The Skinny January 2019 by The Skinny

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CULT U R A L

J O U R N A L I S M

January 2019 Scotland Issue 160

MUSIC The Twilight Sad Blood Red Shoes Steve Mason John Grant Bossy Love You Tell Me Lost Under Heaven FILM Karyn Kusama Josie Rourke Lee Chang-dong

THEATRE Louise Welsh Theatre in Dark Times manipulate Les MisÃ©rables COMEDY Liam Withnail Amelia Bayler INTERSECTIONS Colonialism and museums LGBTI+ Education

BOOKS David Keenan

CLUBS Rebecca Vasmant Courtesy

ART 2019 in Scottish Art Kieran Muir

THE MUNCH BUNCH

FIND YOUR NEW FAVOURITES WITH THE SKINNY FOOD AND DRINK SURVEY 2019

P.25 Mary Queen of Scots

P.52 A Weakness for Raisins

January 2019

Issue 160, January 2019 ÂŠ Radge Media Ltd. Get in touch: E: hello@theskinny.co.uk T: 0131 467 4630 P: The Skinny, 1.9 1st Floor Tower, Techcube, Summerhall, 1 Summerhall Pl, Edinburgh, EH9 1PL 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. Get in touch to find out more.

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Contents

Editorial Acting Editor Art Editor Books Editor Clubs Editor Comedy Editor Events Editor Film & DVD Editor Food Editor Intersections Editor Music Editor Theatre Editor Travel Editor

Peter Simpson Adam Benmakhlouf Heather McDaid Claire Francis Polly Glynn Nadia Younes Jamie Dunn Peter Simpson Katie Goh Tallah Brash Amy Taylor Paul Mitchell

Production Production Manager Designer

Sarah Donley Fiona Hunter

Sales Sales Manager Sales Executives

Sandy Park George Sully David Hammond Joanne Jamieson

Online Digital Editorial Assistant Online Journalist Web Developer Intern

Alexander Smail Jamie Dunn Stuart Spencer Paris Karstedt

Editor-in-Chief Bookkeeping & Accounts Publisher

Rosamund West Aaron Tuveri Sophie Kyle

THE SKINNY

Credit: Shawn Brackbill

P.22 John Grant

Credit: Alan Dimmick

Credit: Carlo Paloni

P.11 Tomillo

Contents & Opinion: An introduction to 06 Chat what’s in this magazine, competitions if you’d like to win something, the cartoon and Shot of the Month, if you just want to look at something nice. Up: Is your New Year’s Resolution 08 Heads to do at least one interesting thing a day? You’re in luck – here’s a day-by-day planner to the best January has to offer. FOOD & DRINK SURVEY

This year’s culinary poll kicks off with a blow-by-blow account of some of your favourite spots for breakfast, lunch and dinner. The most important meals of the day, we say.

Your top vegetarian and vegan places; how they became so popular, and where we’re all going next.

A run-down of the best pubs and bars, food and drink shops, and drinks.

Your favourite new venues from the past 12 months, and what makes them so good.

The top cafes and street food places from this year’s vote, and the Food & Drink Survey results in full, if you need a list to keep track of them all.

Louise Welsh returns to Scottish Opera with Arctic-set thriller Anthropocene.

David Keenan follows up on This is Memorial Device with his second novel, For the Good Times.

A comprehensive guide to the year ahead in Scotland’s art galleries and institutions.

LIFESTYLE

Showcase: Recent GSA graduate Kieran Muir shares his work ahead of this year’s RSA New Contemporaries.

Intersections: The impact of Scotland’s LGBTI+ education reform; a call for museums to reckon with their colonial histories; headphones as an armour against street harassment.

REVIEW

Music: We catch up with Lost Under Heaven; Bossy Love share their favourite turn-of-millenium R’n’B bangers; introducing You Tell Me (Peter Brewis from Field Music and Sarah Hayes from Admiral Fallow); reviews of some good albums; previews of some interesting gigs.

Clubs: Rebecca Vasmant on her new jazz night at Sub Club; Courtesy on ‘fast techno’ and her new label; a guide to the month’s most intriguing club nights.

Books: Reviews of the month’s new releases, and highlights from the January literary calendar.

FEATURES

Blood Red Shoes are back; we talk to Steven Ansell and Laura-Mary Carter about their reunion and reconciliation.

Graham of The Twilight Sad on 20 James building relationships with The Cure and Mogwai, tackling the loss of Scott Hutchison, and presenting the band’s fantastic new album It Won/t Be Like This All the Time.

John Grant on creativity, geography and the power of good album artwork, as he rolls into town for this year’s Celtic Connections festival.

Josie Rourke on bringing the story of Mary Queen of Scots to the big screen this month.

Destroyer sees an unrecognisable Nicole Kidman beat the shit out of a bunch of people; we talk to the director behind said ass-kickings, Karyn Kusama.

Steven Yeun and director Lee Changdong discuss their Haruki Murakami adaptation, Burning.

We survey the country’s theatremakers for some tips on the pieces that keep them going in dark times.

Liam Withnail reprises his Edinburgh Fringe show Homeboy this month, and fills us in on the relative merits and challenges of ‘club’ and ‘Fringe’ comedy.

Jannuary 2019

50 Film & TV: Reviews! Reviews of films! 52

Art: A guide to January’s events and opportunities; reviews of shows at Street Level Photoworks and the CCA; a first-hand take on performance piece Tremble Tremble, currently running at Talbot Rice Gallery.

Theatre: Les Mis – what’s all the fuss about?; manipulate – what are this year’s shows about?; the month’s highlights – what should you go and see?

Comedy: A new column on classic TV comedy begins with Amelia Bayler comparing The Young Ones to both Skins and The Velvet Underground.

Listings: A big ol’ list of stuff that’s happening up and down the country this month.

The Last Word: Steve Mason talks Grenfell, music industry shysterism, and his new solo album About the Light.

Contents

Shot of the Month

Nile Rodgers & Chic, The SSE Hydro, Glasgow, 13 Dec by Cameron Brisbane

Editorial A

lright, hope you’ve all had a good Christmas, now let’s get things going on this ‘new year’. Let me just have a quick Google and see what’s what. Now it says here that “in the year 2019, America is a totalitarian state where a charismatic strongman uses the TV to attack his enemies and demonise the poor.” Oh, sorry, that’s a synopsis for Arnold Schwarzenegger’s dystopian sci-fi banger The Running Man – wonder how I could have possibly confused that with anything else such as, say, actual reality. But this is a new year, so let’s at least kick it off with a flash of optimism, and by spending large chunks of the month in lovely pubs and restaurants. That’s the premise of our Food and Drink Survey, back again with eight pages of venues voted for by you lovely lot. Every autumn we ask for your picks, hoarding them all to be used up in the dead of winter when we all need something to keep spirits up; we’re a lot like squirrels in that regard. New places to check out, the shops to get stocked up in and the dishes you need to try out – there’s bound to be something you like the look of, so head on over to p10 to get started. Remaining hopeful in the face of grief and sadness is one of the key points in our chat with James Graham of The Twilight Sad, with Graham left reeling after the passing of friend and colleague Scott Hutchison last year. The band are looking forward to a bumper year though, with their new album out this month and some big shows across Europe lined up for the summer. Steve Mason’s also back, with a new solo record and an updated outlook – he’s trying not to get bogged down by the overwhelming gloom of the

big picture (cf. that Running Man chat from earlier), and instead focussing on staying positive. We also talk with John Grant, Blood Red Shoes, You Tell Me and Lost Under Heaven… oh, and John Baillie Jnr from Bossy Love reminds us all of his favourite millennial R’n’B bops. Sean Paul and Blu Cantrell; relevant in 2019, and it feels so good. If you’re hiding out in the cinema this month, you’ll find a pair of films by and about badass women; Karyn Kusama directs Nicole Kidman as a shit-kicking cop in Destroyer, and Josie Rourke brings the story of Mary, Queen of Scots to life in a film that is rather handily-titled Mary Queen of Scots. We talk to both directors, as well as reuniting with author David Keenan to chat about his new novel, and Louise Welsh gives us the lowdown on the process of writing her latest opera Anthropocene with Stuart MacRae (fittingly for this month, it involves spending a fair amount of time in cafes). Theatre takes a survey of the country’s playwrights and directors to find out which pieces remind them to stay positive; Art sweeps up everything that’s happening in Scotland’s galleries this year to help you fill that diary you got for Christmas; our new Comedy column begins its reappraisal of the alternative comedy canon by looking at The Young Ones (“it’s like a comedy Kinder Bueno”). Hopefully this month’s mag helps you kick off 2019 in a hail of inspiration, positivity and interesting cultural happenings – it might be a bit dark outside (literally and figuratively), but there’s plenty of opportunities this month to make it a bit brighter. [Peter Simpson]

Silvia Chiclana This month's cover is by visual designer Silvia Chiclana. Originally from Seville, Silvia studied Visual Communication at the Istituto Europeo di Design in Madrid and is now based in the UK. Silvia specialises in branding and digital marketing with a passion for illustration and design for kids. Her

Chat

By Jock Mooney

COVER ARTIST previous clients include Manhattan-based hip-hop duo OSHUN, Spanish streaming service Twist, and Spanish DJ Josephine Music. You can see more of her work at behance.net/ silviachiclana

THE SKINNY

Online Only

SHHE

Photo: Harry Clark x Portis Wasp

sharp focus; we look at how to make things better. “If The New Normal is here, then UK festivals have a lot of catching up to do in terms of equality, eclecticism, and uniqueness. No UK festival of this size has achieved anything close to an equal gender split.”

House Guests We’re big fans of Filmhouse’s House Guests strand, where the Edinburgh cinema invite the great and good of Scotland’s cultural scene to curate seasons of their favourite films. In fact, we’re such big fans that we’ve put together our own House Guests picks, coming to Filmhouse this February. Our Film, Comedy, Music, Intersections, Theatre and Food teams have each picked a classic film to represent their section – check the Filmhouse website and theskinny.co.uk for full details and ticket info. Read the full article at theskinny.co.uk/festivals

Festivals, gender balance, and The New Normal Primavera Sound’s 2019 line-up throws the manheavy tendencies of the UK festival scene into

Films we’re looking forward to in 2019? We’ve so many questions about cinema in 2019. Will Brie Larson’s Captain Marvel kick Thanos’s big purple arse? Who will star in Spider-Man: Far From Home after Tom Holland’s web-slinger turned to ash in Iron Man’s arms? Will Scotland’s love for deep frying food be pilloried? And those are just the questions about Avengers: Endgame. For more non-Marvel enquiries, check out the films we’re looking forward to in 2019 online

The Skinny on Tour Hej! This month The Skinny comes to you from an idyllic harbour packed with colourful yet utilitarian buildings, under a grey sky that frequently tipped large amounts of water on us. It was alright though, we spent much of our time in extremely hygge cafes and bars, enjoying some Nordic (and some distinctly non-Nordic) grub in one of the culinary capitals of the world. Apparently, this place is one of the happiest cities on earth, and we can see why – everyone’s

very stylishly dressed, it’s flat as a pancake so it’s really easy to get around, and it’s just an all-round great place to be. Honestly, now we’re back, we don’t know how we’re going to Cope (probably by reminding ourselves of how absurdly expensive things are). Worked out where we’ve been? Head over to theskinny. co.uk/competitions and let us know – one of you will win a copy of the Saltire First Book Award-winning Sal by Mick Kitson, courtesy of the lovely literary folks over at Canongate.

