surroundings, often when visiting new places. After graduating from GSA in 2020, she launched her first collection of printed silk scarves.

The designs will be available to buy in V&A Dundee. Their new retail manager Erin Thompson is enthusiastic about the project. “I am so excited to be a part of this project having read all about it

Photo: Paul Marr

ocal Heroes are back this summer with more joyful design commissions. Created in collaboration with V&A Dundee, each commission is designed to be the perfect souvenir to remember a great day out. The project builds on the success of last year’s collection which featured a sold-out series of beach towels and a range of wildflower seeds exclusive to V&A Dundee’s shop and website. The beach towels have now been restocked and the wildflower illustrations transformed into prints.

So let us introduce you to what’s new for 2022. This year our focus is on sustainability and consideration for the environment. When we visit Scotland’s beauty spots we are encouraged to ‘leave no trace’ and this new collection helps to make that possible with a range that celebrates ‘design to take with you’. Scotland’s first design museum was designed by a leading Japanese architect, Kengo Kuma, so this summer we were inspired to produce our own collection of furoshiki [pronounced fu-rosh-ki]. Our large and small soft silk-cotton furoshiki have multiple uses and are perfectly portable. Furoshiki are very popular in Japan where they are used to wrap gifts and shopping, hung as artworks to brighten interiors and worn as scarves and bags.

Perfect for carrying and wrapping, furoshiki are a great choice for your next shopping trip or a zero-waste trip to the beach. We’ve commissioned one Japanese designer based in Tokyo and one Scottish designer based in Edinburgh to create designs that honour friendship, conviviality and being outdoors.

Manami Sakurai creates textiles that connect to people’s feelings and nostalgic memories. Her hand-drawn images illustrate experiences from her everyday life and are rooted in the concept of “sending a message of peace”. Manami has designed Daytripper – a large furoshiki inspired by her childhood memories of day trips with her family.

“We would go into forests or hills with our sketchbooks and sketch what we saw. For me, the idea of a day trip is good memories and fun discoveries, and I wanted to convey these feelings through this design.”

In addition, Manami’s smaller furoshiki The Ordinary Day depicts a playful scene featuring a cat among some summer strawberries and ribbons.

Maple by Ellen Martin

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SCAMP, GLASGOW Scamp’s inventive small plates are packed with subtle touches, impressively crunchy flourishes, and some very well-cooked fish

Words: Peter Simpson

Wed-Sun, midday-late scampglasgow.co.uk

S

camp is the new place from the team behind a pair of well-known and exciting Glasgow venues – the small plates restaurant Eighty Eight and wine bar Hooligan. It’s right in the city centre, and when we pop in on a Sunday lunchtime a few weeks after their opening, it is completely empty.

Maybe it’s the on-off rain outside, or it could be the fact that everyone in town seems to be gearing up for the Liam Gallagher gig at Hampden later, but it’s an inauspicious start.

Once we’re inside, things pick up. The decor is all muted greys, lovely plates and nice wooden touches. The staff are great, and the food – from a fish-focused menu of small plates – kicks off with a banger.

Sourdough from the excellent Freedom Bakery is paired with zingy pickled mussels and a brilliant mussel

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Monkfish scampi

quickly. The asparagus (£6), with kalamata olives and some crackly, diamond-sharp croutons, is nice, but it’s no monkfish scampi.

Then there’s the prawn hotdog (£9). A prawn sausage, laden with pickled fennel, dressed with strings of sauce and topped with dollops of smoked caviar, all served in a brioche bun. It looks… impressive. It feels like nothing else we’ve tried all afternoon.

It’s not particularly nice. The sausage itself is tasty – good bite, nice texture, very shrimpy – but there’s just too much going on. Our bun is a bit stale, the sheer volume of stuff packed into one space is overwhelming, and in the context of a small plates sharing menu, what are you actually supposed to do with this?

Cut it into little bits? Take a bite and pass it on?

The prawn hotdog feels like it was designed for Instagram, as a dish that people can share and point to saying ‘that’s a bit different’, but it also obscures what Scamp does well.

The chill-industrial aesthetic, the subtle flavours and precise plating, the fact that these guys can really cook a fish – that’s what will bring people through the doors and keep them coming back. Well, that and a quick change in the weather.

July 2022 – Review

Photo: Peter Simpson Panko-coated fried mushrooms

broth butter (£5). The butter manages to be extremely nautical yet actually quite subtle, all salty hints rather than loud shouts about Fish In The Butter.

Next up are a pair of barbecued scallops (£13), topped with charred leeks that look a little bit like hay if you were to squint enough or really want to make the comparison. The scallops are perfectly cooked; juicy, tender, with a hint of char from the grill. Pickled leeks keep your taste buds on their toes, and a bright green purée underneath ties everything together. At the same time, it’s £13 for two scallops, which is a lot no matter how many leeks you throw in.

A better deal comes courtesy of the panko-coated fried mushrooms (£8). Juicy mushrooms in a crunchy coating, layered with more delicious pickles, and dotted with another impressive sauce. The words ‘black garlic aioli’ might summon memories of over-enthusiastic burger chefs from the early-2010s, but this stuff is creamy, subtle, yet very definitely packed with garlic.

The monkfish scampi (£9) is also fantastic. Once again, the fish is brilliantly juicy, and the fried chicken-style coating is a bit like a herby, spicy exoskeleton. It comes paired with a chicken and tarragon gravy, which turns away from the ‘all pickles, all the time’ vibe of the earlier dishes in favour of being extremely unctuous and savoury. Eat it quickly, as our coating tended to fall off the fish towards the end, but it’s delicious so of course you’ll eat it

Food

Photo: Peter Simpson

26A Renfield St, Glasgow, G2 1LU

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Books

Book Reviews

Honey & Spice

Nudes

By Bolu Babalola

By Elle Nash

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Paper Cuts: How I Destroyed The British Music Press and Other Misadventures

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Teen Couple Have Fun Outdoors

By Aravind Jayan

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By Ted Kessler

July 2022 — Review

rrrrr Kikiola ‘Kiki’ Banjo, host of student radio show Brown Sugar, is determined to keep the Black women in her college from falling for men who will waste their time, take their energy, and ruin their friendships.

Apart from her best friend Aminah – the kind of best friend everyone should have – she prefers to stay separate from the college’s cliques and social hierarchies and eschews romantic entanglements to keep herself safe from potential rejection and hurt. Her careful plans are thrown into disarray with the arrival of Malakai, a new student who Kiki labels “the Wasteman of Whitewell”, who turns out to be more considerate, charming, and handsome than she cares to admit.

Babalola’s debut novel is lyrical, witty, and maintains all the genre trappings that we love in romcoms, while doing something completely new. Kiki is a memorable protagonist – seemingly aloof but soft hearted, confident and funny, and a self-proclaimed nerd, with a heart that she is afraid to risk – and her bond with Aminah is beautiful, with its unwavering support and affection. The romance between Kiki and Malakai is full of moments that feel on par with every iconic scene in your favourite romcoms, from public arguments to big romantic gestures, humour paired with sizzling attraction, and two characters who truly see into the core of each other. Essential reading for any romance enthusiast.

[Sim Bajwa]

Elle Nash’s debut novella Animals Eat Each Other announced the arrival of an exciting new talent, one who was not afraid to examine the darker corners of human existence, and the way we treat each other. It also showed a writer who didn’t waste a word, so her new short story collection Nudes is a welcome publication as it seems the perfect form for Nash’s fiction.

That proves to be the case as the stories in Nudes are not only short, but sharp and often shocking.

Nash’s characters are beautifully imagined, jumping off the page, and are people who rarely appear in print – working class women striving to survive in a harsh and unforgiving world. The collection works as a whole as the stories seem to bleed into each other, strongly suggesting a shared world. This is in no small part down to Nash’s references, which are spot on. The drinks drunk, the cigarettes smoked, as well as the music listened to and the clothes worn, place events either in the 90s or 00s, or they at least make you reflect on them. It’s not a trip into nostalgia, just a fully imagined world in terms of people and place.

You should make yourself familiar with Elle Nash, and Nudes is the perfect introduction. This is a writer who is only getting started, and promises even greater things to come. [Alistair Braidwood]

Music magazines help to define their times, and books by music journalists often offer so much more than simply stories about your favourite bands and artists. You may buy them for the insider’s experiences with, and anecdotes about, the ‘talent’, but the best ones stay with you due to what they say about the precarious, and often extreme, world of music publishing. Ted Kessler’s Paper Cuts will be of interest not only to music lovers, but also magazine aficionados, as it shows the challenges that music magazines faced as the publishing world in which they exist changed, shrank, and all but disappeared.

The book begins with Kessler’s early life, charting a challenging journey to a career in journalism, but the book only really gets going when he starts writing about that career.

And that book title is telling. Kessler worked in the glory days of the NME in the 1990s, but was also editor of Q magazine when it folded in 2020, so there are few better placed to set out the decline of music journalism, at least in print. In terms of entertainment there are other memoirs written by music journalists that deliver more anecdotes and tales of extravagance, but they were mostly written in or about times when sales, and budgets, were huge. Ted Kessler bears witness to the end times, or near it, which makes Paper Cuts a fascinating document for readers today and in the future. [Alistair Braidwood]

In Aravind Jayan’s debut Teen Couple Have Fun Outdoors, a family is faced with scandalous humiliation as a result of a viral sex tape leaked online. The saga is narrated by the unnamed youngest son who guides the reader through his older brother’s indiscretion and its inevitable fallout.

The narrator is humorous, neurotic, and desperate to try and broker peace between his older brother Sreenath and their parents, Appa and Amma. Although the narrator has spent his entire life in the shadows of his older brother, he ends up playing an integral role in the fight to restore family unity, much to the annoyance of Sreenath and his girlfriend Anita. What unfolds is a bittersweet comedy of errors-cumreckoning of the Indian middle class, and a deep dive into generational divisions of modern Indian society.

While the premise is entertaining, the plot moves far too slowly, filled with too many passive scenes of the narrator sitting awkwardly and idly in his brother’s safehouse while two families are being ripped at the seams back home. Although it is Sreenath and Anita at the centre of the scandal, they feel too much like tertiary characters, moody and insufferable, which makes it difficult to empathise with the liberal freedom they’re meant to represent. Still, the narrator makes this a compelling read for all his tender albeit misguided love and advice giving.

[Andrés Ordorica]

Headline Books, 5 Jul

404 Ink, 21 Jul

White Rabbit Books, 21 Jul

Serpent’s Tail, 7 Jul

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ICYMI

Melbourne Comedy Festival 2019 Best Newcomer and Golden Gibbo nominee, Oliver Coleman, attempts to watch British cult classic Withnail and I Illustration: Miranda B Stuart

Oliver Coleman: Sublime, 4-28 Aug (not 16), 10:30pm, Monkey Barrel Comedy (Carnivore 2) tickets.edfringe.com — 63 —

July 2022 — Review

But yes… The film! Withnail and I starring Richard E Grant and another guy who’s arguably the better actor but unfortunately playing the more normal character so doesn’t get as much recognition. It’s about two out-of-work alcoholic actors taking a holiday in the countryside if you must know.

It is a masterpiece and I watched it in the way that any masterpiece deserves to be watched – alone in bed on a small laptop screen while eating instant ramen. The only stream I could find was an illegal upload on YouTube. It wasn’t until I was three quarters of the way through that I thought to switch it to fullscreen so I wouldn’t continue to be tempted by the sidebar of recommended videos.

I admit I did miss quite a lot of the first half because I was watching videos of a man review chocolate bars. But isn’t that what the modern cinema experience is all about! I must say that the man’s description of the new Biscoff KitKat as “quite chocolatey” and “pretty Biscoffey” was very articulate. However, I’ve since bought one and was surprised to discover that instead of a layer of Biscoff there’s actually a layer of raw mince. Nestle has gone goo-goo ga-ga!