Read the full article at theskinny.co.uk/film

Great Scots: 2018 in Scottish Music To celebrate the musical output of Scotland in 2018, we put together a 100-strong playlist at the end of the year featuring some of our favourite songs by Scottish, or Scotland-based, artists which soundtracked our year in music. From Young Fathers to Kathryn Joseph, SHHE to Savage Mansion and Auntie Flo to Jacuzzi General, taking in a multitude of genres, we guarantee you’ll find something new to love on our Great Scots 2018 playlist. Read the full article and find the playlist at theskinny. co.uk/music

Find more at theskinny.co.uk

Competitions Win a meal and craft beer experience for two at Inn Deep

Get ready for The Perfect Movie Mix at GFF19! The festival returns for its 15th edition from 20 February to 3 March and features UK premieres, special events, and a quality catalogue of must-see movies from action and romance, to the best of world cinema, horror, and comedy. The festival’s celebrated pop-up cinema events return with immersive screenings, which include a 40th anniversary celebration of Ellen Ripley’s original battle in space, Alien, and two decades after Neo first put on the black coat and shades, we enter The Matrix. The Skinny is once again partnering for an exclusive strand of films and we’re offering readers the chance to win tickets (full GFF programme announced 23 Jan). To be in with the chance of winning a pair of tickets to four films partnered by The Skinny throughout the festival, simply answer the following question:

For the sixth year, Inn Deep have been voted among the best bars in Scotland in The Skinny’s Food and Drink survey, and to celebrate the Glasgow craft beer specialists are offering you a chance to win a slap-up meal and craft beer experience for two this month. Already famed for their massive selection of craft beers, the Kelvinside bar has been shaking things up in the kitchen with the That’s yer Dinner team. The Reekie brothers have created a menu showcasing the best of Scottish produce, alongside comforting gastropub classics. To be in with the chance of winning a meal and craft beer experience for two at Inn Deep, simply head over to theskinny.co.uk/competitions and correctly answer this question:

Glasgow Film Festival

What is the name of the new kitchen team at Inn Deep? a) That’s yer Dinner b) Where’s yer Dinner c) You’ll have had your Dinner

What anniversary is Glasgow Film Festival celebrating in 2019? a) 2nd anniversary b) 8th anniversary c) 15th anniversary

Competition closes midnight Thu 31 Jan. Entrants must be 18 or over. A meal for two consists of main meal and dessert; drinks consists of two flights of beer with 26 to choose from; offer available Mon-Sun. Winners will be notified via email within two working days of closing and required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at theskinny.co.uk/about/terms

Competition closes midnight Sun 3 Feb. Entrants must be 18 or over. Winners will be notified via email within two working days of closing and required to respond within 48 hours or the prize will be offered to another entrant. Transport to and from the event is not included. Our Ts&Cs can be found at theskinny.co.uk/about/terms For more info on GFF19, head to glasgowfilm.org/glasgowfilm-festival

January 2019

Photo: Eoin Carey

Win tickets to Glasgow Film Festival 2019

For more info on Inn Deep, head to inndeep.com

Inn Deep

Chat

Brighten up a notoriously dull and quiet month by packing your January calendar full of culturally-based fun, with our help of course.

You may well still be stuck in a state of hibernation, curled up on the sofa surrounded by empty wine bottles, cheese rinds and chocolate wrappers – i.e. living the dream. If not, you could venture out to the brilliant DCA: currently running in Gallery 1 and Gallery 2 respectively are Margaret Salmon’s Hole and Lorna Macintyre’s Pieces of You Are Here. DCA, Dundee, until 24 Feb

If you’re not completely burnt out from your New Year escapades, strap in for another round of partying, as Bristol via London DJ Laksa takes the reins at Headset tonight. Following a pretty successful 2018, with recent releases on the likes of Ilian Tape, Timedance and Whities, you know you’re in good hands for a night of techno delights. Sub Club, Glasgow, 11pm, £0-5

Pieces of You Are Here

Wed 9 Jan

Thu 10 Jan

Scottish Ballet reprise their acclaimed adaptation of the tale of the girl who lost her fancy shoe, more commonly known as Cinderella, with choreography by Artistic Director Christopher Hampson. Providing added decadence to the production, Russian composer Sergei Prokofiev’s original score will also be performed live by the Scottish Ballet Orchestra. Theatre Royal, Glasgow, 7.30pm, £13-42

Welsh singer-songwriter Cate Le Bon delivers an unexpected January treat, as her unique solo piano tour makes a stop in Glasgow tonight. Experience her glorious, goosebump-inducing vocal abilities in the most intimate of ways, and hope she drops in a few previews from her as yet unreleased fifth album, and first on new label Mexican Summer. St Luke's, Glasgow, 7pm, £15

Enjoy some more #art today, this time in Glasgow; it’s January, it’s quiet, but there’s always art. Lucy Beech’s new film work, Reproductive Exile, explores female labour, visibility and the flow of bodily revenue streams, from which the exhibition takes its title. Accompanying the exhibition is a text by Naomi Pearce, which explains the work in further detail. Tramway, Glasgow, until 10 Feb

Cinderella

Photo: Kirsty Anderson

Tue 8 Jan

Laksa

Reproductive Exile

Cate Le Bon

Wed 16 Jan

Thu 17 Jan

Since its premiere back in 2012, Cora Bissett and David Greig’s Glasgow Girls has gone from strength to strength, picking up awards, including Best New Musical at the Off West End Awards in 2013 and the Amnesty International Freedom of Expression Award in 2016 along the way. The production returns to theatres across Scotland this month and next, so stick it on your to-see list. King's Theatre, Glasgow, 7.30pm, £13-45

Coinciding with the ongoing exhibition A Weakness for Raisins, documenting the work of filmmaker, screenwriter, costume designer, Ester Krumbachová, the CCA will also be hosting a series of accompanying screenings. Tonight, these include two examples of Krumbachová costume work, Coach to Vienna and Fruit of Paradise, the latter of which she also wrote the screenplay for. CCA, Glasgow, 6pm, free

You may recognise sisters Nicola and Rosie Dempsey, who make up musical comedy duo Flo & Joan, from their divisive skit used in a Nationwide advert last year. Some loved it, some found it unbearable; if you’re in the former camp then you may want to get a ticket for their latest show, Alive on Stage. The Stand, Glasgow, 5.30pm, £12

Glasgow Girls

A Weakness for Raisins

Credit: Marek Meduna

Tue 15 Jan

Flo & Joan

Wed 23 Jan

Thu 24 Jan

Yep, that big old moon’s back again. If you missed it in Glasgow or at Kelburn Garden Party last year, this month you can find artist Luke Jerram’s touring artwork, Museum of the Moon, taking up residence in Edinburgh’s St. Giles’ Cathedral over six days as part of Burns&Beyond, which will be accompanied by a series of ticketed performances and events. St. Giles' Cathedral, Edinburgh, until 26 Jan, free

Glasgow’s resident purveyors of all things psych, garage and pop, Freakender bring us a real treat this month, in the form of Canadian collective N0V3L. Featuring members of experimental acts Crack Cloud, Women and Cindy Lee, the six-piece may only currently have two tracks to their name but they show a great deal of promise. And, even better, support tonight comes from LYLO. Nice 'n' Sleazy, Glasgow, 7.30pm, £7

Dance, eat haggis and drink whisky in honour of The Bard himself, Robert Burns, at Annasach's Burns Night Ceilidh. Work up an appetite and show off your best Dashing White Sergeant skills before tucking in to a traditional Burns Supper and a dram of The Famous Grouse, then work it all off again with even more dancing. The Counting House, Edinburgh, 8pm, £18-23

Museum of the Moon

LYLO

Photo: Neelam Khan Vela

Tue 22 Jan

Robert Burns

Tue 29 Jan

Thu 31 Jan

Fri 1 Feb

Beg, steal or borrow to get a ticket to the brand new staging of multi-award winning musical Les Misérables, indisputably one of the most popular musicals of all time, in the capital this month. Cameron Mackintosh’s acclaimed Broadway production of Boublil and Schönberg’s musical has been hailed “Les Mis for the 21st Century”, which sounds alright doesn’t it? Festival Theatre, Edinburgh, 7.30pm, £23-65

Brighton duo Blood Red Shoes are back with their fifth album in as many years, and they’re wasting no time getting straight back on the road. Accompanying the release of their new album, Get Tragic, on 25 January, Laura-Mary Carter and Steven Ansell will embark on a brief UK tour concluding in Glasgow tonight before heading over to Europe. Stereo, Glasgow, 7pm, £14

Celtic Connections love to throw up a few curveballs in their line-up, and this year is no exception. Michiganborn musician John Grant returns to Scotland in a similarly theatrical setting, following his performance at The Edinburgh Playhouse as part of the Edinburgh International Festival last year; a fitting venue for the decadent sounds of his fourth album, Love Is Magic, to come alive in. King's Theatre, Glasgow, £13-31.25

Chat

Wed 30 Jan Credit: Michael Le Poer Trench

Les Misérables

ALIGHT

Visual Arts Scotland team up with Craft Scotland once again for their annual exhibition ALIGHT, showcasing different craft disciplines each year. This year, the exhibition explores how three different makers, Beth Legg, Naomi McIntosh and Charlotte Barker, use wood in very different ways, presented within and alongside Hirta, a modular structure which acts as a focus for discussion around materiality, design and making. RSA, Edinburgh, until 22 Feb

Blood Red Shoes

John Grant

THE SKINNY

Photo: Kat Gollock

Compiled by: Nadia Younes

Fri 4 Jan

Photo: Ruth Clark

Heads Up

Thu 3 Jan

Sun 6 Jan

Having already visited Edinburgh and Aberdeen at the tail end of 2018, Fokus: Films From Germany lands in Dundee at the start of this month, for a brief five-day run of screenings. In tonight’s film Stephen Plank, son of German music legend, and pioneer of Krautrock, Konrad ‘Conny’ Plank, rediscovers his father’s impact in documentary Conny Plank: The Potential of Noise. DCA, Dundee, 8.30pm, £5-7.50

With last year’s inaugural edition of Cage-a-rama an overwhelming success, this year the Nic Cage celebration is back with a vengeance, much like the main man himself. Cage-a-rama 2: Cage Uncaged have managed to wangle the UK premiere of Nicolas Cage’s latest film, Between Worlds, with director Maria Pulera also joining to introduce the film, and take part in a post-screening Q&A. CCA, Glasgow, 8.30pm, £6

Now You See It, Now You Don’t

Mon 7 Jan

Conny Plank: The Potential of Noise

Sun 13 Jan

Indulge in a bit of late-night cinema as gothic horror The Hunger screens as part of the Filmhouse’s Uncanny Valley season tonight. Directed by Tony Scott, the film stars Catherine Deneuve and David Bowie as vampire lovers, who lure their victims out of New York nightclubs, as depicted in the film’s opening scene set to Bauhaus’ iconic goth anthem Bela Lugosi’s Dead. Filmhouse, Edinburgh, 11pm, £5-8

Take advantage of the quiet January weekends and make that visit to the brand new V&A Dundee you’ve been planning for ages. Peek at new commissions created especially for the gallery by Glasgow-based artists Ciara Phillips and Maeve Redmond, and check out the current exhibition, charting the hurdles and lightbulb-moments of the design process, Scottish Design Relay. V&A, Dundee, until 3 Feb