I also made the mistake of Googling the people the film was based on whilst watching it. If Wikipedia is to be believed (and why wouldn’t he be?), the real Withnail was a lifelong alcoholic who drank himself into getting throat cancer, had most of his oesophagus cut out and to dull his demons continued to inject booze directly into his stomach. I ruined the film for myself because I couldn’t stop thinking about the tragic reality of Withnail’s life 20 years into the future. Also, I’d burnt my tongue on the instant ramen so the night was in the bin from the get-go.

Maybe the film hit too close to home. I also spent several years as an unemployed drama school graduate slowly watching his dreams of theatrical greatness shrivel on the vine. However, instead of drinking myself to death I started performing at open-mic comedy nights. A much worse fate.

Anyways… I’m annoyed at myself for soiling my experience of watching this great movie. My only consolation is my hope that one night, while he is unable to sleep, Richard E Grant might be Googling himself and stumble upon this article and feel heartened that I too remember our moment on the tram together.

Every time I sniff a pineapple I think of you Richard. I do.

Comedy

I

live in Melbourne, Australia. One time on the No.16 tram, whilst it was gliding through the beachside suburb of St Kilda, I saw Richard E Grant sitting on his own counting a wad of $50 bills. Pineapples we call them in Australia, because they’re yellow, green and scented with pineapple. All the banknotes in Australia are perfumed because of an old law that has its roots in the practice of early convicts using the defouled toilet paper of English aristocrats as currency. They’d spray them with fruit juices to make the exchange of commerce within the colony more tolerable.

While staring at Mr. E Grant’s fistful of money I accidentally caught his eye. He scowled at me and quickly tucked the bills into his sock. I’ll remember that moment for the rest of my life. No doubt so will he. Right now, he’s probably drafting an article about it for a similar publication also in the hope of selling tickets to an upcoming Edinburgh Fringe show. I saw in the programme that this year he’s performing an avant-garde durational work at the Gilded Balloon where he lies naked on a bed of currencies from all around the Commonwealth while recounting tales about the late-night orgies on the set of Gosford Park.

I don’t know why he was in Australia. But he’s famous so he can do anything he wants: travel, murder, etc.

The No. 16 tram goes through St. Kilda, a suburb mainly populated by drunk British backpackers who aren’t aware it’s the worst suburb in Melbourne. However, it’s the one closest to the beach, so to them it’s paradise. Melbourne cares so little for its beaches that all the city’s sewers feed into the bay. The unsuspecting British come here and swim amongst our floating turds often mistaking them for hairless marsupial jellyfish.

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CCA Highlights July 2022 CCA Glasgow’s summer programme includes the first non-London showings of SAFAR Film Festival and a delightful reading group with Small Trans Library Image: courtesy SAFAR Film Festival

SAFAR Film Festival (15-16 Jul) For the first time ever, the only film festival in the UK dedicated to Arab cinema is expanding from its London home to hold screenings across the country.

Now in its tenth year, SAFAR Film Festival platforms new and beloved voices in Arab cinema that are largely otherwise unheard in the UK and their programme at CCA features some of the best. Pick from Farha, a stunning exploration of the Nakba, Syrian documentary Our Memories Belong to Us, and contemporary queer musical Shall I Compare You to a Summer’s Day?, followed by a director Q&A.

Body Conditioning with Mele Broomes (5,12,19+ 26 Jul) An ongoing creative resource for Black people and people of colour who are women or non-binary, Body Remedy uses various forms of movement as a tool for healing, learning, and navigation. This workshop, led by acclaimed Scottish dancer and choreographer Mele Broomes, opens up a space for reconnecting with the body: going through seated and standing positions, Broomes’ practice allows for self-interpretation, allowing participants to find the restorative movements that suit them the most.

Photo: Zoë Tumika

July 2022 — Listings

Small Trans Library Reading Group (14+28 Jul) Don’t miss this biweekly reading group run by the Small Trans Library, a small but perfectly formed lending library of trans-authored texts aimed at trans readers, with branches in both Dublin and Glasgow. Each session focuses on close reading and responding to a variety of short pieces, provided through PDFs and print-outs for maximum accessibility and chosen collaboratively by the group. Designed to provide a chilled out and welcoming space to discuss trans writing outside of the narrow confines of the mainstream literary industry, and with additional snacks. You can reserve your free space through the CCA website.

Body Conditioning - Mele Broomes

Scott Caruth + Alex Hetherington: Seen and Not Seen (until 16 Jul) It’s the last chance to see CCA’s spring exhibition, which exits the building on 16 July. Bringing together two artists, Scott Caruth and Alex Hetherington, both of whom work primarily with moving image, Seen and Not Seen explores the ways in which art can render things both visible and invisible.

Scott Caruth’s experiment in 16mm film shot without the use of a camera, and Alex Hetherington’s mythically-inspired investigation of photographic intertextuality perfectly come together to interrogate the importance of memory, gaze, and perspective in art, and how things can both be brought into view and concealed. cca-glasgow.com — 64 —

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Listings Looking for something to do? Well you’re in the right place! Find listings below for the month ahead across Music, Clubs, Theatre, Comedy and Art in Glasgow, Edinburgh and Dundee.

To find out how to submit listings, head to theskinny.co.uk/listings

Glasgow Music Tue 05 Jul

ELEPHANT RED (DEATHICS)

BLOC+, 21:00–22:00

Alt rock from Newcastle.

JIGJAM

THE HUG AND PINT, 19:30–22:00

Bluegrass from Ireland.

Wed 06 Jul POLEMICS (VOS ROUGH)

BLOC+, 21:00–22:00

Heavy noise from Bristol.

THE VANDOLIERS

BROADCAST, 19:00–22:00

Alt country from Texas.

VETIVER (TARRAGON) THE HUG AND PINT, 19:30–22:00

Folk from the US. Part of Endless Summer.

Thu 07 Jul FÖLLAKZOID

BROADCAST, 19:00–22:00

INDOOR FOXES (RONA MAIRI) THE HUG AND PINT, 19:30–22:00

Indie from Edinburgh. Part of Endless Summer.

RIDDEMPTION

ROOM 2, 19:00–22:00

Reggae from Glasgow.

Sun 10 Jul

MAGPIE BLUE (NEEV + LIV DAWN + LORI BETH) THE HUG AND PINT, 19:30–22:00

Indie from Peebles. Part of Endless Summer.

Mon 11 Jul

FRANKIE MORROW (SAMUEL NICHOLSON) THE FLYING DUCK, 19:00–22:00

Indie rock from London.

TEOSE (MADDS + KILGOUR + BIN JUICE) THE HUG AND PINT, 19:30–22:00

Indie punk from Glasgow.

Part of Endless Summer.

Trance from Chile.

Tue 12 Jul

THE FLYING DUCK, 20:00–01:00

THE OLD HAIRDRESSERS, 19:30–22:00

VINTAGE CROP (YUNG KP)

Rock ‘n’ roll from Australia.

CHRISTY RINGROSE

THE OLD HAIRDRESSERS, 19:00–22:00

Folk from Scotland.

ALISON COTTON (ESCAPE FROM GLA + JOSH BOX + ELOISE KRETSCHMER) THE HUG AND PINT, 19:30–22:00

Folk from London. Part of Endless Summer.

THE BOHMAN BROTHERS

Experimental from England.

JERUSALEM IN MY HEART (FARIDA AMADOU) THE RUM SHACK, 19:30–22:00

Experimental from Montreal.

BRIGHT LIGHT BRIGHT LIGHT THE HUG AND PINT, 19:30–22:00

BUSKERSOFGLASGOW

Pop from New York. Part of Endless Summer.

Eclectic lineup.

Wed 13 Jul

ROOM 2, 19:00–22:00

Fri 08 Jul

KUBA + LAYAWAY + COLOURWAY

LEADING EDGE (FAIRWEATHER FRIENDS + JODIE RAE) BLOC+, 21:00–22:00

BROADCAST, 19:00–22:00

Folk pop from Sweden.

THOU

MONO, 20:00–22:00

Alt rock from Glasgow.

STEREO, 19:00–22:00

Sludge metal from the US.

THE FLYING DUCK, 23:00–03:00

Alt emo from Glasgow.

RUSSELL HASWELL (AUDREY CHEN + JULIEN DESPREZ + MARIAM REZAEI)

THE OLD HAIRDRESSERS, 20:00–22:00

Noise and techno from England.

AZAMAIAH (NOUSHY 4TET + JAMES MCKAY) THE HUG AND PINT, 19:30–22:00

R’n’B from Glasgow. Part of Endless Summer.

PERU EIZAGIRRE THE BLUE ARROW, 23:00–22:00

Jazz fusion from Basque Country.

Sat 09 Jul

GREEN DOOR STUDIO’S 15TH BIRTHDAY PARTY

THE OLD HAIRDRESSERS, 20:00–22:00

Eclectic lineup.

Experimental pop from the US. BETSY ADE & THE WELL KNOWN STRANGERS

BROADCAST, 19:30–22:00

Alt rock from Wisconsin.

TENILLE ARTS

ST LUKE’S, 19:00–22:00

Country from Canada.

BEERJACKET (BROKEN CHANTER) THE HUG AND PINT, 19:30–22:00

Alt folk from Scotland. Part of Endless Summer.

Thu 14 Jul

WATTERS (SACRED NOISE) BLOC+, 21:00–22:00

Punk hip-hop from Glasgow.

SWEET DREAMER (KATIE GREGSONMACLEOD + SHORTHOUSE + C4SUAL)

KING TUT’S, 20:30– 22:00

Art pop from Glasgow.

Part of King Tut’s Summer Nights.

LITTLE TYBEE

BROADCAST, 19:30–22:00

Folk rock from Atlanta.

SLOTHTRUST

THE OLD HAIRDRESSERS, 20:00–22:00

Electronica from Ramallah.

HAIM

THE OVO HYDRO, 18:30–22:00

Pop rock from LA.

DAVE BOWDEN EUROPEAN QUARTET

Tue 19 Jul

LOVERS TURN TO MONSTERS (CROCODILE TEARS + TEOSE)

JUPITER STRANGE (SINTIDE + RED VANILLA)

BROADCAST, 19:00–22:00

Lo-fi from Scotland.

Psychedelic rock’n’roll from Scotland. Part of Central Belters.

BROADCAST, 19:30–22:00

STEREO, 19:00–22:00

BLOC+, 21:00–22:00

THE PRIMEVALS

MILK

Indie from Dublin.

Garage rock from Glasgow.

FRANCIS LUNG

THE BLUE ARROW, 21:00–22:00

Wed 20 Jul

Jazz from Scotland.

DEATHCHANTS (LHOS + EARL OF HELL)

Fri 15 Jul

BLOC+, 21:00–22:00

Punk from the US.

Power pop from Manchester.

MODEST MOUSE

Sat 23 Jul

BOOK KLUB (PRESSURE RETREAT + GOODNIGHT LOUISA + BOTTLE ROCKETS) KING TUT’S, 20:30– 22:00

Indie from Scotland. Part of King Tut’s Summer Nights.

ONELINEDRAWING

BROADCAST, 19:00–22:00

Alt rock from the US. KELLEY STOLTZ

THE FLYING DUCK, 23:00–03:00

Psych pop from the Bay Area.

BRAD PAISLEY (MORGAN EVANS) THE OVO HYDRO, 18:30–22:00

Country from the US.

Sat 16 Jul

PLASTICINE (L-PLATE + LUNA J + STEREO FIRE) KING TUT’S, 20:30– 22:00

Indie from Scotland. Part of King Tut’s Summer Nights.

COMMONERS CHOIR MONO, 20:00–22:00

Eclectic from Yorkshire.

BRASSER

BROADCAST, 19:30–22:00

Alt rock from the UK.

THE WIFE GUYS OF REDDIT (PETER CAT + BIN JUICE)

THE OLD HAIRDRESSERS, 19:30–22:00

Indie rock from Glasgow.

Sun 17 Jul

GHOSTBABY (SNEDZ & FINNFM + BITTER SUITE + FUZZY LOP) KING TUT’S, 20:30– 22:00

Pop from Paisley. Part of King Tut’s Summer Nights.

W.H. LUNG

THE HUG AND PINT, 19:30–22:00

Electronica from Manchester. Part of Endless Summer.

Mon 18 Jul

KENNYHOOPLA

KING TUT’S, 20:30– 22:00

Alt indie from Cleveland.

Part of King Tut’s Summer Nights.

BEEN STELLAR

BROADCAST, 19:00–22:00

Indie rock from New York.

Part of Central Belters.

W.H. LUNG (MINERVA WAKES) THE HUG AND PINT, 19:30–22:00

Electronica from Manchester. Part of Endless Summer.

BARROWLANDS, 19:00– 22:00

Rock from the US.

IGNITE 2022 (UNINVITED + THE BIG DAY + CHEF + LAVENDER LANE)

STEREO, 19:00–22:00

Eclectic lineup from Scotland.

JOSHUA LEE TURNER + ALLISON YOUNG ST LUKE’S, 19:00–22:00

Singer-songwriter from the US. DEAN WAREHAM THE OVO HYDRO, 19:00–22:00

Rock from New York.

THE HUG AND PINT, 19:30–22:00

ECHO MACHINE (DILLON SQUIRE + TIARA FILTH + THE ABSTRACT DANCERS) KING TUT’S, 20:30– 22:00

Pop from Dundee. Part of King Tut’s Summer Nights.

DROPOUT KINGS (BORDERS)

BLOC+, 21:00–22:00

Alt rock from Glasgow.

UP2STNDRD PRESENTS: NORTHERN LIGHTS KING TUT’S, 20:30– 22:00

Eclectic hip-hop from Scotland. Part of King Tut’s Summer Nights.

CONSTANT FOLLOWER (KING RIB + PIPPA BLUNDELL) BROADCAST, 19:00–22:00

Dreampop from Scotland.

Part of Central Belters.

PAUL CARELLA + JASON MANNS

STEREO, 19:00–22:00

Singer-songwriter from the US. WATTERS

THE FLYING DUCK, 23:00–03:00

Punk hip-hop from Glasgow.

GIRLS JUST WANNA SHOWCASE THE HUG AND PINT, 19:30–22:00

Electic lineup. Part of Endless Summer.

JP SAXE

MONO, 19:00–22:00

Singer-songwriter from Canada.

SALT RIVER SHAKEDOWN (KYLE O + PRIMAL RIVAL) NICE ‘N’ SLEAZY, 19:30–22:00

SWG3, 19:00–22:00

Rock ‘n’ roll from Sydney.

PLASMAS (GO TO GIRL + THE NEW ROUTINES)

HOLOCAUST

BANNERMANS, 19:00– 22:00

Heavy metal from Edinburgh.

ANNUALE 2022 OPENING PARTY (FRUIT SALAD + LONELY CARP + FREAKY DEEKS)

Dreampop from Dundee.

WEE RED BAR, 19:00– 22:00

THE OLD HAIRDRESSERS, 20:00–22:00

FIDRA + ARBOR GREEN

Thu 28 Jul

Folk from Scotland.

BROADCAST, 19:00–22:00

TINA JORDAN REES

Eclectic lineup.

Trad from Glasgow.

SNEAKY PETE’S, 19:00–22:00

THE VANITIES

THE HUG AND PINT, 19:30–22:00

Glam punk from Brighton.

Indie from Edinburgh. Part of Central Belters.

KIEFF

LARGE PLANTS

THE FLYING DUCK, 19:00–22:00

Fuzz rock from Bedford.

TUURBBINE (DANE LAW + HELENA CELLE + HERE & NOT YET)

THE OLD HAIRDRESSERS, 20:00–22:00

Eclectic hip-hop from Scotland.

DESALVO

THE HUG AND PINT, 19:30–22:00

Metalcore from Glasgow.

Sun 24 Jul

RILEY (ROSIE H SULLIVAN + CORTNE + KATE KYLE)

Post-punk from Oegstgeest.

MICHAEL MCGOVERN (+ BAND) THE BLUE ARROW, 19:30–22:00

Jazz from Scotland.

FREEDOM IS A MUST ROOM 2, 19:00–22:00

DJs from the UK.

Fri 29 Jul

THE KATUNS (STRAID + VIGILANTI + THE VAUNTS) KING TUT’S, 20:30– 22:00

Indie from West Lothian.

Part of King Tut’s Summer Nights.

OCHRE (GLASS GARDENS + DEAD COYOTES)

Sat 09 Jul

BANNERMANS, 19:00– 22:00

JORDAN. (KILOKANE + JUSTBOY) SNEAKY PETE’S, 19:00–22:00

Electro-pop from Kirkcaldy.

Sun 10 Jul

MY DARLING CLEMENTINE (STEVE NIEVE)

BETSY ADE & THE WELL KNOWN STRANGERS

BANNERMANS, 19:00– 22:00

Alt rock from Wisconsin.

Tue 12 Jul

Indie rock from London.

Qawwali, acoustic and trad.

Reggae from Jamaica.

THE FLYING DUCK, 19:00–22:00

THE OLD HAIRDRESSERS, 19:30–22:00

SNEAKY PETE’S, 19:00–22:00

TRAMWAY, 10:30–23:00

SWG3, 19:00–22:00

THE GULLS

A FOREST OF STARS

ONELINEDRAWING

Rock ‘n’ roll from London.

Black metal from Leeds.

Alt rock from the US.

THE OVO HYDRO, 19:00–22:00

THE HUG AND PINT, 19:30–22:00

FLIPPER

Funk from Liverpool.

Punk rock from the Bay Area. Part of Endless Summer.

Dub reggae from New Zealand.

ARBOR GREEN + PIPPA BLUNDELL + FIDRA + UR.FRND THE HUG AND PINT, 19:30–22:00

Eclectic lineup. Part of Endless Summer.

Tue 26 Jul TROUSDALE

SWG3, 19:00–22:00

Folk pop from California.

WIKI

Rap from New York. Part of Central Belters.

STEREO, 19:00–22:00

Alt rock band from Boston.

— 65 —

Edinburgh Music Tue 05 Jul

COURTNEY MARIE ANDREWS THE VOODOO ROOMS, 19:30–22:00

Singer-songwriter from Arizona.

Thu 07 Jul

NITROVILLE (MEAN & FILTHY) BANNERMANS, 19:00– 22:00

Rock ‘n’ roll from London.

Indie from London,.

JOOLS HOLLAND & HIS RHYTHM & BLUES ORCHESTRA FESTIVAL THEATRE, 19:30–21:20

Jazz from the UK. Part of Edinburgh Jazz and Blues Festival.

MARIANNE MCGREGOR

THE JAZZ BAR, 18:00– 19:30

Jazz from Scotland. Part of Edinburgh Jazz and Blues Festival.

RICHARD GLASSBY QUARTET

THE JAZZ BAR, 21:00– 23:00

Jazz from Scotland. Part of Edinburgh Jazz and Blues Festival.

THE FILTHY TONGUES THE VOODOO ROOMS, 19:30–22:00

Goth blues from Edinburgh.

JIM MULLEN: BURNS ASSEMBLY ROXY, 18:00–19:00

Jazz from the UK. Part of Edinburgh Jazz and Blues Festival.

YAZZ AHMED

ASSEMBLY ROXY, 21:00–23:00

LA BELLE ANGELE, 19:00–22:00

CHAKA DEMUS + PLIERS

THE CHRISTIANS

BANNERMANS, 19:00– 22:00

Mon 11 Jul

Country from the US.

SUFI FESTIVAL 2022

Electronic from the UK.

FEVER DREAM MONARCHS (NICK SHANE)

Jazz from Bahrain/the UK. Part of Edinburgh Jazz and Blues Festival.

SAMUEL NICHOLSON (NEEV + FRANKIE MORROW)

Country pop from Glasgow.

Part of King Tut’s Summer Nights.

Fri 15 Jul

THE VOODOO ROOMS, 19:30–22:00

NICE ‘N’ SLEAZY, 19:30–22:00

KING TUT’S, 20:30– 22:00

BROADCAST, 19:00–22:00

Blues rock from Scotland.

ROSE TATTOO

Fri 08 Jul

BROADCAST, 19:00–22:00

BARROWLANDS, 19:00– 22:00

Punk from Glasgow. Part of King Tut’s Summer Nights.

Alt indie from Manchester.

Part of King Tut’s Summer Nights.

Alt country from Melbourne.

THE DERELLAS (REACTION + THIRTEEN)

O2 ACADEMY GLASGOW, 19:00–22:00

KING TUT’S, 20:30– 22:00

KING TUT’S, 20:00– 22:00

THE VOODOO ROOMS, 19:30–22:00

Rock from Scotland. Part of Central Belters.

FAT FREDDY’S DROP

SNASH (LO RAYS + WINE MOMS + PERMO)

AFFLECKS PALACE (PASTEL + VEGA RALLY)

BROADCAST, 19:00–22:00

Mon 25 Jul

Rap from Australia.

Wed 27 Jul

SWISS PORTRAIT (WAVERLEY. + JESHUA)

Fri 22 Jul

THE KID LAROI

Metal from Hertfordshire.

HANNAH ALDRIDGE (LACHLAN BRYAN AND THE WILDES)

Nu metal from Phoenix.

Surf-punk from Glasgow.

PAPERSAILOR (HOG WYLD + THE SUPER PUMAS)

THE FLYING DUCK, 19:00–22:00

THE LUTRAS (THE ASURAS)

MONO, 19:00–22:00

STEREO, 19:00–22:00

Thu 21 Jul

ALL SEEING EYES

Wed 13 Jul

BANNERMANS, 19:00– 22:00

RICHARD DAWSON (CIRCLE) SUMMERHALL, 19:00– 22:00

Psych folk from Northumbria.

Thu 14 Jul

LAURENCE JONES

THE DELINES

Alt country from Portland.

Sat 16 Jul

CURTIS STIGERS

FESTIVAL THEATRE, 19:30–21:30

Jazz from the US. Part of Edinburgh Jazz and Blues Festival.

HARVEST GROUP

THE JAZZ BAR, 18:00– 19:30

Folk jazz from Belgium. Part of Edinburgh Jazz and Blues Festival.

ATOM EYES

THE JAZZ BAR, 21:00– 23:00

Neo-soul from Edinburgh.

Part of Edinburgh Jazz and Blues Festival.

SLIX

SNEAKY PETE’S, 19:00–22:00

Indie rock from Glasgow.

AFTER HOURS

ASSEMBLY ROXY, 17:00–18:30

Blues rock from the UK.

Jazz and swing from the UK. Part of Edinburgh Jazz and Blues Festival.

THE VOODOO ROOMS, 19:30–22:00

ASSEMBLY ROXY, 21:00–23:00

BANNERMANS, 19:00– 22:00

THE MUSIC TAPES

Experimental pop from the US. THE ILFORDS

SNEAKY PETE’S, 19:00–22:00

Alt rock from Newcastle.

STACY MITCHHART

Blues from Nashville. Part of Edinburgh Jazz and Blues Festival.

Sun 17 Jul NOUSHY 4TET

THE JAZZ BAR, 18:00– 19:30

Jazz from Scotland. Part of Edinburgh Jazz and Blues Festival.

July 2022 — Listings

SLOWMOVE (LULL + KNIVES CHAU FAN CLUB)

THE MUSIC TAPES

MUQATA’A (LAGOSS + ONDNESS)

THE SKINNY RACHEL LIGHTBODY

THE JAZZ BAR, 21:00– 23:00

Jazz from Scotland. Part of Edinburgh Jazz and Blues Festival.

DINOSAUR

ASSEMBLY ROXY, 18:00–19:30

Jazz from the UK. Part of Edinburgh Jazz and Blues Festival.

Mon 18 Jul

ABBIE BELL & THE HIGH RYSE (ANCIENT CIRCLE + DEAD PERSEPHONE) BANNERMANS, 19:00– 22:00

Country pop from Edinburgh.