The 1975

Sat 12 Jan

Mon 14 Jan

Their latest album, A Brief Inquiry into Online Relationships, was widely credited as one of the best of 2018, their politically-charged single Love It If We Made It featured on many tracks of 2018 lists, and they were called “the band of the decade” by Q Magazine; it can only be The 1975. And it’s probably time for you to get on board. SSE Hydro, Glasgow, 6.30pm, £32.50

For their first party of 2019, the Heriot Watt Techno Society, aka hwts, invite Norway’s Skatebård – real name Bård Aasen Lødemel – along to Sneaks for his Edinburgh debut. With his sets firmly rooted in Italo and new age disco, you had better polish off your best pair of dancing shoes and limber up for a night of solid boogieing. Sneaky Pete's, Edinburgh, 11pm, £8

Ciara Phillips, This, looped

Sun 20 Jan

Little may be known about mysterious Nigerian musician William Onyeabor, but 2014 documentary, directed by Jake Sumner and presented by Alldayeveryday, Fantastic Man attempts to unravel the mystery. Featuring contributions from fans of his work, including Damon Albarn, Caribou and Femi Kuti, the film delves into Onyeabor’s back catalogue, looking at his work and influence. Stereo, Glasgow, 7pm, £8

Following a major five-year restoration project, the Collective Gallery reopened atop Edinburgh’s Calton Hill at the end of November last year, with a new series of exhibitions and projects accompanying it. One of which is Dineo Seshee Bopape’s installation ~~ [when spirituality was a baby], created in relation to the rich history at the Observatory site. Collective, Edinburgh, until 10 Feb

Throughout the first half of the month, King Tut’s New Year’s Revolution will take over the iconic Glasgow venue, showcasing some of Scotland’s best new bands. Tonight, flamboyant Glasgow quartet Walt Disco headline, alongside CRYSTAL, Bubbatrees and Chuchoter, with Tenement TV on DJ duties and an aftershow closing party with a secret guest. Who could it be?! King Tut's, Glasgow, 8.30pm, £8

This Mountain Life

Mon 21 Jan

Dineo Seshee Bopape, [when spirituality was a baby], 2018, Collective City Dome

Like films? Like mountains? Like films about mountains? A niche few may admit to, but evidently there’s an audience for it, and they’ll all be at Banﬀ Mountain Film Festival. Of the films screening today, subjects range from mother-daughter adventure tale This Mountain Life to a short film about 11-year-old freeride skier Kai Jones. Far out. King's Theatre, Glasgow, 7.30pm, £15.25

Sun 27 Jan

Mon 28 Jan

Floorplan are father-daughter duo Robert and Lyric Hood, and they make their return to Glasgow tonight, following their incredible set at 2017’s Sub Club SoundSystem, which was also Lyric’s Scottish debut. This time though, they’ll be taking on the more intimate surroundings of the Subbie itself with their unique live show, and Sensu residents will be on hand for the warm up. Sub Club, Glasgow, 11pm, £15-18

As presenter of two popular TV shows, QI and The Great British Bake Off, Sandi Toksvig’s brand new one-woman show is the almost aptly-tited National Trevor. The title came about via a misunderstanding with a friend over the phrase national treasure, a conversation we can only assume was in regard to Toksvig’s status as one. King's Theatre, Edinburgh, 7.30pm, £27-30

Independent Venue Week kicks off today, with indie venues across the UK, hosting a series of gigs every night until 3 February. Tonight, Scottish-born producer Kyle Molleson, aka Makeness, heads a line-up at Sneaky Pete’s, having just come off tour supporting Unknown Mortal Orchestra, with special guest support acts for the night still to be announced. Sneaky Pete's, Edinburgh, 7pm, £8

Floorplan

Queer Haggis

Sat 26 Jan Keep the celebrations of big Rabbie going into the weekend, as Big Burns Supper returns to Dumfries. This year’s cabaret programme brings back the fabulous Le Haggis for a series of early and late shows, as well as the return of Queer Haggis. There will also be a two-day Makers' Market, hosting makers, food and drink stalls and home-grown brands. Various venues, Dumfries, until 3 Feb

Sat 2 Feb

January 2019

Sandi Toksvig

Sun 3 Feb

Photo: Trudy Stade

Makeness

Mon 4 Feb

Judy's Affordable Vintage Fair

Jay Lafferty

Photo: Debbie Toksvig

Fri 25 Jan

Photo: Dexter Lander

Sat 19 Jan

Connoisseurs of all things vintage, Judy’s Aﬀordable Vintage Fair comes to Glasgow, this time with added street food. As well as all the usual vintage traders selling a range of fashion, accessories and collectables, Freddy & Hicks, Fritti and Big Kahuna will also be on hand to keep you well-fed and energised for a day of shopping. The Briggait, Glasgow, 11am, £2

There aren’t enough celebrations of puppetry, we say, but luckily we have manipulate to fill that void. Highlights on this year’s programme include dancer Mele Broomes’ reimagining of JG Ballard’s cult novel Concrete Island through the lens of a black female protagonist, and Kasia Zawadzka’s examination of the trauma of abuse, 99+. Various venues across Scotland, until 12 Feb, times & prices vary

99+

Chat

Photo: Courtesy of Kasia Kawadzka and manipulate

Walt Disco

Photo: Lola Stephen

Fri 18 Jan

Fantastic Man

Skatebård

Photo: Tom Nolan

The Hunger

In collaboration with Edinburgh International Magic Festival and Professor Richard Wiseman, new exhibition Now You See It, Now You Don’t displays the photographic work of Edinburgh Young Carers. The series of photographic illusions takes you on a journey of the old history of Edinburgh, as well as into the minds of the carers. Scottish Storytelling Centre, Edinburgh, until 26 Jan

The Spook Worlds School Between

Fri 11 Jan

Glasgow’s getting a new comedy club, and it’s celebrating with a twoday launch this weekend. The Glee Club already have venues up and down the UK, from Oxford to Birmingham, but they’re opening their first Scottish venue this month. The Glasgow Launch Weekend will include stand-up from comedians – Gary Little, Jay Lafferty, Geoff Nortcott, and a special as-yet announced guest. Glee Club, Glasgow, 7pm, £8-17

Photo: Julie Howden

Sat 5 Jan

The Dish List We celebrate your favourite food and drink venues across Edinburgh and Glasgow in our annual Food & Drink Survey; here are some of the places you like the most...

Words: Paris Karstedt

Every year this happens; we ask you lot to tell us your favourite bars, restaurants and other foodie spots, and you respond with thousands of suggestions leaving us with a massive logistical headache and rumbling tummies. This year’s selection of winning venues covers a bit of everything – there’s cosy cafes to hide out in, spicy dishes to wake you up from a midday slumber, bars working at the cutting edge of the beer world, and expertly-curated shop shelves that you want to just tip straight into your cupboard. Dive in, find somewhere new to try, and let us know how you get on. [Peter Simpson]

e’ll start with breakfast. Offering a choice of no less than 14 cracking Benny dishes, Loudons (94b Fountainbridge, Edinburgh) certainly knows a thing or two about how to keep hungry breakfast fans and brunch-goers happy. Options range from the impressive haggis and black pudding Benny Hoots Mon, to gluten-free options such as the signature Loudons Benny generously topped with hot smoked salmon and oozy poached egg served on their house-baked gluten-free English muffin. Cafe Strange Brew (1082 Pollokshaws Rd, Glasgow) continues to be a breakfast favourite and it’s not hard to see why. The decadent dishes are stunning to look at and oh so tasty. Scrambled, fried, poached, however you like them, Cafe Strange Brew delivers organic eggs sure to make any foodie’s mouth water, amid many more delightful breakfast choices. Breakfast magic is what you’ll find at Dishoom (3a St Andrew Square, Edinburgh), in more ways than one. Not only does the restaurant serve the ultimate delectable breakfast dishes, such as their savoury bacon Naan Roll, but for breakfast, Dishoom has a policy of a meal for a meal. For each and every breakfast you eat at Dishoom, a breakfast will be donated to a school in London. With meaty, veggie and vegan options, Singl-end (263 Renfrew St, Glasgow) has something for everyone. It’s the Veggie Baked Eggs that tells the story of Singl-end perfectly though – hearty, healthy and interesting. This dish is served in a skillet and is perfect for sharing or tackling solo if you’re brave enough. To give you a morning boost, Roseleaf (23-24 Sandport Pl, Edinburgh) created the P-Nut Job – crispy Szechuan chili oil and peanut butter on toasted homemade bread with seasoned tomatoes on top. With Vitamin C in the tomatoes, protein from the peanuts, carbs from the bread and chili for an extra kick, it’s the perfect ‘wake-me-up’ breakfast dish. Does it get any better than brunch all day every day? At The Brunch Club (67 Old Dumbarton Rd, Glasgow), there’s no such thing as too much of a good thing. Waffles, pancakes, French toast, acai bowls, bennys, and steak; you name it, The Brunch Club has got it, and boy is it good. We can’t stop thinking about the French toast ladened with crème anglaise and fresh berries. And if you’ve been scouring the galaxy for the ultimate breakfast roll, Comet Pieces (150 Queen Margaret Dr, Glasgow) might have just got it right with a selection of fillings and sauce. The avocado and halloumi roll with wilted spinach, chia seeds, red onion and garlic mayo is a crowd pleaser, served up on sourdough with a gluten-free option. After a night on the town, perhaps the best menu item to reach for is the signature whisky roll, dubbed a hangover cure in a bun. MalaCarne (1036 Cathcart Rd, Glasgow) is a vegetarian cafe that brings breakfast to life, sans meat. Vegan pancakes are MalaCarne’s weekendonly speciality, with a gluten-free option substituting chickpeas for sourdough. The toppings change weekly – perhaps you’ll be delighted with poached plums and crumble, or grab yourself

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Cafe Strange Brew

Singl-end

some cinnamon-stewed apple and raisins, with homemade granola and vanilla ice cream. It also ranks highly for food later in the day – a favourite lunch dish is the marinated smoked tofu or halloumi sandwich served with red cabbage, mint, pistachio salad and gherkin. Ideal to satisfy your midday hunger. A good meal should be a little messy, and lunch is no exception. When it comes to this standard of satisfying dining, El Cartel (15-16 Teviot Pl and 64 Thistle St, Edinburgh) delivers. Their’s is a sizzling Mexican menu featuring some of the icons of messy eating – achiote pork shoulder tacos, apricot tamarind sauce-smothered wings, and pineapple-glazed pork ribs. It’s all about the flavour, which will end up all over your fingers. Nonya (10 Claremont St, Glasgow) is a sweet escape for your taste buds, infusing flavours from Thailand, Malaysia and China into any humdrum lunch routine. Their Chinese burger is no exception – it’s an explosion of flavour in the form of braised pork belly, cumin lamb or marinated tofu covered in shredded lettuce, chicken fat mayonnaise (not with the tofu, obvs), coriander, chili, and spring onion. All of that fills one of Nonya’s delightfully light homemade flatbreads. If you are looking for a place that loves to play with food, Harmonium (60 Henderson St, Edinburgh) has got it down to a science, creating vegan dishes that resemble any meat lover’s favourites. Perhaps the most iconic is Harmonium’s quarter pounder – a handmade beast topped with vegan bacon, garlic mayo, diced white onion, tomato and crispy lettuce in a toasted bun, served with side salad and chips. It’s worth paring with an unbelievably creamy (and yet still dairy-free) side dish of mac & cheese. Some say dinner and a show, we prefer dinner as the show. In this case, it’s lunch, and you can have both. The Rose Theatre Cafe (204 Rose St, Edinburgh), tucked within the Rose Theatre offers an ever-changing menu of cakes, salads, sandwiches and soups made from scratch by hand each day. You can’t beat the lunch at Five March (140 Elderslie St, Glasgow), with three dishes for just ten of your pounds. That’s especially true when the menu options are just so enticing – dishes like sticky pork, spring onions, beansprouts, ginger, chili, soy and mirin; or squid, chorizo, barley, tomato, cider and bread sauce. Then there are a pair of venues to cater to the noodle soup fans out there who need warmed up at the end of a long day. The brainchild of Julie Lin MacLeod, Julie’s Kopitiam (1109 Pollokshaws Rd, Glasgow) offers a stunning Malaysian menu. You’ll find a range of Malaysian dishes, including the bowl of goodness that is the Malaysian Laksa Kari with laksa sauce, egg noodles, beansprouts, boiled egg and shrimp. The menu at Tomillo (8 Speirs Wharf, Glasgow) offers a spread of delicious vegan options, including their staple, hearty Tofu Dandan Ramen with a smoky, spicy broth and charred tofu. Read the full list of this year’s winners on p16