DE BEREN GIEREN

THE JAZZ BAR, 18:00– 20:00

Jazz from Belgium. Part of Edinburgh Jazz and Blues Festival.

JAZZ BAR BIG BAND

THE JAZZ BAR, 21:00– 22:30

Jazz from the UK. Part of Edinburgh Jazz and Blues Festival.

DITZ

SNEAKY PETE’S, 19:00–22:00

Noise rock from Brighton.

STEPHANIE TRICK & PAOLO ALDERIGHI ASSEMBLY ROXY, 14:00–15:00

Jazz from the US. Part of Edinburgh Jazz and Blues Festival.

BRIAN MOLLEY QUINTET PLAY GETZ AND BYRD'S JAZZ SAMBA ASSEMBLY ROXY, 20:30–22:30

Jazz from the UK. Part of Edinburgh Jazz and Blues Festival.

SCARYPOOLPARTY THE MASH HOUSE, 19:00–22:00

Art pop from the US.

Tue 19 Jul

ALIENS DON’T RING DOORBELLS BANNERMANS, 19:00– 22:00

Pop rock from the UK.

GREIG TAYLOR BAND THE JAZZ BAR, 18:00– 19:30

Jazz from the UK. Part of Edinburgh Jazz and Blues Festival.

AKU!

THE JAZZ BAR, 21:00– 23:00

Doom jazz from Scotland.

Part of Edinburgh Jazz and Blues Festival.

ME REX

July 2022 — Listings

SNEAKY PETE’S, 19:00–22:00

Indie from London. Part of Central Belters.

PAOLO ALDERIGHI TRIO ASSEMBLY ROXY, 14:00–16:00

Jazz from Italy. Part of Edinburgh Jazz and Blues Festival.

DANIELE RAIMONDI WITH KONRAD WISZNIEWSKI ASSEMBLY ROXY, 18:00–19:30

Jazz from Scotland/Italy.

Part of Edinburgh Jazz and Blues Festival.

THE KATET VS JOHN WILLIAMS ASSEMBLY ROXY, 20:30–22:30

Soul and funk from Edinburgh. Part of Edinburgh Jazz and Blues Festival.

Wed 20 Jul

MARC VALENTINE (CONTINENTAL LOVERS + POWDERKEG)

BANNERMANS, 19:00– 22:00

Singer-songwriter from the UK.

PAUL CARELLA + JASON MANNS

THE VOODOO ROOMS, 19:30–22:00

Singer-songwriter from the US.

CONSTANT FOLLOWER (FINN BRODIE) SNEAKY PETE’S, 19:00–22:00

Dreampop from Scotland.

Part of Central Belters.

JOHN BURGESS: BIG SWING FACE ASSEMBLY ROXY, 18:00–19:30

Swing from Scotland. Part of Edinburgh Jazz and Blues Festival.

MARTIN KERSHAW OCTET: POETS ASSEMBLY ROXY, 21:00–23:00

Jazz from Scotland. Part of Edinburgh Jazz and Blues Festival.

Thu 21 Jul GAMA BOMB (HELLRIPPER)

BANNERMANS, 19:00– 22:00

Thrash metal from Northern Ireland.

DANIELE RAIMONDI + MATT CARMICHAEL THE JAZZ BAR, 18:00– 19:00

Jazz from Scotland/Italy.

Part of Edinburgh Jazz and Blues Festival.

JOE WILLIAMSON

THE JAZZ BAR, 21:00– 23:00

Jazz from Scotland. Part of Edinburgh Jazz and Blues Festival.

LORNA REID: FROM PARIS TO TEXAS ASSEMBLY ROXY, 14:00–15:00

Americana from Scotland.

Part of Edinburgh Jazz and Blues Festival.

BRIAN KELLOCK & DAVID BLENKHORN TRIO ASSEMBLY ROXY, 18:00–19:00

Jazz from Scotland. Part of Edinburgh Jazz and Blues Festival.

KITTI

ASSEMBLY ROXY, 20:30–22:30

Soul from Glasgow. Part of Edinburgh Jazz and Blues Festival.

Fri 22 Jul

THE OUTFIT (MADRE SUN) BANNERMANS, 19:00– 22:00

Rock from the UK.

NATHAN SOMEVI TRIO THE JAZZ BAR, 18:00– 19:30

Soul and jazz from Scotland. Part of Edinburgh Jazz and Blues Festival.

FRANCESCO ZAMPINI QUINTET THE JAZZ BAR, 21:00– 23:00

Jazz from Italy. Part of Edinburgh Jazz and Blues Festival.

MULLIGAN PRESENTS (JAMIE REILLY BAND + GENTLEMEN PREFER BLONDES + NANOBOTS + DUGLAS STEWART (BMX BANDITS) + FAY FIFE & MARTIN METCALFE) THE VOODOO ROOMS, 19:30–22:00

Eclectic lineup.

THE VANITIES

SNEAKY PETE’S, 19:00–22:00

Surf-punk from Glasgow.

FABIO GIACHINO + DAVID MILLIGAN + NORMAN WILLMORE ASSEMBLY ROXY, 17:00–18:30

Eclectic jazz lineup. Part of Edinburgh Jazz and Blues Festival.

HILLMAN HUNTERS + BRANDON SANTINI ASSEMBLY ROXY, 21:00–23:00

Jazz from the US. Part of Edinburgh Jazz and Blues Festival.

MNDMTH + AIITEE LA BELLE ANGELE, 20:00–22:00

Jazz and R’n’B from Scotland/Sudan. Part of Edinburgh Jazz and Blues Festival.

Sat 23 Jul

ROSIE FRATER TAYLOR THE JAZZ BAR, 18:00– 19:30

Folk jazz from London. Part of Edinburgh Jazz and Blues Festival.

ARCHIPELAGOS

THE JAZZ BAR, 21:00– 23:00

Jazz fusion from Italy. Part of Edinburgh Jazz and Blues Festival.

GRANT KILPATRICK (STATIC SATELLITES + FAKE LIPS) SNEAKY PETE’S, 19:00–22:00

Singer-songwriter from Scotland.

FEDERICO CALCAGNO & THE DOLPHIANS ASSEMBLY ROXY, 16:00–17:00

Jazz from Italy. Part of Edinburgh Jazz and Blues Festival.

BRANDON SANTINI BAND ASSEMBLY ROXY, 21:00–23:00

Blues from Memphis. Part of Edinburgh Jazz and Blues Festival.

Sun 24 Jul

SCARLET REBELS

BANNERMANS, 19:00– 22:00

Hard rock from Wales.

FERDINANDO ROMANO TOTEM

THE JAZZ BAR, 18:00– 19:30

Jazz from Italy. Part of Edinburgh Jazz and Blues Festival.

EMMA SMITH: TAKE ON MINGUS

THE JAZZ BAR, 21:00– 23:00

Jazz from Scotland. Part of Edinburgh Jazz and Blues Festival.

BILL KIRCHEN

THE VOODOO ROOMS, 19:30–22:00

Singer-songwriter from the US. BECKY SIKASA SNEAKY PETE’S, 19:00–22:00

Neo-soul from Glasgow.

BRIAN KELLOCK AND COLIN STEELE: SATCHMO AND DUKE ASSEMBLY ROXY, 13:00–15:00

Jazz from Scotland. Part of Edinburgh Jazz and Blues Festival.

BLIND BOY PAXTON ASSEMBLY ROXY, 18:00–19:00

Jazz from LA. Part of Edinburgh Jazz and Blues Festival.

SADE MANGIARACINA TRIO ASSEMBLY ROXY, 20:30–22:00

Jazz from Italy. Part of Edinburgh Jazz and Blues Festival.

Tue 26 Jul DEDO PODRE

BANNERMANS, 19:00– 22:00

Rock from Brazil.

SHAGGY

O2 ACADEMY EDINBURGH, 19:00–22:00

Reggae from Jamaica.

Wed 27 Jul

SUBALTERNOS (BAD ASS + CRIMETIME) BANNERMANS, 19:00– 22:00

Punk from Brazil.

WIKI

SNEAKY PETE’S, 19:00–22:00

Regular Glasgow club nights

Thu 28 Jul

The Flying Duck

Rap from New York. Part of Central Belters.

SKYPILOT (MEDUSA TOUCH) BANNERMANS, 19:00– 22:00

Rock from Doagh.

STIFF LITTLE FINGERS O2 ACADEMY EDINBURGH, 19:00–22:00

Punk from Belfast.

CHRISTONE ‘KINGFISH’ INGRAM THE QUEEN’S HALL, 19:00–22:00

Blues from Mississippi.

YNES (ZAIDA LA ROSE + THE SKUNKS) SNEAKY PETE’S, 19:00–22:00

SUNDAYS

GOLDEN DAYS

Weekly house and techno night for losing yourself in the beats.

The Rum Shack

SATURDAYS (THIRD OF THE MONTH)

Fri 29 Jul

DEAN WAREHAM

SKYLIGHTS

SUBCULTURE

SATURDAYS

Long-running house night with residents Harri & Domenic, oft' joined by a carousel of super fresh guests.

Britpop from York.

Dundee Music

THURSDAYS

SUNDAYS (THIRD OF THE MONTH)

DJ Jonny soundtracks your Wednesday with all the best pop-punk, rock and Hip-hop.

Pop party anthems and classic cheese from DJ Nicola Walker.

UNHOLY

CHEERS FOR THIRD SUNDAY

Cathouse's Thursday night rock, metal and punk mash-up.

SATURDAYS (SECOND OF THE MONTH)

Sub Club

SNEAKY PETE’S, 19:00–22:00

CATHOUSE WEDNESDAYS

Screamy, shouty, posthardcore madness to help you shake off a week of stress in true punk style.

Afro, disco and funtimes with three of the best record collections in Glasgow and beyond.

SUNDAYS (SECOND OF THE MONTH) FLASHBACK

FRIDAYS

Soul party feat. 60s R'n'B, motown, northern soul and more!

THE LIQUID ROOM, 19:00–22:00

Rock from New York.

WEDNESDAYS

MOJO WORKIN’

LOOSEN UP

Emo punk from Canada.

Cathouse

CATHOUSE FRIDAYS

SATURDAYS

CATHOUSE SATURDAYS

Or Caturdays, if you will.

Two levels of the loudest, maddest music the DJs can muster; metal, rock and alt on floor one, and punky screamo upstairs.

SUNDAYS (FIRST OF THE MONTH) HELLBENT

From the fab fierce family that brought you Catty Pride comes Cathouse Rock Club’s new monthly alternative drag show.

Sat 23 Jul

LULL (SHALLOW + KNIVES CHAU FANCLUB + CROCODILE TEARS)

DJ Kelmosh takes you through Mid-Southwestern emo, rock, new metal, nostalgia and 90s and 00s tunes.

SUNDAYS (LAST OF THE MONTH) SLIDE IT IN

Classic rock through the ages from DJ Nicola Walker.

The Garage Glasgow MONDAYS

BARE MONDAYS

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no?

TUESDAYS

#TAG TUESDAYS

WEDNESDAYS

GLITTERED! WEDNESDAYS

DJ Garry Garry Garry in G2 with chart remixes, along with beer pong competitions all night.

THURSDAYS ELEMENT

Ross MacMillan plays chart, house and anthems with giveaways, bouncy castles and, most importantly, air hockey.

FRIDAYS

FRESH BEAT

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore.

SATURDAYS

I LOVE GARAGE

Garage by name, but not by musical nature. DJ Darren Donnelly carousels through chart, dance and classics, the Desperados bar is filled with funk, G2 keeps things urban and the Attic gets all indie on you.

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence.

SUNDAYS

Fri 22 Jul

SESH

Twister, beer pong and DJ Ciar McKinley on the ones and twos, serving up chart and remixes through the night.

RAD APPLES, 19:00– 22:00

Grunge from Newcastle.

Glasgow Clubs

Edinburgh Clubs

RED ROOM SOUNDS

PLANTBASS’D: AMOR SATYR (SKILLIS + DOUBT)

Dembow from France.