Julie's Kopitiam

FOOD AND DRINK

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The Veg of Glory Your favourite vegetarian and vegan places prove one thing – some of Scotland’s best food is being made without any animal products in sight

The Hug & Pint

ell you what, we reckon these ‘vegetables’ might stick around. You can use them to make basically anything, and they just, like, grow in the ground. Just take them out of the ground and eat ‘em. It’s wild stuff. With each passing year, it seems more redundant to have a ‘vegetarian and vegan’ category, just because so many great restaurants, cafes and bars have turned away from the ways of the animal. “The Scottish food scene is now at a point where you could go meat-free in almost any scenario,” we said last year, “and you’d have a range of exciting and inventive options to choose from.” This year’s winners’ list proves that is still true – especially if you live on the western end of the M8. For a long time, Edinburgh was kinda lagging behind Glasgow when it came to veggie options. Yes, there were forerunners that had catered to vegetarian diets for a long time (and at this stage we should salute the extensive list of Asian diaspora restaurants that have been knocking out incredible veg-based food for years, long before it was the hip thing to do). Basically, people in the capital were always peering over their menus at Glasgow, envious of their lack of comforting, cool veggie options. Basically, they wanted somewhere trendy, and Harmonium (60 Henderson St, Edinburgh) is that place. The venue is a cool bar/ restaurant with a laid-back vibe, and the menu pulls together influences from right across the map, but without making too big of a deal of the

January 2019

Tomillo

fact that it’s all plant-based. Bread with chorizo and tomatoes, spicy roasted cauliflower, passionfruit-laced cheesecake; these are the kind of things we want popped in front of us at the end of a long day, and the fact that they’re all veggie is a lovely bonus. Harmonium was opened by one of the leading lights of Scotland’s vegan cooking scene, VSO Henderson, and one of their next moves after that was to head back across the M8 to head things up at The 78 (10-14 Kelvinhaugh St, Glasgow). The Finnieston favourite operates on the same lines as its veg-friendly stablemates – cool vibe, unfussy but well-planned menus, all the comfort food you’d ever want but with none of the animals – but it’s also got a few things that set it apart. In fact, in many ways, it represents both ends of the ‘cool but party-loving’ scale. There’s the lovely armchairs and open fire at one end, and the regular DJ sets and one-off parties at the other. Either way, there’s a jackfruit shawarma in there with your name on it. Mono (12 Kings Ct, Glasgow) was one of the progenitors of the ‘cool veggie’ vibe in Glasgow, and its place as a hub of great plant-based food, good drinks, fun times and live music remains as important to the city’s cultural life as ever. The words ‘bar-slash-diner-meets-venue-plus-record-shop’ are basically a full house on The Skinny bingo card, and throw in the veggie aspect of the whole thing and it’s like they were aiming right at us. Equally, The Hug & Pint (171 Great

Credit: Carlo Paloni

Words: Peter Simpson

Western Rd, Glasgow) out in the West End combines two of our favourite things – exciting Asian-inspired dishes loaded with nice ingredients upstairs, and really well-curated gigs in a cosy basement space downstairs. You like gigs, you like spicy food; put them together, and it’s a recipe for greatness. Sticking with the musical theme, In Bloom (48 Clarendon Pl, Glasgow) sounds like another venue generated from snippets of our Facebook posts and record collections. A Nirvana-inspired vegan cafe next to St Georges Cross? How have you come up with this? Yet the commitment is there for all to see; the teal shopfront, the nods to Cobain and co inside, and a fully vegan range of cafe classics both savoury and sweet to get stuck into. And yet Glasgow’s veggie dining scene has added some new levels in the past year; things are getting more experimental, more presentational and more intriguing. MalaCarne (1036 Cathcart Rd, Glasgow) started out as a series of pop-up supper clubs and dining nights across the southside of Glasgow, before settling into its permanent home in Mount Florida. There’s a real fervour about fans of MalaCarne – people don’t just enjoy this place, they really enjoy it, and they want you to as well. Makes sense, as there’s very little about the idea of really nice food from great local suppliers served up in a lovely setting that we aren’t on board with. Then there’s Tomillo (8 Speirs Wharf,

FOOD AND DRINK

Harmonium

Glasgow). Their ‘regular’ main menu is impressive enough – it boasts an array of spectacular-sounding dishes from a vegan dan dan ramen to the absolute genius of a King Rib made of seitan – and it’s drawn a legion of fans during their pop-up residency on Speirs Wharf. But it’s their regular tasting menu nights that have our interest thoroughly piqued. The thing about a regular menu is it’s quite a lot of choice, and frankly a bit too much responsibility for a hungry person. Either you start to overthink your decision and end up in a flap, or make a confident pick then complain about what someone else is eating. A tasting menu allows you to get stuck into a number of different flavours and styles at a pace and tempo set by the kitchen, and if you’re going to let them make the food you’d be as well trusting them about the other stuff as well. Particularly, when there’s talk of a vegan matcha mille-feuille on Tomillo’s Japanese tasting menu, or the double-whammy of a bramble gazpacho followed by a vegan haggis and game wellington. Those two, by the way, were part of a four course meal that was £22 a head; try getting an equally delicious meaty dish for that amount of money and you’ll be mooed out the door. Scotland’s vegan and veggie chefs are confident, experimental and their food is fantastic – now we’re all fully on board, let’s see where these ‘vegetables’ can take us. theskinny.co.uk/food-and-drink

The Beer and Now Your favourite pubs and bars are a mixture of cosy places to kick back with a pint, and bars that host the cutting edge of the country’s beer scene

Words: Peter Simpson

et’s go to ‘the pub’; sounds straightforward, but there’s more to it than that. If you ask five of your friends for their favourite pub, chances are you’ll get five different answers, and that’s basically what’s happened with this year’s vote for your top pubs and bars. To help you work out which of the winners is right for you, we’ve broken them down a bit to help you out. We’ll start with the cosy ones – if you like vintage armchairs and decorative lamps, these are the spots for you. In Glasgow, The 78 (10-14 Kelvinhaugh St) takes the vegan menu and musical cool of its stablemates at Mono, Stereo and Harmonium and transplants it to Finnieston. You’ll find ace veggie-friendly food and good pints if you just want to hang out, and regular DJs and live music if you want to turn it up a notch. Stravaigin in the West End (28 Gibson St, Glasgow) also sits in this comfy bracket, with the added bonus of being able to summon some outlandish desserts to go with your pint (should you decide that a bag of crisps just won’t cut it). Over in Leith, the Roseleaf (23-24 Sandport Pl, Edinburgh) embrace a ‘something for everyone’ philosophy – nice beers, good cocktails, a bustling bar in the front and a quieter bit through the back, they’ve got it all. It’s a similar deal in town at 99 Hanover Street, where you can turn up in the afternoon for a relaxing beer and catch-up, or rock up in the evening to find a DJ

Roseleaf

and loads of cocktails flying around the place. Or, alternatively, turn up early and watch the whole place morph around you. Then there are the two picks that are especially for beer lovers. Salt Horse on Blackfriars Street in Edinburgh and Koelschip Yard on Glasgow’s Pollokshaws Road are the places to go if you want to be surprised, excited or provoked by a beer. Their taps are regularly taken over by brewery showcases, they’re the kind of venues where you’ll always find something unexpected

on draught (whether it’s a Key Lime Pie sour or a Black IPA that’s about 13% and makes your ears feel like they’re melting), and they’re both staffed by people who live and breathe beer. Also, both of them have .beer website addresses, so you know they’re for real. And finally, there’s Inn Deep (445 Great Western Rd, Glasgow), the West End favourite that combines a lot of the aforementioned selling points into one place. The involvement of Williams Brothers brewery lets you know they’re

Photo: Adam J Bell

serious about the drinks (and that you’ll always be able to find a nice pint); the semi-subterranean layout gives the place a nice ambience; and the location down by the river means that sitting outside is either a quaint glimpse at European cafe culture or like trying to have a beer on top of a cliff. Oh, and it’s right in the heart of the West End, so if you decide you fancy a totally different kind of pub, you’re starting off in the right place. theskinny.co.uk/food-and-drink

The Shopping List Need good drinks, nice fruit and delicious things to fill your cupboards? Here are your favourite food and drink shops Words: Peter Simpson Isle of Harris Gin

ead to Locavore (349 Victoria Rd, Glasgow) for locally-sourced groceries – and when we say locally-sourced, we mean it. Much of the produce in a Locavore veg box is grown on the shop’s own farms near Glasgow; away from the delicious carrots, you’ll find organic dairy, ecofriendly grains and pulses, fresh locally-baked bread and a whole lot more. It’s a similar vibe along at Roots, Fruits and Flowers (451 & 455-457 Great Western Rd, Glasgow), a perennial fixture in this survey, because what’s better than an immaculately presented shop packed with lovely fresh things? Not a lot, apparently! For the store cupboard specialities that can turn even the limpest ingredients into something exciting, you plumped for Lupe Pintos (24 Leven St, Edinburgh and 313 Great Western Rd, Glasgow) and Real Foods (8 Brougham St and 37 Broughton St, Edinburgh). The former is packed to the raft-ers with delicious salsas, hard-to-find chillies and incredible spices, and it’s staffed by people who will

tell you exactly how to make the best use of everything on display. Real Foods specialises in eco-friendly and organic staples, so if you want to get yourself nicer versions of the stuff that normally ends up in your supermarket basket without much thought, these are the guys to talk to. And when you want to add some drinks to the equation, you had a trio of favourites. The Glasgow-based among you were big fans of the Wee Beer Shop (623 Pollokshaws Rd, Glasgow) while The Beer Cave (43 Dalry Rd, Edinburgh) was a favourite of the Edinburgh-dwellers; both are small, independent beer shops packed with interesting beers from all over the map. You were also big fans of Grunting Growler (51 Old Dumbarton Rd, Glasgow) for those times when you really fancy a freshly-poured pub beer but also need to go home and make dinner with all the fantastic ingredients you’ve just picked up. Good multitasking folks; well done. theskinny.co.uk/food

Roots, Fruits and Flowers

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The Drinks Cabinet Your favourite drinks, from gin in delightful bottles to tea with stuff floating in it Isle of Harris Gin This is a lovely gin, with the sea kelp that’s mixed in with its botanicals giving the Isle of Harris a really nice freshness, but my God that’s a nice-looking bottle. You eat with your eyes as much as your mouth, and clearly that applies to drinks as well. A firm favourite among the myriad Scottish small-batch gins out there, and with good reason. Edinburgh Gin Edinburgh Gin are gearing up for a busy 2019 as they get moving on their new distillery and visitor centre in the heart of Edinburgh. That’ll just be a building site for a while yet, so kick back with an Edinburgh Gin and tonic (it goes well with a slice of orange) and await further instructions. Pilot Beer In previous years this was the ‘Best Beer’ category, and the one brewery that’s survived the reformatting is a good ‘un. Pilot continued to go from strength to strength in 2018; their beer buoys up bars across Edinburgh and beyond,

FOOD AND DRINK

Words: Peter Simpson

they’ve just moved into a new brewery unit, and they still love getting into it with beer nerds on Twitter. Long may their reign of unfined, delicious terror continue. Rapscallion Soda “I think there’s a lot of mistrust around soft drinks and what’s in them,” Gregor Leckie of Rapscallion told us last summer, “that’s exactly why we do what we do.” What Rapscallion do is put together tasty sodas using fresh local ingredients, some going down expected routes and others taking wild swings at something a bit different. Either way, Rapscallion makes for a tasty (and much less sugary) local alternative to Big Cola, so we’re on board. Tempo Tea Bar Tempo serve up an extremely extensive menu of hot and cold Taiwanese bubble teas, complete with the drink’s requisite tapioca balls. If you’re in need of a sugar boost that also doubles as an extremely light snack, find them on East Market Street in Edinburgh and Queen Street in Glasgow.

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Paisley Does It L

eaf through these pages every month and we can all but guarantee you’ll spot a food festival or two, and with good reason. They’re good, edible fun; they present the chance to try a load of interesting new things; and they’re much harder for your mates to wriggle out of than a simple trip to the pub. At the same time, not all food fests are created equal, and some operate on a grander scale than others. Paisley Food and Drink Festival is one of those food fests that lean towards the spectacular, with more bells and whistles than a pack of reindeer. What makes it so special? First of all, there’s the location – the festival takes place on the grounds of Paisley Abbey, and sprawls out with beautiful picnic areas prepped for all weather. It’s always nice to have some lovely visuals to go with your dinner, and there’s plenty to look at here as you smash through some delicious grub. Speaking of the food, the scale of the fest-

The Paisley Food and Drink Festival returns this spring; here’s a look at what sets it apart from the crowd

ival is also pretty impressive – the 2018 edition drew in 15,000 attendees, and that number looks set to grow again this year. The 2019 festival is due to feature more than 30 traders and vendors, with the organisers committed to programming a wide variety of quality food offerings. With the addition of a dedicated vegan zone, there will be something for everyone to try. You’ll be able to try things from far and wide, and get a first-hand account of what you’re eating from the people behind it. Literally, they’ll be standing right there on the other side of the counter. While this year’s vendor line-up is still in the works, if previous years are anything to go by expect a fantastic variety of food and drink from across Scotland. While food brings us all together in a big culinary group hug, it’s always good to set time aside for individual hugs for specific groups of people. To that end, each of the two days of this year’s Paisley Food and Drink Festival has its own particular focus. Friday’s programme is geared towards the grown-ups, with a host of activities designed to help everyone let their hair down at the end of a long week. There’s a beer tent from the Renfrewshire branch of real ale masters CAMRA, offering the chance to sample brews from near and far. The tent also ties in with a real ale trail through the town’s pubs, and for the ale agnostics among you there’s a Friday night rum and DJ session, and a gin bar and tastings from Gin 71. Saturday, meanwhile, has more of an all-ages focus. The all-day event features an improved family programme, live music, and workshops for kids and adults alike. A spectacular setting filled to the brim with

January 2019

delicious food and drink with the chance to quiz the makers and producers behind it; activities for everyone to get involved in; and a boatload of food, drink and laidback tunes for those who just want to chill out a bit – Paisley Food and Drink Festival is a feast in all senses of the word. The 2019 edition of the Paisley Food and Drink Festival takes place on Fri 26 and Sat 27 Apr www.paisley.is/

THE SKINNY

New and Approved We break down your favourite new places from the past 12 months, and look at what sets each of them apart

Words: Peter Simpson

Comet Pieces Whereabouts? 150 Queen Margaret Dr, Glasgow Since when? February What do they do? Sandwiches. Big, glorious, outlandish sandwiches packed to the gunnels with exciting ingredients and combinations. Want a bacon roll? They’ll do you a good one. Want a coffee-cured slow-cooked brisket sandwich on gluten-free bread? It’s also an option. Basically, if it’s good and will fit between bread, it’s up for discussion. Gnom Whereabouts? 758 Pollokshaws Rd, Glasgow Since when? March, but the guys behind Gnom have been around a while; their Chompsky food truck was key in the development of Glasgow’s food and drink scene, and they’ve been popping up around the place for ages. What do they do? A little bit of everything, really. Their menu runs across a host of influences and styles, and the results come in the form of paneerstuffed roti, French toast ice cream sandwiches and bao buns stuffed with breakfast ingredients. Essentially, it’s what you always dream you’ll do on a Saturday morning before realising you don’t have the ingredients or knowhow. Gnom have you covered. El Perro Negro Whereabouts? 966 Argyle St, Glasgow Since when? EPN have been on the scene for years, but this new space – complete with its own doors and windows – opened its doors in April. What do they do? Burgers. The kind of extremely meaty, fatty burgers that Samuel L. Jackson went on about in that film with all the guns; the sort of burgers that provoke evangelical responses from those who come across them. They also do tofu and fried chicken, but really this is about the red meat. Sit down with the Top Dog – topped with bone marrow and roquefort butter, black truffle mayo and loads of bacon – and roll yourself out the door at the end. Nonya Whereabouts? 10 Claremont St, Glasgow Since when? April What do they do? An array of South Asian-

Nonya

inspired dishes ideal for sharing with the buds. Intriguing curries, multiple kinds of on-the-bonechicken, loads of exciting veggie options, bags of spice and a cocktail list that features the words ‘pandan paint’ and ‘mandarin broth’. How do you make mandarin broth? We have no idea, but are more than willing to go and check it out. Yes to all of this. Five March Whereabouts? 140 Elderslie St, Glasgow Since when? Despite having a month in their name, they actually opened in May. What do they do? The kind of lovingly-prepared plates that are best explained through non-sequitur lists of ingredients and aestheticallypleasing photography. ‘Sumac squash, greens,

leek, goats cheese, walnut & kale pesto’ makes our sarcastic side want to point out that a leek is green, but then our culinary brain kicks in to say that actually that sounds like a delightful collection of things to put together and we’d very much like to eat it, munch munch munch. Throw in the fact that Five March do a ‘three plates for £10’ lunch and we’re fully on board. Our tenner’s in the post, folks, we’ll be along shortly. Bross Bagels Whereabouts? 105 Leith Walk, Edinburgh Since when? As an entity, Bross has been on the go since 2017, but this new Leith branch threw open its doors in June so we’re willing to allow it. What do they do? Bagels, mainly. The Leith shop features the main Bross bakery, so you’re greeted by the sounds, sights and smells of bagels whistling around on chutes and shedding sesame seeds everywhere. The fillings are more diverse than at Bross 1.0, with more veggie and vegan options, and there’s also a takeaway hatch with the comical title of ‘Late Night Bagel Hole’. Come for the delicious bready treats; stay for the puerile sniggering. 83 Hanover Street Whereabouts? Clue’s in the title on this one. This is not a cruel prank; this venue really is at 83 Hanover Street, Edinburgh. Since when? August. We know what you’re thinking, ‘Something new, in August, in Edinburgh?’ We were as shocked as you. What do they do? Put a Chilean spin on Scottish produce, they say. What this means is zingy preparations of local fish, specially prepared meats and charcuterie from East Coast Cured, plus loads and loads of delicious wine and some nicely decadent puddings.

Gnom

January 2019

The Brunch Club Whereabouts? 67 Old Dumbarton Rd, Glasgow Since when? August What do they do? Again, this is not a trick

FOOD AND DRINK

question – The Brunch Club focuses on brunchable cuisine. That means bowls (with yoghurt and porridge in them), toast (French, sourdough, with eggs on), and big ol’ breakfasts. A refreshingly mixed bag of breakfasts at that – eggs with harissa smoked salmon sits alongside fried chicken with waffles, and that’s just a few paragraphs away from a full vegan offering. Ideal for those mornings when you just can’t face digging your good pans out of the back of the cupboard. Nauticus Whereabouts? 142 Duke St, Edinburgh Since when? August, yet again. It’s as if there’s something that happens around that time that focuses the hospitality trade... never mind, we’ll deal with that another time. What do they do? This latest venture from the guys behind Hoot the Redeemer and Panda & Sons is another well-put-together cocktail bar, this time down in the heart of Leith. Inside, there’s lovely wood panelling and comfy chairs all over the place, and behind the bar are a truly impressive array of spirits and staff who know exactly what they’re doing with them. Also, and this seems like a minor point, but the bartenders’ aprons are extremely cool. That’s the kind of attention to detail we’re ‘here for’, as the youth say. Rose Theatre Cafe Whereabouts? We’re sure you can work it out; just take ‘cafe’ off the end and... there we go! It’s at the newly-refurbished Rose Theatre at 204 Rose Street in the heart of Edinburgh. Since when? Take a guess. Go on, bet you get it right... you are correct, this is Edinburgh, so of course it was in August. What do they do? A solid range of cafe snacks and treats. Expect tasty coffee from local roasters Machina Espresso, a variety of delicious things on toast, and an intriguing selection of sweet and savoury treats. Read the full results on p16

Mug Life Your favourite cafes and coffee shops are a mixture of veggie-friendly homeliness, high-end coffee, and places to get really good scones Words: Peter Simpson

our favourite cafes are an interesting bunch, with a good amount of variety in both what they do and how they do it. For the Glasgow winners, we’ll begin our round-up on Clarendon Place. In Bloom takes the not-oft-trodden path of ‘Nirvana-inspired veggie cafe’, but pulls it off pretty impressively. Be ready for tasty vegan grub, a Nevermind-inspired exterior colour scheme, and some lovely chilled vibes. Over in the West End, Kaf Coﬀee on Hyndland Street is a gimmick-free zone, sticking to the things we really like in a cafe – a nice ambience, delicious coffee, and a catchy name that sounds cool when we mention it to our pals. Jaunt across Hillhead and you’ll find Comet Pieces on Queen Margaret Drive, a bustling neighbourhood takeaway serving up a fantastical mix of cafe classics and some extremely intriguing new ideas. Out in Mount Florida, you’ll find the much buzzed-about MalaCarne, a veggie spot that provokes extremely enthusiastic recommendations from all those who come across it,

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Credit: Simon Forsythe

Kaf Coffee

while back in the city centre they’re joined by 2018 Food and Drink Survey faves Primal Roast on St Vincent St, the cafe which combines ‘clean-eating’ with a menu that doesn’t think twice about including hash browns and cakes. No wonder they’re popular. Over in Edinburgh, you were fans of the Rose Theatre Cafe for its ‘hidden away from the terrors of Princes St’ vibe and simple but delicious menu. You also liked Roots round the corner on William Street for its commitment to nicely-made lunches packed with lovely ingredients. And further up the road, Tasty Buns on Bread St is just one of a clutch of very very good cafes either side of Lothian Road. TB’s regular Sconefest days are a chance to try some truly outlandish flavour combinations in easily-smashable form, and their sweet treats follow the same formula of putting many delicious things together in one place then encouraging you to snarf it all down.