Fri 08 Jul

REGGAETON PARTY

Fri 15 Jul

Sat 16 Jul

STEREO, 23:00–03:00

Thu 07 Jul

FOUNDRY042 PAULITICAL (STILL DISTANT RECORDS) LA CHEETAH CLUB, 23:00–03:00

OPAL NIGHTS (EWAN PARTIAL + RON YONDER + TOWN CENTRE (LIVE)) THE FLYING DUCK, 23:00–03:00

Dance party.

Post-punk and techno.

SUBCULTURE WITH HARRI & DOMENIC

Fri 08 Jul

NEW SHAPES (MAVEEN + ROSEHIPS + KENWAT) STEREO, 23:00–03:00

House and techno.

SUB CLUB, 23:00–03:00

House and techno.

SEOULRUSH PRESENTS: (DJ SPOOKII & DJ CLOVER) ROOM 2, 17:00–22:00

ESOTERICA

K-pop.

THE FLYING DUCK, 18:30–22:00

Trance, acid and techno.

GOOD THING WITH BIG MIZ + ELIZA ROSE LA CHEETAH CLUB, 23:00–03:00

House and techno.

RETURN TO MONO: SLAM & MAMA SNAKE + KAAI SUB CLUB, 23:00–03:00

Techno and house.

A NIGHT OF ITALO DISCO

THE BERKELEY SUITE, 23:00–03:00

Disco and dance.

Sat 09 Jul

SUBCULTURE WITH HARRI + ECLAIR FIFI + JUNGLEHUSSI SUB CLUB, 23:00–03:00

Techno and house.

Fri 22 Jul

STEREO PRESENTS: DJ LAG (OPTIMISTIC SOUL + ELANDA)

KEEP IT ROLLING ALL NIGHT LONG LA CHEETAH CLUB, 23:00–03:00

Fri 15 Jul

QUEER THEORY X STEREO (POISONOUS RELATIONSHIP + DORIAN T FISK + IZZY STOTT + THEO SEDDON + CHARDONNAY EMERALD + ISAAC HARRIS + KETA BUSH + ADAM TODD)

TWIST & SHOUT

Dark techno.

THE MASH HOUSE, 23:00–03:00

603

OUTSET (M-HIGH)

House.

Sat 09 Jul

REDSTONE PRESS & FRIENDS (JON K + ELLE ANDREWS + LEWIS LOWE) SNEAKY PETE’S, 23:00–03:00

FUNDAMENTALS

LA BELLE ANGELE, 23:00–03:00

THE FLYING DUCK, 23:00–02:00

House and techno.

SUB CLUB, 23:00–03:00

Funk, ampiano and Afro.

Sat 23 Jul

REDSTONE PRESS & FRIENDS (BAKE + LEWIS LOWE)

STEREO, 23:00–03:00

Bass and breaks from Glasgow.

SUB CLUB, 23:00–03:00

House and techno.

HEAVY VIBES

Digital roots, dub and dancehall.

Fri 29 Jul

MACEO PLEX + AVNU

SUB CLUB, 23:00–03:00

House and techno.

STEREO, 19:30–03:00

Cabaret from Glasgow.

CLUB NACHT (ANOTHER CHEMICAL LOVE STORY) THE MASH HOUSE, 23:00–03:00

House and techno.

PROTOCOL

THE MASH HOUSE, 23:00–03:00

House and techno.

Sun 10 Jul

ACRILLICS (NEB, AND BESSEL) THE MASH HOUSE, 22:00–03:00

House, disco and techno.

Mon 11 Jul

PRONTO (FRESH TAKE RECORDS) SNEAKY PETE’S, 23:00–03:00

House and techno.

Tue 12 Jul

MIDNIGHT BASS THE MASH HOUSE, 23:00–03:00

Drum and bass.

Thu 14 Jul

MANGO LOUNGE PRESENTS (GEORGE IV & REFRACTA) SNEAKY PETE’S, 23:00–03:00

FRAZI.ER

SUB CLUB, 23:00–03:00

House and breaks.

— 66 —

Electronica.

LA BELLE ANGELE, 23:00–03:00

MINGIN

THE RUM SHACK, 20:00–03:00

Techno and garage.

THE MASH HOUSE, 23:00–03:00

LUSSURIA

Gqom from South Africa.

MAGIC CITY CARNIVAL WITH FLORENTINO

AQUELARRE (PAKO VEGA)

Reggaeton party.

Bass and breaks from Glasgow.

Techno and rhythm.

Bass.

SNEAKY PETE’S, 23:00–03:00

STEREO, 23:00–03:00

SUBCULTURE WITH HARRI & DOMENIC

Thu 14 Jul

LA BELLE ANGELE, 23:00–03:00

THE MASH HOUSE, 23:00–03:00

UK garage.

Disco and pop.

THE MASH HOUSE, 23:00–03:00

House, garage and techno.

Sat 16 Jul

CLUB MEDITERRANEO (ANDREA MONTALTO) SNEAKY PETE’S, 23:00–03:00

Disco.

DECADE

LA BELLE ANGELE, 23:00–03:00

Pop and punk.

MILKIT

THE MASH HOUSE, 23:00–03:00

Underground.

NSA - ALFOS

THE MASH HOUSE, 16:00–22:00

Day clubbing.

THE BIG GREEN THE MASH HOUSE, 23:00–03:00

Disco.

Mon 18 Jul ARCHIVES

SNEAKY PETE’S, 23:00–03:00

House and techno.

Tue 19 Jul

MIDNIGHT BASS THE MASH HOUSE, 23:00–03:00

Drum and bass.

Thu 21 Jul

GREENHOUSE RECORDS (SPOOF-J) SNEAKY PETE’S, 23:00–03:00

House.

SUMMER SOLID THE MASH HOUSE, 23:00–03:00

Summer vibes.

DEFINITION (MARK BALNEAVES + MARTIN LIGHTBODY) SNEAKY PETE’S, 23:00–03:00

House and techno.

ELATION

LA BELLE ANGELE, 23:00–03:00

Trance.

ALIEN DISCO

THE MASH HOUSE, 23:00–03:00

Underground rave.

METROPOLIS (SAMURAI BREAKS) THE MASH HOUSE, 23:00–03:00

House and techno.

Sat 23 Jul TONTO

LA BELLE ANGELE, 23:00–03:00

Techno.

BOUND IN SOUND THE MASH HOUSE, 23:00–03:00

Underground.

TAIS TOI (TOMMY HOLOHAN) THE MASH HOUSE, 23:00–03:00

Techno jungle rave.

Mon 25 Jul TAIS-TOI

SNEAKY PETE’S, 23:00–03:00

Techno.

Tue 26 Jul

MIDNIGHT BASS THE MASH HOUSE, 23:00–03:00

Drum and bass.

Fri 29 Jul

MEANWHILE (PRIVET) SNEAKY PETE’S, 23:00–03:00

House.

DILF

LA BELLE ANGELE, 23:00–03:00

Dance party.

OVERGROUND

THE MASH HOUSE, 23:00–03:00

Underground.

SUBJECT

THE MASH HOUSE, 23:00–03:00

House and breaks.

Dundee Clubs

THE SKINNY

Dundee Clubs Sat 09 Jul BASSHUNTER

CHURCH, 22:00–03:00

Techno and house.

Thu 28 Jul

CONFESSIONS LAUNCH PARTY

CHURCH, 22:30–03:00

Dance and pop.

Glasgow Comedy Oran Mor

LUISA OMIELAN 23 JUL, 7:00PM

Iconic one woman show by inaugural BAFTA Breakthrough Award recipient.

AN AUDIENCE WITH TEZ ILYAS 10 JUL, 6:30PM

A hilarious and intimate show with author and the star of The Tez O'Clock Show.

The King’s Theatre CHRIS RAMSAY

4-5 JUL, 7:30PM – 10:00PM

Funny storytelling from professional podcaster.

ALAN CARR: REGIONAL TRINKET

PAUL SMITH: CHANGED

15-16 JUL, 8:00PM – 10:00PM

Liverpudlian stand-up.

RUSSELL KANE LIVE: THE ESSEX VARIANT! 17 JUL, 8:00PM – 10:00PM

Comedian, actor and podcaster takes to the stage.

The Stand Glasgow

SPONTANEOUS POTTER: THE UNOFFICIAL IMPROVISED PARODY 10 JUL, 8:30PM

A very magical improv show.

SUSIE MCCABE + CHRISTOPHER MACARTHUR-BOYD WORK IN PROGRESS 6 JUL, 8:30PM

The fastest-selling GICF act for three years running a rising star in Scottish comedy share a WIP show.

WEEGIE HINK AE THAT? FRINGE PREVIEW 7 JUL, 8:30PM

JONNY & THE BAPTISTS: SMILE LIKE IT NEVER HAPPENED 13 JUL, 8:00PM

Musical comedians try to do it all.

JOSIE LONG AND SOME CHUMS

Edinburgh Comedy Monkey Barrel Comedy Club

14 JUL, 8:00PM

STAMPTOWN

JOSIE LONG & LIAM WITHNAIL

A raunchy, full-on fringe experience, this late-night variety show features the best from the international scene.

Comedy Fundraiser for Nerve Tumours UK 18 JUL, 7:30

Josie Long and Liam Withnail test out proto-Fringeshows.

KAREN FROM FINANCE: OUT OF OFFICE 21 JUL, 8:00PM

Beloved Australian drag queen presents her debut one woman show with her trademark high-camp.

DARREN CONNELL & THE FUNNY BUNCH 24 JUL, 8:00PM

Come and join Darren and some of his favourite acts for a great show of standup comedy.

Sketches to songs aboot all things Scottish.

11-12 JUL, 8:00PM

KRYSTAL EVANS: WORK IN PROGRESS 9 JUL, 8:00PM

Sharp comedy that finds humour in disaster.

LAUREN PATTISON: IT IS WHAT IT IS (PREVIEW) 15 JUL, 8:00PM

Edinburgh Comedy Award Best Newcomer nominee Lauren Pattison is back with a brand-new show.

27 JUL, 8:00PM

A final preview of a new Scottish comic play before its Fringe debut.

Mega comedy star finds joy in the smallest of things.

RUSSELL HOWARD 13 JUL, 7:00PM – 10:30PM

The star of The Russell Howard Hour takes to the stage.

ALAN CARR: REGIONAL TRINKET 8-9 JUL, 8:30

The Stand Edinburgh

THE INTERVENTION (PREVIEW)

10-11 JUL, TIMES VARY

The Edinburgh Playhouse

Hilarious and camp standup shaped into a heartwarming love story.

8 JUL, 8:00PM

A brand new work in progress show about the millenial condition.

Mutli-award winning comedians and stars of Twitch, Bilal and Rosco perform back-to-back work in progress shows.

Drygate Brewing Co.

SAM LAKE: CAKE (WIP)

22 JUL, 8:00PM

10 JUL, 2:30PM

Regular Glasgow comedy nights

Edinburgh comedian and reluctant online hit Eleanor Morton presents a brand new stand-up show.

9 JUL, 8:00PM

Mega comedy star finds joy in the smallest of things.

STUART MCPHERSON: THE PEESH (PREVIEW)

BILAL ZAFAR + ROSCO MCCLELLAND: WIPS

ELEANOR MORTON HAS PEAKED (WIP)

THE BEST OF SCOTTISH COMEDY 21-28 JUL, 8:30PM

A carload of the best comics on the contemporary Scottish circuit.

LARRY DEAN: WORK IN PROGRESS 19 JUL, 8:30PM

An hour of stand up from the award-winning comedian from BBC2's Live At The Apollo and Mock The Week.

The Bongo Club TUESDAYS

MIDNIGHT BASS

Big basslines and small prices form the ethos behind this weekly Tuesday night, with drum'n'bass, jungle, bassline, grime and garage aplenty.

FRIDAYS (THIRD OF THE MONTH) ELECTRIKAL

Sound system and crew, part of a music and art collective specialising in BASS music.

FRIDAYS (MONTHLY, WEEK CHANGES) SOUND SYSTEM LEGACIES

Exploring the legacy of dub, reggae and roots music and sound system culture in the contemporary club landscape.

DISCO MAKOSSA

Disco Makossa takes the dancefloor on a funk-filled trip through the sounds of African disco, boogie and house – strictly for the dancers.

FRIDAYS (EVERY OTHER MONTH) OVERGROUND

A safe space to appreciate all things rave, jungle, breakbeat and techno.

FRIDAYS (FIRST OR LAST OF THE MONTH) HEADSET

Skillis and guests playing garage, techno, house and bass downstairs, with old school hip-hop upstairs.

SATURDAYS (FIRST OR SECOND OF THE MONTH) MESSENGER

Roots reggae rocking since 1987 – foundation tune, fresh dubs, vibes alive, rockers, steppers, rub-a-dub.

SATURDAYS (LAST OF THE MONTH)

Everything from disco, funk and soul to electro and house: Saturday night party music all night long.

Monthly no holds barred, down and dirty bikram disco.

MUMBO JUMBO

SATURDAYS (MONTHLY) SOULSVILLE INTERNATIONAL

International soulful sounds.

SATURDAYS (EVERY OTHER MONTH) PULSE

Techno night started in 2009 hosting regular special guests from the international scene.

Sneaky Pete’s MONDAYS (FIRST OF THE MONTH) HEADSET

Scottish rave label with a monthly, guest-filled night.

TUESDAYS

POPULAR MUSIC

DJs playing music by bands to make you dance: Grace Jones to Neu!, Parquet Courts to Brian Eno, The Clash to Janelle Monáe.

WEDNESDAYS HEATERS

Heaters resident C-Shaman presents a month of ambiguous local showdowns, purveying the multifarious mischief that characterises Sneaky’s midweek party haven.

THURSDAYS (FIRST OF THE MONTH) VOLENS CHORUS

Resident DJs with an eclectic, global outlook FRIDAYS (FIRST OF THE MONTH) MISS WORLD

All-female DJ collective with monthly guests

FRIDAYS (SECOND OF THE MONTH) HOT MESS

A night for queer people and their friends.

SOUL JAM

SUNDAYS POSTAL

Multi-genre beats every Sunday at Sneaky Pete's, showcasing the very best of local talent with some extra special guests.

The Liquid Room

SATURDAYS (FIRST OF THE MONTH) REWIND

Monthly party night celebrating the best in soul, disco, rock and pop with music from the 70s, 80s, 90s and current bangers.

The Hive MONDAYS

MIXED UP MONDAY

Monday-brightening mix of Hip-hop, R'n'B and chart classics, with requests in the back room.

TUESDAYS

TRASH TUESDAY

Alternative Tuesday anthems cherry picked from genres of rock, indie, punk, retro and more.

WEDNESDAYS

COOKIE WEDNESDAY

90s and 00s cheesy pop and modern chart anthems.

THURSDAYS

HI-SOCIETY THURSDAY

Student anthems and bangerz.

FRIDAYS

FLIP FRIDAY

Yer all-new Friday at Hive.

Cheap entry, inevitably danceable, and noveltystuffed. Perrrfect.

SATURDAYS BUBBLEGUM

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

SUNDAYS

SECRET SUNDAY

Two rooms of all the chart, cheese and indie-pop you can think of/handle on a Sunday.

Subway Cowgate MONDAYS TRACKS

Blow the cobwebs off the week with a weekly Monday night party with some of Scotland’s biggest and best drag queens.

TUESDAYS TAMAGOTCHI

Throwback Tuesdays with non-stop 80s, 90s, 00s tunes.

WEDNESDAYS

Hip-hop and R'n'B grooves from regulars DJ Beef and DJ Cherry.

THURSDAYS

The Stand Glasgow

FIRST MONDAY OF THE MONTH

The Stand Edinburgh MONDAYS

RED RAW, 20:30

Legendary new material night with up to eight acts.

FRIDAYS

The big weekend show with four comedians.

THE SATURDAY SHOW (THE EARLY SHOW), 17:00

Musical comedians try to do it all.

A slightly earlier performance of the big weekend show with four comedians.

17 JUL, 7:30PM

THE SATURDAY SHOW, 21:00

JOSIE LONG & LIAM WITHNAIL

SATURDAYS

Josie Long and Liam Withnail test out proto-Fringeshows.

The big weekend show with four comedians.

THE STAND WITH UKRAINE BENEFIT 7 JUL, 8:00PM

In light of the ongoing war in Ukraine, the Stand are hosting a benefit to fundraise money for those affected.

WIP WEDNESDAY 13 JUL, 8:30PM

Fringe WIPs from Liam Withnail, Amelia Bayler, Stuart McPherson and Tom Stade. All proceeds to Kidney Care UK. VLADIMIR MCTAVISH & SUSAN MORRISON FRINGE PREVIEWS

A chance to see two Stand favourites in a sneak preview of their Edinburgh Fringe shows.

SLIC

More classic Hip-hop and R'n'B dance tunes for the almost end of the week.

FRIDAYS

Glasgow Theatre CCA: Centre for Contemporary Art 1. MORE THAN A FOOTNOTE: A QUEST TO RESTORE QUEER STORIES

5 JUL, 7:30PM – 8:15PM

The story of a quest to find what has been lost. Part of Village Storytelling Festival.

BEWARE THE BEASTS

6 JUL, 1:00PM – 2:00PM

Traditional tales, songs, clowning and improvisation about the beast inside us all. Part of Village Storytelling Festival.

PAPER RAINBOWS

6 JUL, 3:00PM – 3:15PM

FIT FRIDAYS

Chart-topping tunes perfect for an irresistible sing and dance-along.

SATURDAYS

SLICE SATURDAY

The drinks are easy and the pop is heavy.

SUNDAYS

Sunday Service Atone for the week before and the week ahead with non-stop dancing.

The Mash House

SATURDAYS (FIRST OF THE MONTH) SAMEDIA SHEBEEN

Joyous global club sounds: think Afrobeat, Latin and Arabic dancehall on repeat.

SATURDAYS (LAST OF THE MONTH) PULSE

The best techno DJs sit alongside The Mash House resident Darrell Pulse.

— 67 —

THE FRIDAY SHOW, 20:30

The big weekend show with four comedians.

SATURDAYS

THE SATURDAY SHOW, 21:00

The big weekend show with four comedians.

FRIDAYS

FRIDAY NIGHT COMEDY, 19:00

The perfect way to end the working week, with four superb stand-up comedians.

SATURDAYS

SATURDAY NIGHT COMEDY, 19:00

An evening of awardwinning comedy, with four superb stand-up comedians that will keep you laughing until Monday.

Regular Edinburgh comedy nights

SATURDAYS

JONNY & THE BAPTISTS: SMILE LIKE IT NEVER HAPPENED

FRIDAYS

The Glee Club

Host Billy Kirkwood and guests act entirely on your suggestions.

Resident duo Stu & Garry weave comedy magic from your suggestions.

5 JUL, 8:30PM

Legendary new material night with up to eight acts.

MONDAY NIGHT IMPROV, 20:30

THE FRIDAY SHOW, 21:00

17 JUL, 4:30PM

XO

A new material comedy night hosted by Chris Thorburn.

RED RAW, 20:30

Shadow puppetry and soundscapes exploring the transformative power of different perspectives.

Part of Village Storytelling Festival.

THE BOY WITH THE MOON ON HIS FOREHEAD

6 JUL, 4:00PM – 5:20PM

A little known ancient Indian fairytale comes alive in a magical retelling.

Part of Village Storytelling Festival.

HEAR US AND HASTEN 6 JUL, 6:00PM – 7:00PM

An upfront reckoning with the climate's fragility.

Part of Village Storytelling Festival.

THE GODS ARE ALL HERE 6 JUL, 8:00PM – 10:00PM

Weaving myth and legends of the African diaspora with an astonishing personal story. Part of Village Storytelling Festival.

Monkey Barrel Comedy Club TUESDAYS (BIWEEKLY)

THE EDINBURGH REVUE, 19:00

The University of Edinburgh's Comedy Society, who put on sketch and stand-up comedy shows every two weeks.

WEDNESDAYS

TOP BANANA, 19:00

Catch the stars of tomorrow today in Monkey Barrel's new act night every Wednesday.

THURSDAYS

SNEAK PEAK, 19:00 + 21:00

Four acts every Thursday take to the stage to try out new material.

FRIDAYS

MONKEY BARREL COMEDY'S BIG FRIDAY SHOW, 19:00

Monkey Barrel's flagship night of premier stand-up comedy.

SATURDAYS

MONKEY BARREL COMEDY'S BIG SATURDAY SHOW, 19:00

Monkey Barrel's flagship night of premier stand-up comedy.

SUNDAYS

MONKEY BARREL COMEDY'S BIG SUNDAY SHOW, 19:00

Monkey Barrel's flagship night of premier stand-up comedy.

SELKIE SOUL

HARP AND CARP

Aerial choreography, music, poetry, and storytelling about longing and return to a spiritual home. Part of Village Storytelling Festival.

Trad strings music blends with personal and mythical stories. Part of Village Storytelling Festival.

7 JUL, 6:00PM – 6:45PM

9 JUL, 6:00PM – 6:30PM

VOICES OF PEACE

NEFARIOUS PRACTICES

New Glaswegians, who have lost their countries share their visions of a future of hope and peace.

Part of Village Storytelling Festival.

From folktales to personal encounters, this piece explores the prejudice that fuelled the Scottish witch hunts. Part of Village Storytelling Festival.

7 JUL, 7:15PM – 7:45PM

9 JUL, 7:00PM – 8:30PM

WOLF GIRL

7 JUL, 8:00PM – 9:20PM

I HOPE YOUR FLOWERS BLOOM

A GAME OF CANDLES

An exploration of selfworth, healthy masculinity, and working-class connection to nature. Part of Village Storytelling Festival.

A true history of fragile memories, fantastic tales and classic German songs.

Part of Village Storytelling Festival.

7 JUL, 9:30PM – 10:45PM

Storytelling drawing on Japanese storytelling customs from the Edo era.

Part of Village Storytelling Festival. #HELD(IN) TRANSLATION #HERO(INE)

8 JUL, 6:45PM – 8:00PM

An energetic whirlwind of fat beats and absurd tales, sharing favourite myths via a quest for true heroes.

Part of Village Storytelling Festival.

WOMEN WHO GAVE NO F*CKS 8 JUL, 9:00PM – 11:00PM

Stand-up tale-tellers slam down stories of superwomen and unstoppable goddesses. Part of Village Storytelling Festival.

FEAST OF FOOLS

9 JUL, 2:00PM – 2:50PM

An interactive dinner table of foolishness. Part of Village Storytelling Festival.

9 JUL, 9:00PM – 9:50PM

TELL IT TO THE BEES 6 JUL, 11:00AM – 12:30PM

A tale of loss, grief and remembering inspired by the old habit of telling the hive of a death. Part of Village Storytelling Festival.

The King’s Theatre

THE TOMMY BURNS STORY 7-9 JUL, TIMES VARY

A play about Glasgow Celtic footballer.

DREAMBOATS & PETTICOATS

19-23 JUL, 7:30PM – 10:00PM

Jukebox rock’n’roll musical.

Theatre Royal PANTOMONIUM!

22-23 JUL, TIMES VARY

Summer pantomime about chaos in Pantoland.

Tramway

GATHERED TOGETHER 6-9 JUL, 7:00PM – 10:00PM

Eclectic dance programme.

July 2022 — Listings

FRIDAYS (EVERY OTHER MONTH)

SATURDAYS (MONTHLY)

DRYGATE COMEDY LAB, 7PM

STU & GARRY’S IMPROV SHOW

12 JUL, 8:00PM

Regular Edinburgh club nights

FIRST AND THIRD TUESDAY OF THE MONTH

TUESDAYS

THE SKINNY

Tron Theatre

UNDERWOOD LANE 14-30 JUL, 7:30PM – 10:00PM

A new John Byrne musical about a skiffle band trying to make it.