Bross Bagels

Street Eats Your favourite grab-and-go venues across Scotland Words: Peter Simpson

ome food venues end up on the itinerant foodie scene for want of a proper home to base themselves in, popping up as and where they can. El Perro Negro was one such place until their bricks-and-mortar opened its doors last year; now the people of Finnieston know exactly where to track down one of the city’s best burgers at any given time. Can you eat this walking down the street? Yes you can, though maybe bring some napkins with you. Same story over in Edinburgh at Bross Bagels, who added to their sandwiches-withholes empire last year with a new spot on Leith Walk, and just opened on Queensferry Street in December. Their bagels are fantastically chewy and savoury, their fillings are exciting and plentiful, and their Russian dressing will get stuck in your beard. Grab a bagel, head to the beach/ park/insurance office (delete as applicable for

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your location) and rock on. Back in Glasgow, you were big fans of Kurdish Street Food in the Southside, home to some outlandish kebabs and the kind of simple title you really appreciate after leafing through pages of food venues with names that seem antagonistically vague. And then there are street food veterans Babu Bombay Street Kitchen, who went full circle in 2018. Their permanent spot on West Regent Street closed its doors, leaving the team to focus on the new on-street or truckbased opportunities afforded by the Scottish food and drink scene. Some bastard nicked their catering van (boo!) but they got it back shortly afterwards (yay!); you can find them popping up with delicious curries and naan sandwiches at the likes of Platform and The Big Feed in Glasgow, or at the Stockbridge Market in Edinburgh. theskinny.co.uk/food-and-drink

Roots

The Winners Just want a quick list of some of Scotland’s best food and drink spots? Here are all of this year’s winners, in alphabetical order Best Breakfast The Brunch Club, 67 Old Dumbarton Rd, Glasgow; thebrunchclub.co Cafe Strange Brew, 1082 Pollokshaws Rd, Glasgow; facebook.com/cafestrangebrew Comet Pieces, 150 Queen Margaret Dr, Glasgow; cometpieces.co.uk Dishoom, 3a St Andrew Square, Edinburgh; dishoom.com/ edinburgh Loudons, 94b Fountainbridge, Edinburgh; loudons.co.uk MalaCarne, 1036 Cathcart Rd, Glasgow; malacarne.co.uk Roseleaf, 23-24 Sandport Pl, Edinburgh; roseleaf.co.uk Singl-end, 263 Renfrew St, Glasgow; thesingl-end.co.uk Best Cafes and Coffee Shops Comet Pieces, 150 Queen Margaret Dr, Glasgow; cometpieces.co.uk In Bloom, 48 Clarendon Pl, Glasgow; facebook.com/ glasgowinbloom KAF Coﬀee, 5 Hyndland St, Glasgow; kafcoffee.co.uk MalaCarne, 1036 Cathcart Rd, Glasgow; malacarne.co.uk Primal Roast, 278 St Vincent St, Glasgow; primalroast.com Roots, 18 William St, Edinburgh; rootsedinburgh.co.uk Rose Theatre Cafe, 204 Rose St, Edinburgh; rosetheatreedinburgh.com/cafe Tasty Buns, 67 Bread St, Edinburgh; facebook.com/ TastyBunsBakeryEdinburgh Best Drinks Edinburgh Gin; edinburghgin.com Isle of Harris Gin; harrisdistillery.com Pilot Beer; pilotbeer.co.uk Rapscallion Soda; rapscallionsoda.com Tempo Tea Bar, tempoteabar.com Best Food and Drink Shop The Beer Cave, 43 Dalry Rd, Edinburgh; facebook.com/ thebeercavescotland

FOOD AND DRINK

Grunting Growler, 51 Old Dumbarton Rd, Glasgow; gruntinggrowler.com Locavore, 349 Victoria Rd, Glasgow; glasgowlocavore.org Lupe Pintos, 24 Leven St, Edinburgh and 313 Great Western Rd, Glasgow; lupepintos.com Real Foods, 8 Brougham St and 37 Broughton St, Edinburgh; realfoods.co.uk Roots, Fruits and Flowers, 451 & 455-457 Great Western Rd, Glasgow; rootsfruitsandflowers.com Wee Beer Shop, 623 Pollokshaws Rd, Glasgow; weebeershop.co.uk Best Lunch or Dinner El Cartel, 15-16 Teviot Pl and 64 Thistle St, Edinburgh; elcartelmexicana.co.uk Five March, 140 Elderslie St, Glasgow; fivemarch.co.uk Harmonium, 60 Henderson St, Edinburgh; harmoniumbar.co.uk Julie’s Kopitiam, 1109 Pollokshaws Rd, Glasgow; facebook.com/julieskopitiam MalaCarne, 1036 Cathcart Rd, Glasgow; malacarne.co.uk Nonya, 10 Claremont St, Glasgow; nonyaglasgow.co.uk Rose Theatre Cafe, 204 Rose St, Edinburgh; rosetheatreedinburgh.com/cafe Roseleaf, 23-24 Sandport Pl, Edinburgh; roseleaf.co.uk Tomillo, 8 Speirs Wharf, Glasgow; tomilloglasgow.co.uk Best New Place 83 Hanover Street, Edinburgh; 83hanoverstreet.com Bross Bagels, 105 Leith Walk, Edinburgh; brossbagels.com The Brunch Club, 67 Old Dumbarton Rd, Glasgow; thebrunchclub.co Comet Pieces, 150 Queen Margaret Dr, Glasgow; cometpieces.co.uk El Perro Negro, 966 Argyle St, Glasgow; el-perro-negro.com Five March, 140 Elderslie St, Glasgow; fivemarch.co.uk Gnom, 758 Pollokshaws Rd, Glasgow; gnomfood.com

Nauticus, 142 Duke St, Edinburgh; facebook.com/ nauticusedinburgh Nonya, 10 Claremont St, Glasgow; nonyaglasgow.co.uk Rose Theatre Cafe, 204 Rose St, Edinburgh; rosetheatreedinburgh.com/cafe Best Pub or Bar The 78, 10-14 Kelvinhaugh St, Glasgow; the78barandkitchen.com 99 Hanover Street, Edinburgh; 99hanoverstreet.com Inn Deep, 445 Great Western Rd, Glasgow; inndeep.com Koelschip Yard, 686-688 Pollokshaws Road, Glasgow; koelschipyard.beer Roseleaf, 23-24 Sandport Pl, Edinburgh; roseleaf.co.uk Salt Horse, 57-61 Blackfriars St, Edinburgh; salthorse.beer Stravaigin, 28 Gibson St, Glasgow; stravaigin.co.uk Best Street Food or Takeaway Babu Bombay Street Kitchen, various locations in Glasgow; babu-kitchen.com Bross Bagels, 186 High St (Portobello) and 105 Leith Walk, Edinburgh; brossbagels.com El Perro Negro, 966 Argyle St, Glasgow; el-perro-negro.com Kurdish Street Food, 12-14 Allison St, Glasgow Best Vegetarian and Vegan The 78, 10-14 Kelvinhaugh St, Glasgow; the78barandkitchen.com Harmonium, 60 Henderson St, Edinburgh; harmoniumbar.co.uk The Hug & Pint, 171 Great Western Rd, Glasgow; thehugandpint.com In Bloom, 48 Clarendon Pl, Glasgow; facebook.com/ glasgowinbloom MalaCarne, 1036 Cathcart Rd, Glasgow; malacarne.co.uk Mono, 12 Kings Court, Glasgow; monocafebar.com Tomillo, 8 Speirs Wharf, Glasgow; tomilloglasgow.co.uk

THE SKINNY

January 2019

THE SKINNY

Unbreakable We speak to Steven Ansell and Laura-Mary Carter of Blood Red Shoes about friendship, confidence and reconciliation ahead of the release of their fifth studio album, Get Tragic

hile rehearsing for Swing Time alongside Fred Astaire, Ginger Rogers saw her white dancing shoes turn red with blood due to the strain of repeated takes. The behind-the-scenes story was an inspiration for Blood Red Shoes; Steven Ansell (drums/vocals) and Laura-Mary Carter (guitar/vocals) naming themselves after this painful dedication to entertaining others. After a decade together, the Brighton duo experienced an altogether different consequence of pushing themselves too hard, with their friendship suffering the harsh reality of relentless touring. As they tell The Skinny, Get Tragic – their forthcoming fifth album – documents the fallout since fans last saw them and the subsequent comedy of errors post-reconciliation. Blood Red Shoes formed in 2004 after the previous bands of Ansell (Cat on Form) and Carter (Lady Muck) split. With a punk mindset, they released a series of 7” singles on small labels and organised many of their own shows. Their debut album, Box of Secrets – which channelled bands such as Fugazi – was released in 2008. By this time, the fresh-faced duo found themselves gracing the pages of NME alongside the likes of Vampire Weekend and supporting high calibre acts including Rage Against the Machine. It was a good time to be in an indie band. Beneath the surface of their equally effortless cool image in photoshoots, Blood Red Shoes are polar opposites, with Ansell naturally sitting in the driving seat during shows and interviews. “I am a complete extrovert,” he admits, matter-offactly. “I do everything at a million miles an hour. Laura is a very sensitive and reflective person. She’s much more introverted.” But despite their differences, they remained close-knit, balancing one another out as their success continued. They built upon their international fan base with their sophomore album, Fire Like This (2010), which was followed by In Time to Voices (2012). As they travelled the globe, heavily touring each record, they earned many passport stamps but little rest. Was this demanding schedule self-inflicted? “I think it came down to what we started as, doing everything ourselves,” considers Carter. “We used to make shows happen, so it did seem like the norm. We had management at the time that was very hot on us not being just a UK-centric band and I am really grateful for that – because we do have an audience all around the world now – but there was a point where I just got very exhausted.” Ansell concurs: “There was a demand. It was great – we had the time of our lives and I wouldn’t change any of that. We just said ‘Yes’ to everything, but what no one did, at any point, was say to us, ‘You want to be careful doing too much’. No one fucking told us that.” The inevitable breaking point came after they’d finished touring their 2014 self-titled album. A gruelling itinerary over many years had left Blood Red Shoes with no life or identity outside of the band. Their white shoes had become stained red and arguments ensued. “We just hit a point where we no longer knew if we were friends or wanted to make the music we were making,” says Ansell. “I call it a midlife crisis. We suddenly questioned everything – our entire foundation. We talked about breaking up and fired almost everyone around us. We got ourselves in a real spin.” Consequently, Blood Red Shoes walked away from one another. Carter escaped to Los Angeles to work on songwriting for other artists, allowing her some much-needed rumination. “I didn’t feel

January 2019

like we’d ever properly break up, but our friendship definitely suffered,” she reflects. “I just wanted to get my confidence back and be myself again. I wanted to be an individual and not just ‘Laura in Blood Red Shoes’. I had to get away, have some time to think and try some new things out.” She adds that her voice is now stronger in every sense. “It wasn’t Ste’s fault, but I felt like everyone only wanted to listen to what he had to say. I didn’t really know my own voice, even down to my singing voice because I’d sung with him for so long. I got used to just fitting my voice in to complement the song, whereas now I realise that I can actually sing in a different way.” These feelings appear to be broadcast on last year’s single, Mexican Dress, which is typical of the album’s transparent lyrics: ‘Yeah, you’re taking all the space / Can’t you leave a little for myself or someone else here’. Meanwhile, Ansell opted to stay at home in Brighton, dealing with the forced hiatus badly. “It was really weird,” he opens up. “I found it really hard, so I did what somebody would do in a romantic breakup. There were a good six months where I didn’t know what I was doing – I was just jumping around in clubs, out of it. I felt like I’d blown things with my best friend and that my band – that I’d put my heart and soul into – was collapsing.” Fortunately, time proved to be a great healer. The duo began to slowly rekindle their friendship before recording Get Tragic, but suffered further setbacks during the initial album sessions. Firstly, they travelled to a supposedly former community centre in rural Wales but only lasted one night. “We were woken up in the morning by literally the whole town,” laughs Carter. “There was a woman outside, banging on the door. They were saying, ‘You’re making the Devil’s music!’ The centre had been sold over the summer, but no one had told the community. Amazing timing!”

“I just wanted to get my confidence back and be myself again. I wanted to be an individual and not just ‘Laura in Blood Red Shoes’” Laura-Mary Carter

For their second attempt, they visited Leeds, borrowing the studio of former tourmates Pulled Apart by Horses. Before they had even begun, Carter broke her arm during a motorcycle crash, causing her to shift gears sonically while it healed. She favoured keyboard over guitar and added more vocals to the mix. Ansell experimented too, mixing drum machines with his traditional kit. The sessions inadvertently set the tone for entering the studio with producer Nick Launay (Arcade Fire, Yeah Yeah Yeahs) in Los Angeles for what proved to be third time lucky.

Photo: Blood Red Shoes

Interview: Stuart Holmes

Get Tragic is an honest, therapeutic account of the duo’s individual thoughts and feelings on past events. Moreover, it is a tongue-in-cheek acceptance of their personal drama between albums, set to a suitably mature sound. “I looked at our behaviour and we’d turned into a total joke,” explains Ansell. “It was this absolutely fucking clichéd tragedy thing to do when you have a meltdown and we started thinking it was funny. We needed to make this record. It was the only way to move forward – to accept ourselves and kind of laugh at it.” The album release will be marked by a tour of intimate venues across Europe and the UK (including a show at Glasgow’s Stereo). Whilst it appears to hark back to their early days, it will actually be a significant fresh start for Blood Red Shoes. “It’s not really meant to be a retrospective thing,” says Carter. “We still feel like we are becoming a new band. We don’t really look back. It’s for our fans – I feel that they’ll really appreciate it.” Ansell adds: “We wanted to start where we began, growing naturally into something that people noticed. I think it’s instinctively the right fit because we feel like we’ve restarted a bit.”

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Fifteen years since their formation, Blood Red Shoes have emerged from recent difficulties stronger. For now, the future of the band remains very much intact. “Things have been hard – and they still are – but we’re just at the point where you’ve just got to laugh and keep powering through,” says Carter, who now mostly resides Stateside. “I think we’re definitely pretty unbreakable though. It’s not always worked out well for us, but we’re probably both a force to be reckoned with now.” Ansell, who remains in Brighton, considers the reasons for their resilience. “Our whole adult life has been the band,” he says. “It is part of our identity and I don’t think that – even if we tried to give up – we could at this point. As much as we were kicking against each other, you’ve got to accept that part of the creative process is that you fight a bit because sometimes something good comes out of that.” Get Tragic is released on 25 Jan via Jazz Life Blood Red Shoes play Stereo, Glasgow, 31 Jan bloodredshoes.co.uk

Pride and Joy As they prepare to release their fifth studio album, It Won/t Be Like This All the Time, The Twilight Sad’s James Graham talks to The Skinny about one of the band’s most tumultuous and eventful years yet Interview: Susan Le May

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Photo: Debi Del Grande

ast year The Twilight Sad were preparing the follow-up to 2014’s incredible Nobody Wants to Be Here and Nobody Wants to Leave, the record that piqued the interest of none other than The Cure’s Robert Smith. The band augmented their line-up with long-time contributors Brendan Smith and Johnny Docherty, adding Sebastien Schultz on drums after the departure of Mark Devine. Singer James Graham became a father in May, and days later lost one of his closest friends and most important musical brethren. Shortly after the passing of Frightened Rabbit’s Scott Hutchison, The Twilight Sad returned with a live set at Primavera Sound festival in Barcelona. It was one of the most powerful and heartbreaking performances they’ve ever given. “The crowd were amazing that day,” recalls Graham. “If I’m really feeling it, if I’m struggling, the crowds have been getting us through it big time, and that’s every night, but none more so than that gig. That was a real marker point of knowing we’re not in it alone, there are people that know who we are and care about it. It was eye-opening.” Graham admits to being petrified. It was the group’s first show in two years, the first with all new members in place (alongside himself and Andy MacFarlane), new songs and new equipment. But, most importantly, it was the first time they’d played Keep Yourself Warm, a Frabbit cover that has taken on so much weight – now the anthem for a communal heartbreak, a sign of hope that something carries on amidst the sadness. “That was the major worry for me, just making sure we did it proud,” Graham says. “I know how I reacted and I can’t imagine that’s an easy [performance] for anybody to watch if they know me and they know Frightened Rabbit and they know what it means. The whole point was to keep singing Scott’s songs but to also show people that it’s alright to feel that way. If I can go up on a stage like that and let it out, I think it showed people that you shouldn’t be ashamed to show your emotions, to tell people, to talk. That’s the thing that I’m taking away from all of this, is that we need to be more open with each other.” Over the following months, it became a staple in the set, each performance more enchanting and gut-wrenching than the last. The band toured for months in the US and Europe, to bigger and more enthusiastic crowds than ever before. Repeatedly Graham would exorcise the still-raw pain of his loss on stage, while his young family were home in Scotland or making brief visits at points along the road. It’s little wonder he’s exhausted, as he relaxes at home in Glasgow with his wife and son for the first time in months. It’s nearly Christmas and it’s the calm before the storm of the new album coming out. The forthcoming weekend, he’s performing with Frightened Rabbit at the Glasgow leg of charity event Sleep in the Park – it’s the first time Frightened Rabbit will have played since the devastating departure of their singer and chief songwriter. “I know a little bit how it’s going to feel but it’s going to be times a million because I’ll look round and I’ll see Grant [Hutchison], Billy [Kennedy] and Andy [Monaghan],” he says. “We rehearsed Keep Yourself Warm when we were in the rehearsal studio and that was very hard but

MUSIC

THE SKINNY

“I’ve realised that music can help people and it helps me”

Photo: Debi Del Grande

James Graham

you got to a point where you were okay with it. But as soon as you get in front of people, so many more emotions overtake you. With the crowd that are going to be at that show, it’s going to be everybody in it together. It’s going to be really hard but there’s going to be pretty beautiful moments as well. “I think we’re all going to remember a lot, we’re all going to cry a lot, but we’re all going to come out of it feeling like hopefully we did him proud again. It’s horrible what’s happened and we’re all still going through it and I don’t think I’ll ever be able to get through it, and I don’t want to either, to be honest. The moments that I have been remembering a lot, I go through ups and downs with it, I just think of all the amazing times. When I listen to his music, I just remember he loved doing that and that’s a massive positive to me. Hopefully, when we go out there and we sing his songs, we think about all the amazing things that he’s done and what an amazing person he was and that’s to be celebrated.” Graham is an intense live performer, increasingly injecting a striking physicality into the band’s shows. Night after night of this, while so openly dealing with grief, in a band that’s on a steady upwards trajectory; it’s little wonder that 2018 took its toll. “There’s a lot more weight to what we’re doing now,” he admits. “I’m putting as much in to it as I always have but we’re playing for longer as well. Physically, it’s pretty knackering but at the same time the emotional weight of it bears quite heavy, especially the last two shows [in London and Edinburgh]. I definitely felt a bit spaced out and a wee bit worried to be honest. “After these gigs, I just felt really delighted that people liked the gig but it’s been a bit of a weight on me as well,” he says, conceding he’s drained. “I’ve never been more exhausted, mentally and physically, than after these shows. It’s something that I’m definitely thinking about and I think it’s something that everybody needs to start thinking about and talking about. Yeah, people are going out in vans and it looks as though they’re having the time of their lives – don’t get me wrong, most of the time they are – but with the way that I perform, there’s a lot of angst and worry and all that kind of stuff.” While he’s most certainly ready for a rest

January 2019

before the album’s release and touring starts again, he’s taking many positives away from recent events. “I know what we’re doing is a good thing. Not that I’m saying we’re good, that’s up to other people, but I know that what we’re trying to achieve, and the message we’re trying to get across is a positive one, even though the music can be dark,” he says. “I’ve noticed the positive aspects of getting out there and doing that and showing your emotions in front of people. It’s basically like a therapy session every night. Even just some messages that people have been sending, just even looking out in the crowd sometimes and speaking to people after it, I can tell that [our gigs are] the sort of place people can come and not feel ashamed or worried to let it all out. “It’s not what I expected being in a band to be all about, but I’ve realised there’s so much more important things than what people think being in a band is — especially with our music. I’ve realised that music can help people and it helps me, so if our gigs are a place people can come and it feels like that’s helping them in some way, then I’m happy and proud that people can feel that when they come to see us.” It Won/t Be Like This All the Time is the first release for the band on Mogwai’s Rock Action label, which is going from strength to strength as it adds the cream of Scottish artists to its roster. “Putting out a record for us is a big investment [for the label] and that shows me that they believe in us, and they always have,” says Graham. “Even when we weren’t on the label, [Mogwai] were taking us out on tour and telling people about our band. There’s not just a lot riding on it for me and the rest of the guys in the band, we want to do Rock Action proud as well because they’ve invested a lot. I’m not even just talking about financially, just a lot of their time and their belief in us.” Someone else who has been pivotal to The Twilight Sad’s recent success is The Cure’s Robert Smith – covering one of their songs, taking them out on huge tours and shows, and being heavily involved with the new album’s songs. The band would send him demos which he’d return with a rating out of ten (never lower than a seven) and a series of notes and suggestions, as well as masses of encouragement.