Edinburgh Theatre Festival Theatre

ZOG AND THE FLYING DOCTORS 9-13 JUL, TIMES VARY

Imaginative children’s show based on the Julia Donaldson book.

BEYOND BROADWAY EXPERIENCE: GREASE 29-30 JUL, 7:30PM – 10:30PM

Youth theatre adaptation of the cult classic.

The Edinburgh Playhouse FOOTLOOSE

19-23 JUL TIMES VARY

A city boy moves to the sticks where dancing is banned in this classic dance musical.

BILLIONAIRE BOY

28-30 JUL, 7:00PM – 10:30PM

A production of David Walliams’ bestselling children’s book.

The Studio

THE POLAR BEARS: GO, GO, GO!

23-24 JUL, 2:00PM – 4:00PM

A polar bear adventure for children between 2-5.

Glasgow Art 16 Nicholson Street

BETH SHAPEERO + EMPOWER WOMEN FOR CHANGE: TO STAND IN THE FULL SUN

7-24 JUL, TIMES VARY

Large-scale abstract prints created in collaboration between artist Beth Shapeero and participants from Empower Women for Change.

CCA: Centre for Contemporary Art

July 2022 — Listings

SCOTT CARUTH + ALEX HETHERINGTON: SEEN AND NOT SEEN 1-16 JUL, TIMES VARY

Primarily made up of moving image, this exhibition reflects on the ways in which art can makes things visible and invisible.

Glasgow Print Studio JOHN HOUSTON: MONOTYPES AND EDITIONS

1-30 JUL, 11:00AM – 5:00PM

A retrospective of seminal postwar Scottish painter and artist.

INTERCITY PRINTS

1-30 JUL, 11:00AM – 5:00PM

Bringing together groundbreaking prints from across Scotland’s five major print studios.

Glasgow Women’s Library

WILHELMINA BARNSGRAHAM: COLOUR IN MOTION 1 JUL-6 AUG, TIMES VARY

A showcase of prints and catalogues by one of the UK’s most important abstract artists.

GoMA TASTE!

1 JUL-31 DEC, 11:00AM – 4:00PM

Featuring work by Andy Warhol, Sarah Forrest and David Shrigley, this exhibition looks at how taste is created and art archives are curated.

DOMESTIC BLISS

1 JUL-31 DEC, 11:00AM – 4:00PM

Building on the gallery’s space as a former house and civic space, Domestic Bliss examines how artists develop practice alongside social and political change, and the ways in which public and domestic labour intersect with art.

RGI Kelly Gallery

OPEN HOUSE: RGI GRADUATE AWARD WINNERS 2021

8-30 JUL, TIMES VARY

A showcase of work by 2021 recipients of the RGI Graduate Award.

Six Foot Gallery

ART: SUMMER SHOW 7-26 JUL, 10:00AM – 5:00PM

The gallery’s annual open call summer show exhibiting some of the best creative talents in Glasgow and beyond.

South Block EMMA HISLOP: UNKNOT

1 JUL-1 AUG, 9:00AM – 5:00PM

A new exhibition of print work

Street Level Photoworks

STREET LEVEL OPEN 2022 1 JUL-7 AUG, TIMES VARY

Featuring numerous Scottish lens-based artists pulled from an open call, this exhibition is a celebration of the diversity of photography in Scotland.

The Briggait ALAN CAMPBELL: LOST LEAVES

1-17 JUL, TIMES VARY

Screenprint art from Glasgow-based artist engaging with ideas of storytelling and workplay.

ADAM BOYD: CAUSAL THREAD 20 JUL-8 AUG, TIMES VARY

Strange, material installations engaging with art historical and pop culture tropes.

The Modern Institute

RICHARD WRIGHT

1 JUL-3 SEP, TIMES VARY

A site-responsive exhibition of intricately crafted stained glass and works on paper exploring ideas of structure and space.

Tramway

HUMAN THREADS

1 JUL-28 AUG, TIMES VARY

Curated by Artlink and informed by individuals with profound and multiple learning disabilities, this exhibition crafts a interactive landscape through creatively sensory encounters.

CHRISTELLE OYIRI: GENTLE BATTLE

1 JUL-14 AUG, TIMES VARY

Exploring the symbolic political potency of objects and music, this exhibition examines how warfare and colonialism continue to make themselves felt.

Edinburgh Art &Gallery

ANNA SOMERVILLE: REMINISCENCE

2-27 JUL, TIMES VARY

Using a variety of materials, including spray paint, inks, bleach, acrylic and raw pigment, to create abstract landscapes.

Arusha Gallery KATE WALTERS: LOVE PAINTINGS 1-24 JUL, TIMES VARY

Mystical, conceptual mediations on love and femininity.

ROSA LEE + BARBARA LEVITTOUXŚWIDERSKA + SHELAGH WAKELY: WEATHERING IS WHAT I WOULD LIKE TO DO WELL 29 JUL-29 AUG, TIMES VARY

Bringing together paintings, textiles and installations by three artists with distinct visual sensibilities. Part of Edinburgh Art Festival.

City Art Centre NATIONAL TREASURE: THE SCOTTISH MODERN ARTS ASSOCIATION 1 JUL-16 OCT, TIMES VARY

Spotlighting work by the Glasgow Boys, Scottish Colourists and artists such as William McTaggart and Joan Eardley, this is a celebration of Scottish art at the dawn of modernism. Part of Edinburgh Art Festival.

WILL MACLEAN: POINTS OF DEPARTURE

1 JUL-2 SEP, TIMES VARY

This major retrospective spans construction, drawings, prints, sculptures, and video productions to examine the history, archaeology, and literature of the Scottish Highlands. Part of Edinburgh Art Festival.

Collective Gallery

RUTH EWAN: THE BEAST

1 JUL-18 SEP, 10:00AM – 5:00PM

A surreal animated morality tale exploring intersecting ideas of power, capitalism and exploitation through a playful subversion of Scottish-American steel magnate Andrew Carnegie. Part of Edinburgh Art Festival.

CAMARA TAYLOR: BACKWASH

1 JUL-4 SEP, 10:00AM – 5:00PM

Mixed media work responding to the social and political significances of Scotland’s waterways. Part of Edinburgh Art Festival.

ANNETTE KRAUSS: A MATTER OF PRECEDENTS

1 JUL-4 SEP, 10:00AM – 5:00PM

Exploring the concept of the “common good”, this exhibition responds to ideas of public space and institutional responsibility in Edinburgh and throughout Scotland. Part of Edinburgh Art Festival.

Dovecot Studios

GOOD VIBES NEIGHBOURHOOD STORE & STUDIOS

DAVID LEMM: TRACKS 21 JUL - 7 AUG

An exploration of process, object and the built environment using materials harvested from the tramline construction on Constitution St.

Fruitmarket

ALAN DAVIE: BEGINNING OF A FAROFF WORLD 1 JUL-24 SEP, 10:00AM – 5:00PM

Celebrating the centenary of Scottish artist and tapestry-worker Alan Davie. Part of Edinburgh Art Festival.

RAPHAEL: MAGISTER RAFFAELLO

1 JUL-24 SEP, 10:00AM – 5:00PM

An exhibition celebrating the famed Renaissance painter’s career through digital projections and a large-scale contemporary tapestry interpreting a section of Raphael’s Sistine Chapel. Part of Edinburgh Art Festival.

THE MODERN INSTITUTE: SPACE FORGETS YOU

8 JUL-17 SEP, 10:00AM – 5:00PM

Curated by The Modern Institute, this exhibition brings together various international artists working across tapestry and textiles. Part of Edinburgh Art Festival.

Edinburgh Printmakers

DANIEL SILVER: LOOKING

1 JUL-25 SEP, 10:00AM – 7:00PM

Organic, roughly hewn clay sculptures that explore acts of looking and being looked at. Part of Edinburgh Art Festival.

Ingleby Gallery LORNA ROBERTSON: THOUGHTS, MEALS, DAYS

1 JUL-17 SEP, 11:00AM – 5:00PM

Glasgow-based artist plays with notions of scale and expression through expressive, figurative canvasses.

Part of Edinburgh Art Festival.

Institut français d’Ecosse

PLATFORM: 2022

28 JUL-27 AUG, TIMES VARY

Four early career artists Saoirse Amira Anis, Emelia Kerr Beale, Lynsey MacKenzie, Jonny Walker - exhibit a cutting-edge programme.

Part of Edinburgh Art Festival.

Jupiter Artland TRACEY EMIN: I LAY HERE FOR YOU

TESSA LYNCH: HOUSES FIT FOR PEOPLE

28 JUL-18 SEP, 11:00AM – 4:00PM

A series of prints by Glasgow-based artist exploring feminist readings of the city and issues of social reproduction often at odds with contemporary art and life. Part of Edinburgh Art Festival.

NADIA MYRE: TELL ME OF YOUR BOATS AND YOUR WATERS WHERE DO YOU COME FROM, WHERE DO THEY GO?

28 JUL-18 AUG, 11:00AM – 4:00PM

Responding to the 200th anniversary of the Union Canal, this exhibition explores migratory routes embedded in the canal and indigenous forms of storytelling. Part of Edinburgh Art Festival.

Edinburgh Sculpture Workshop

CALUM CRAIK: PSYCHO CAPITAL

28 JUL-27 AUG, 11:00AM – 5:00PM

An interpretation of the neoliberal capitalist landscape told through construction debris, AirBnB rentals and defensive architecture. Part of Edinburgh Art Festival.

ASHANTI HARRIS: DANCING A PERIPHERAL QUADRILLE

1 JUL-2 OCT, 10:00AM – 5:00PM

Tracey Emin’s first Scottish show since 2008 takes the form of a larger-than-life yet strangely intimate bronze sculpture reflecting on the possibilities of love after hardship. Part of Edinburgh Art Festival.

Open Eye Gallery

JOHN BELLANY (19422013) 2-23 JUL, TIMES VARY

Joyful paintings by acclaimed artist to celebrate the gallery’s 40th anniversary.

40 YEARS: CELEBRATING THE OPEN EYE GALLERY’S 40TH ANNIVERSARY 2-23 JUL, TIMES VARY

In celebration of the gallery’s 40th anniversary, this exhibition presents a selection of 40 artists who have shown with the gallery over the years.

Royal Botanic Garden

COOKING SECTIONS AND SAKIYA: IN THE EDDY OF THE STREAM 2 JUL-17 SEP, 10:00AM – 6:00PM

Installations and performances stemming from the history of land struggles in Scotland and Palestine.

Part of Edinburgh Art Festival.

28 JUL-27 AUG, 11:00AM – 5:00PM

Melding forms of communal and grassroots cultural production with the artist’s longstanding interest in West Indian carnivals. Part of Edinburgh Art Festival.

— 68 —

YAN WANG PRESTON: WITH LOVE. FROM AN INVADER.

1 JUL-27 AUG, 10:00AM – 6:00PM

Using rhododenron as a cipher for colonisation, this exhibition investigates the complex connections between landscape representation, identity, migration and the environment. Part of Edinburgh Art Festival.

Royal Scottish Academy RSA SCOTLAND SMALL?

1-24 JUL, TIMES VARY

A body of work by recipients of the RSA Residencies for Scotland award, whose dynamic, subversive pieces engage with ideas of nationhood and space.

SUMMER IN THE CITY 1-24 JUL, TIMES VARY

Bringing together work by a number of the RSA’s Academicians - including Henry Kondracki, Elspeth Lamb, Ade Adesina and Kate Downie.

Scottish National Gallery of Modern Art

BARBARA HEPWORTH: ART & LIFE 1 JUL-2 OCT, 10:00AM – 5:00PM

The largest exhibition of Barbara Hepworth’s work since her death in 1975, this ambitious retrospective examines the personal and political in her groundbreaking art. Part of Edinburgh Art Festival.

Scottish National Portrait Gallery

COUNTED: SCOTLAND’S CENSUS 2022 1 JUL-25 SEP, 10:00AM – 5:00PM

Inspired by the 2022 census, photographs old and new come together to consider complex notions of identity formation and performance. Part of Edinburgh Art Festival.

Sierra Metro

STUDIO LENCA: THE INVISIBLES

1 JUL-28 AUG, 10:00AM – 2:00PM

Portrait photography exploring the complex colonial legacies in El Salvador and erasures of diasporic Latinx identity. Part of Edinburgh Art Festival.

Stills

ISHIUCHI MIYAKO

29 JUL-8 OCT, 12:00PM – 5:00PM

This exhibition by renowned post-war Japanese photographer brings together an impressive collection of her work, including pieces created in the Frida Kahlo Museum and with victims of Hiroshima bomb. Part of Edinburgh Art Festival.

Summerhall

FARRUKH ADDNAN + MICHELE MARCOUX: ECOLOGIES OF DISPLACEMENT

29 JUL-25 SEP, 12:00PM – 5:30PM

Created through a series of Zoom workshops, this exhibition engages with urgent themes of exile and displacement.

NOTHING’S GUARANTEED: EXHIBITION OF BOSNO-FUTURISM

Torrance Gallery

Drawing on the rich aesthetic of Afrofuturism, this collection of mixed media looks at how cutting edge European arts depicts ideas of Balkan futurism.

Highly textured, evocative oil paintings depicting the landscapes and seascapes of Edinburgh’s surroundings.

29 JUL-25 SEP, 12:00PM – 5:30PM

DIANA ZWIBACH: NO CALLBACK

29 JUL-25 SEP, 12:00PM – 5:30PM

Collage-like works on paper exploring themes of personal loss and mental trauma post-pandemic.

Talbot Rice Gallery

CÉLINE CONDORELLI: AFTER WORK 1 JUL-1 OCT, TIMES VARY

A groundbreaking survey of design and installation exploring the ethics of labour and production. Part of Edinburgh Art Festival.

The Fine Art Society in Edinburgh

JOHN MCLEAN: FLARE 22 JUL-27 AUG, TIMES VARY

A series of abstract, geometric paintings using colour in striking ways. Part of Edinburgh Art Festival.

The Scottish Gallery

WILHELMINA BARNSGRAHAM: A LIFE IN COLOUR 1-23 JUL, TIMES VARY

Moving depictions of the natural world told through abstract colour.

JOHN BROWN: MY GARDEN

1-23 JUL, TIMES VARY

Gentle pictures of the artist’s garden exploring ideas of regeneration and growth.

JAKE HARVEY: HONED 1-23 JUL, TIMES VARY

Zen-like sculptures crafted from elemental materials.

KURT JACKSON: THE BURN - A SCOTTISH MILLSTREAM

1-23 JUL, TIMES VARY

A beautiful mediation on the intersection between the natural and industrial through painting.

ALEX KNUBLEY: THE GROWING SEASON

1-23 JUL, TIMES VARY

Paint mixed with beeswax created layers of landscapes drawn from the artist’s Edinburgh environments.

ALICE FRY + ANN LITTLE + JO PUDELKO + LINA PETERSON: KALEIDOSCOPIC 1-23 JUL, TIMES VARY

A group show of bright, contemporary jewellerymaking.

KIRSTEN COELHO: UNCERTAIN CADENCE 29 JUL-27 AUG, TIMES VARY

Functional ceramic vessels melding innovative forms with abstraction. Part of Edinburgh Art Festival.

DUNCAN SHANKS: THE RIVERBANK – A LANDSCAPE OF SORROW AND HOPE

29 JUL-27 AUG, TIMES VARY

One of Scotland’s most eminent living painters presents a new collection of work exploring cycles of loss and renewal in nature.

Part of Edinburgh Art Festival.

LYNN RODGIE

2-23 JUL, 11:00AM – 5:30PM

Dundee Art DCA: Dundee Contemporary Arts DOUGLAS GORDON: K364 1 JUL-7 AUG, TIMES VARY

A major film installation that offers a powerful mediation on trauma and recovery.

The McManus THE STREET AT THE MCMANUS

1 JUL-22 OCT, 10:00AM – 5:00PM, FREE

Immersive exhibition looking at Dundee’s historical architecture.

TROY: BEAUTY AND HEROISM

1 JUL-13 AUG, 10:00AM – 5:00PM

Depicting the story of Helen and Paris, an Etruscan urn on loan from the British Museum is complemented by other mythic items from the McManus and Duncan of Jordanstone College of Art and Design collections.

V&A Dundee MICHAEL CLARK: COSMIC DANCER

1 JUL-4 SEP, 10:00AM – 5:00PM

A groundbreaking exhibition exploring the life and works of acclaimed Scottish choreographer and dancer Michael Clark.

SINCERELY, VALENTINES: FROM POSTCARDS TO GREETINGS CARDS 2 JUL-8 JAN 23, 10:00AM – 5:00PM

Exhibiting an archive

by J. Valentine & Sons, Scotland’s pioneering commercial photographers who popularised the holiday postcard on a global scale.

THE SKINNY

GLASGOW VENUES ROUND-UP: JULY 2022 Looking for somewhere new to visit this summer in Glasgow? From music venues to bakeries, we’ve got you covered

Words: Tara Hepburn Venues

Scomelette 84 Victoria Rd, G42 7AA Junction 1 Junction 1, G5 0YD Wild Flours 553 Duke St, G31 1DL Kong 23 Royal Exchange Square, G1 3AJ

Rickshaw and Co Opened in early June, Rickshaw and Co in Partick is a massive two-floor spot on Partick Bridge Street at the bottom of Byres Road. The vibrant Indian and Bangladeshi restaurant is a buzzy and playful space, with cheerful waiting staff, cocktails being shaken up and sizzling plates of street food gliding out of the kitchen.

The menu is a small plates affair, with the best of the bunch to be found in the tandoori section. They also have a partnership with Homeless Project Scotland, providing weekly meals for unhoused people in the city. A nice touch from a company that seem to be a thoroughly lovely bunch of people.

Junction 1 This month will see the long-awaited opening of Glasgow’s most ambitious new venue in recent years. Junction 1 is located not far from – surprise – junction 1 of the M74, beside Polmadie. Built on the site of the former Morris Furniture factory, the multipurpose venue sprawls out from a large outdoor arena space, and will be the biggest dedicated outside venue in the city. Groups such as Hot Chip and Rudimental are scheduled to perform in the next few weeks.

Outdoor pop-up food and drink options will also be available and served on Junction 1’s huge roof terrace. Plans for Junction 1 will ultimately extend beyond this in the years to come, part of the Commonwealth Games’ regenerative promises to the city’s East End.

Image: courtesy of Rickshaw and Co

Wild Flours The changing face of Dennistoun’s Duke Street continues with the recent addition of fully gluten-free bakery Wild Flours. This peaceful and chic bakery might be familiar to residents of Giffnock, where its original outpost is based. The Dennistoun version operates a similarly changing menu of glutenfree treats: sweet stuff makes up the bulk of the offering, with empire biscuits and brownies among the most popular, but daily breads, rolls and savoury tarts are also available.

Bigger than its Southside counterpart, Wild Flours East is a roomy glass-fronted sunny spot to spend some time, with a bright exterior (the shop front’s shutters are decorated with colourful murals) in keeping with its upbeat and smiley vibe.

Rickshaw and Co

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Wild Flours

Kong It seems like a while since a new place opened up on Royal Exchange Square. This shopping-district square of restaurants has become a familiar landscape in recent years, with popular spots like The Social and DiMaggios dominating the space. The upper levels of those buildings, however, change hands more often than might be obvious from street level. Kong is the latest venture to take on the space once held by karaoke bar One Up. With a slick refurbishment and views across the fairy-lit square, Kong is an opulent place to spend an evening. Split over a number of rooms – a mix of dining, cocktail bars and a small nightclub (open Fridays and Saturdays only) – Kong makes good use of its 3am license, catering across its spaces for groups on very different nights out.

July 2022 — Listings

Scomelette Scomelette is a new café-bakery on Victoria Road named after their own most iconic dish: The Scomelette.

Billed as the ultimate hangover cure, their signature dish takes centrestage on the short bakery menu.

Consisting of a potato scone topped with an Indian-spiced omelette in a pretzel bun, it really is a special creation. Elsewhere the menu is more standard bakery stuff: breads, cakes, breakfast rolls and freshly ground coffee provided by Dear

Green. A well-appointed and efficient place to grab a to-go snack and hot drink for a walk around or lunch in Queens Park.

Image: courtesy of Wild Flours

Rickshaw and Co 9 Partick Bridge St, G11 6PN

THE SKINNY

The Skinny On...

David Lemm The Skinny On...

We talk to artist (and former employee of The Skinny) David Lemm ahead of his solo exhibition in Leith’s Good Vibes

W

hat’s your favourite place to visit and why?

I very much enjoy visiting places with supposed occult origins or forgotten uses, and am particularly fond of standing stones and ruins in woodlands.

Favourite food and why?

Pizza. So simple, so versatile, so delicious. I am coeliac though, so I’m slightly hampered and forever searching for a better base.

Favourite colour and why?

I struggle to see past the purity of a black print on aged paper.

Who was your hero growing up?

Probably Salvador Dalí. He was the first artist I seriously got into and I was obsessed with his paintings. Honourable mentions go to Stephen Hendry, Mike Jittlov and Willy Wonka.

July 2022 — Chat

Whose work inspires you now?

I’m just back from a residency in Norfolk where I saw an exhibition on Constructivism which made a lot of sense to me. In general I like artists who play with materials and who work between disciplines.

What three people would you invite to your dinner party and what are you cooking?

Jarvis Cocker, Björk and Ncuti Gatwa. All night pizza party.

What’s your all-time favourite album?

It’s very weird saying this right now, but it’s probably Hounds of Love. It never disappoints and feels like it changes slightly every listen. Over the years it’s soundtracked so many memorable moments for me. It feels like a window into multiple worlds, as the Duffer brothers obviously recognised!

What’s the worst film you’ve ever seen?

I need to revisit it, but I remember watching KISS Meets the Phantom of the Park in the wee hours at All Tomorrow’s Parties years ago and laughing so hard I lost my voice.

What book would you take to a desert island?

Something practical like Tristan Gooley’s collection. I think about his book The Walker’s Guide to Outdoor Clues and Signs all the time. I’d want to explore and learn as much as I could about what might be happening on the island.

David Lemm at GoodVibes

What’s your all-time favourite artwork?

Kind of impossible to say, but I love Phyllida Barlow’s work and in particular Set at Fruitmarket a few years ago. Or Cy Twombly’s Natural History, Part I, Mushrooms.

Which artist could you take in a fight?

I’m not into fighting (although I very much enjoyed the film Knuckle), but if it was a life or death situation, I’d unleash unseen fury upon whoever makes those Highland cow paintings.

Who’s the worst?

It’s too strong a field to choose from right now really.

If you could be reincarnated as an animal, which animal would it be?

Got to be a bird. I’d go for an owl – they seem to have it all sussed out. I’m naturally pretty nocturnal and quietly stare a lot, so I think the lifestyle would suit me.

When did you last cry?

I had a wee tear in the eye during the first scan of my impending child.

What are you most scared of?

Running out of time.

When did you last vomit and why?

I think it was last year and the demon drink was probably involved.

Tracks, new works by David Lemm, opening preview Thu 21 Jul 6-8pm, then daily Fri 22 Jul-7 Aug, 12-6pm, Good Vibes, 151-153 Constitution Street, EH6 7AD @david_lemm

Tell us a secret?

All the work in my upcoming exhibition at Good Vibes in Leith is made from materials used to build the tram lines outside my studio there.

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@goodvibesleith davidlemm.co.uk

THE SKINNY

Juner 2020

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July 2022 — Chat

The Skinny On...

THE SKINNY

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