“Obviously when you’ve got one of the greatest songwriters of all time asking you to try stuff, it’s pretty mind-blowing,” Graham recalls, adding that 95% of everything he suggested the band acted upon. “To think ten years ago that we could have the luxury and the privilege of being able to send our songs to someone like Robert and for him to help us,” he ponders. “And he helped in many other ways as well that maybe one day we’ll talk about, but he’s just constantly wanting people to hear our music and wanting us to be the best we can be and it’s unbelievable. To see somebody that doesn’t need to help us out like he does. He can just go and get on with his life and tour the world for the rest of his days but he really cares about what we do and he wants to help us. “There are so many other bands in the world that he could have picked, but he saw something in us. It’s not just that I want to do Rock Action proud, I want to do him justice as well to show that his time and everything he has done for us has not gone to waste, that it’s been worth it.” It won’t be like this all the time for The Twilight Sad. Grief will ebb and flow with time and the urge to push ahead will yield its rewards. Last year they battled some of the choppiest waves, yet somehow surfaced musically renewed and structurally more robust. They seem more driven, more accomplished, and recent tours brought greater numbers of converts than ever before; crowds swelled and passions grew. This is a band on the ascendency, and it’s a beautiful and much deserved rise. “Finding out how much what we do means to people is quite overwhelming sometimes,” Graham admits. “The tours themselves were quite emotionally charged, more than they’ve ever been for loads of reasons, and then when you go back out and you speak to people and they tell you about their lives, it’s a bit of a rollercoaster but it’s amazing. They obviously see that I open up and talk about stuff through my music, so maybe they see that they can talk to me. It can be quite full-on, but it’s a beautiful thing.”

"The whole point was to keep singing Scott’s songs but to also show people that it’s alright to feel that way [...] you shouldn’t be ashamed to show your emotions, to tell people, to talk" James Graham

It Won/t Be Like This All the Time is released on 18 Jan via Rock Action The Twilight Sad play Barrowlands, Glasgow, 2 Mar thetwilightsad.com

MUSIC

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Modern Art Following the release of his fourth solo album, Love is Magic, we talk art and music with John Grant ahead of his appearance at Celtic Connections festival

ince reigniting his career after the break-up of The Czars almost 15 years ago, John Grant has been progressing towards an artistic ideal, a sound and aesthethic that most closely resembles his creative vision. This is something that will always be somewhat nebulous and malleable, but with his fourth album, Love is Magic, Grant seems to be getting closer to exactly what he wants to say. “Right now it feels like I’m one step closer, [but] I don’t feel like I’ve ever arrived,” he muses, wistfully. While staying with topics that are personal and familiar to him – addiction, sexuality, love – he has managed to create an album that is at once caustic, joyful and frequently hilarious. Speaking to us the day after the US mid-term elections, from Copenhagen’s beautiful VEGA concert hall, the politics of his estranged homeland are still weighing heavy on Grant. However, with yesterday’s mixed bag of results (“not quite the result one was hoping for...”), is there a place for cautious optimism? “Oh no, certainly not...” he scoffs with a chuckle. Grant has been based in Iceland since 2012 and maintains a complicated relationship with the USA – “I try to stick to the coasts now” – including his difficult upbringing in Michigan and Colorado. However, that isn’t to say that geography can be a simple remedy, and there’s a lasting homesickness that comes from a lack of familiarity. “You always feel homesick for what you grew up with,” says Grant, but commonalities aren’t enough to make up for a lack of empathy. “It depends on the people around you... you can be in your own culture and be totally misunderstood.” The capricious nature of emotions is a frequent touchstone in Grant’s work, and something that is particularly evident throughout Love is Magic. Reconciling a range of feelings into a cohesive whole is something that comes naturally to him. “The everyday is a collage of these things,” says Grant, “so I feel like it’s very true to the human experience.” Hence, the acerbic Smug Cunt can sit neatly with the schizophrenic Metamorphorsis, and the snarky Diet Gum with the contemplative Touch and Go. Tempest is a song that deals with Grant’s escapism as an adolescent via mall arcade games, a seemingly innocent distraction that would later manifest itself in different, and more deadly, forms. “I needed to take away a lot of those ‘toys’ that I used as escape mechanisms, like alcohol and drugs, but also sex, money, food – I can use almost anything around me to do that if I want to, but I made a huge switch to simply staying with feelings, instead of trying to change the way I feel and escape from them. So the coping mechanism now is much more dealing with things head-on rather than escaping, because escapism for me always ends in addiction.” Grant has been sober for 14 years. One of the most striking elements of Grant’s career is his commitment to album art, his last three being some of the most inventive of the decade. “I feel like it’s really important,” he says. “When I was a kid (and still actually) I’ve always loved to sit and stare at [it], especially vinyl, I love to hold it in my hand, the picture, while I enjoy the music. I feel like aesthetics is really important... I feel like there have been periods where album covers have been dismal... and totally forgettable. “I think there’s a resurgence of really good stuff going on [now]. I feel like it’s becoming much more of an artform again. For me, the 90s were a real low point,” he laughs, “there’s always some

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cool stuff going on (PJ Harvey, Björk, Portishead, Mazzy Star), but overall...” The trajectory of Grant’s feelings about his art can be measured, to an extent, through his four album covers. “Queen of Denmark was okay, but I wasn’t quite sure what I was doing and a bit hesitant to use my own photography (I’m not terribly confident).” Second album Pale Green Ghosts features a confident, austere self-portrait, while Grey Tickles, Black Pressure has the same resolute determination, but leavened with quirky features (decorative owls, altered eyes) and pastel hues. “A quick aside: when I was in Japan touring the last record (GT, BP), there was a signing and the people came up, and it was specifically the girls I remember, they wanted me to draw eyes on the record cover because they were disturbed by the fact that there were no eyes... every single person wanted me to draw eyes.” This conversation leads us down an album cover rabbit hole, with Grant demonstrating an infectious enthusiasm for the artform; he points us towards little known German electro-pop group Gina X Performance and their 1980 album X-traordinaire. “Now that’s a fucking album cover!” he states with unabashed glee (seriously, check it out). All of which brings us to the cover of Love is Magic, which sees Grant standing in his underwear, singing, with a heavily painted face, around which there is a cage, while his upper body is covered in feathers.

that. I feel like that photoshoot is much more representative of who I am as a person than what you might see on stage.” With this careful curation Grant is able to get across a message that other mediums don’t necessarily allow for, an idea that seems to be central to his conception of art. “In your artform you should be able to express yourself exactly as you want to. In many situations in life maybe you aren’t able to get it right in the moment, but with your art you can take your time with it, you can go back and change it; it’s like being able to go back and say what you wanted to say in the moment.” Given his progression up to this point, it’s difficult to say where Grant will go next. He seems abuzz with creativity, but perhaps without the conviction (or time) to follow every whim. “I imagine doing all sorts of things... sometimes I crave a lot of guitar and feedback and noise,

maybe there’ll be a lot of that on the next record. I wonder if I’ll go into more abstract ways of expressing myself rather than the traditional songwriting I do, if you can call it that,” he sighs with weary, half-serious self-deprecation. “I’d really like to do a Christmas album, I love a good Christmas album: Johnny Mathis, Tammy Wynette, Bing Crosby... I’d wanna do the classic stuff, I feel nostalgic and romantic to those Christmases in the 70s, listening to those records that my parents put on. Maybe I’d do it with synths, but I’m not exactly sure how I would do that and make it work. I tend to overthink things, so maybe I should just do it.” Love is Magic is out now via Bella Union John Grant plays King’s Theatre, Glasgow, 1 Feb, part of Celtic Connections 2019 johngrantmusic.com

“In your artform you should be able to express yourself exactly as you want to” John Grant

“I wanted [Scott King] to make something that was impactful... the twist of it is doing whatever it takes to get the right sound... that’s the idea behind it.” And while it may appear remarkably singular, there are some precursors. “Scott and Jonathan de Villiers did the shoot for Róisín Murphy’s Overpowered, which is a good example of a modern album cover that’s just as amazing as anything I’ve seen in the past. [Love is Magic] is sort of a shout-out, or love letter, to Fad Gadget. If you look at Incontinent or Gag, you can see [the influence].” But there is always the worry of rehashing. “Sometimes it’s dangerous because they’ve already done that thing, and it’s important to remember that they don’t want to do the same thing again,” Grant says. “I wanted them to do their own interpretation of me, not what they’ve done before.” This version of Grant certainly makes a unique impression and gives a glimpse into the stylised, hyper-specific way in which he views his art, and artistry in general. “I felt a little bit uncomfortable doing the shoot... just standing around in my pants all day while everybody else is not in their pants; I probably should’ve had everybody else undress. I think it’s good for me to be out of my comfort zone, not constantly, but in my art... I do better when I’m challenging myself, so I’m trying to do that, or at least be cognisant of

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Photo: Shawn Brackbill

Interview: Lewis Wade

THE SKINNY

January 2019

THE SKINNY

A Pair of Queens Josie Rourke’s debut film tells the story of Mary, Queen of Scots and her acrimonious relationship with her cousin Elizabeth I. With vibrant Irish actor Saoirse Ronan in the lead role, Rourke attempts to set the record of Mary’s life straight

Interview: Caitlin Quinlan

ntuition led former theatre director Josie Rourke to Mary Queen of Scots. Her first project as a filmmaker, the film is a gutsy retelling of the life of Mary, Queen of Scots led by Saoirse Ronan in the title role, with Margot Robbie alongside as her rival in sisterhood, Elizabeth I. Eager to right the wrongs done to Mary’s reputation throughout history, and bring a youthful vision to the story, Rourke’s work showcases a determined and forward-thinking attitude to her storytelling. Mary Queen of Scots is a film replete with humanity and sensitivity for the potential, power and vulnerability of its women. Choosing Mary’s story as a debut project felt necessary for Rourke, to tell the story from a new angle and re-evaluate the previous depictions of the Scottish queen that were “deeply disturbing” to her. The director realised in her research – aided most heavily by John Guy’s 2004 book detailing the history of Mary’s life – that the queen had been painted as an “incompetent femme fatale”, even while she was still alive, by the likes of John Knox and William Cecil (played by David Tennant and Guy Pearce respectively in the film). Rourke explains that Guy’s text began to “reposition Mary and assess her properly as a politician, and weigh up, given the challenges she faced, how well she performed as a politician within those circumstances. “I think both Saoirse and I really wanted to try and set that record straight.” As well as efforts to reclaim Mary’s story and reputation, Rourke had a keen interest in exploring the relationship between Mary and Elizabeth. “I wanted to look at those years that Mary was in Scotland and the part she played in the creation of her cousin Elizabeth, this figure we recognise as one of the great queens who reigned for 45 years,” Rourke says. “And I wanted those two women to play that 12-page scene, you know, because young women don’t get to do that very much.” The scene Rourke refers to is the film’s shining moment, and has already been described as a Heat-esque face-to-face confrontation shared by the two queens. Although historians dispute this meeting ever happened, Rourke imagines a heightened game of hide-andseek through the sheets of a wash house as the women express their fears, disagreements, and admiration for one another. The director explains that on set they made sure “that [Ronan and Robbie] did not see each other in character, in costume, in hair and makeup, as the two queens in their fullest expression until Saoirse rips down that sheet.”

It’s a moment of great tension and emotion, boldly expressing the layers of conflict in their relationship, and working to erase a crucial double standard in Rourke’s eyes. “When we talk about rivalry and male politicians, rivalry is just the beginning of that conversation. Immediately what flows from that is ‘what’s their ambition, what’s their fascination with each other, is there a kind of brotherhood there?’” she says. “But when we talk about rivalry in women we seem to feel that’s incompatible with sisterhood, which of course it’s not.” Any bemoaning of the film’s supposed historical inaccuracy by people Rourke sees as simply “camped out on Twitter trying to ruffle feathers” has had little impact on the director. “If you’re going to be a student of historical drama and make this criticism then you need to be a proper student of historical drama,” Rourke explains. “You therefore need to know that Schiller did this in 1800, Donazetti wrote an opera about it... Katharine Hepburn did this meeting on film, Helen Mirren did it on film, Vanessa Redgrave did it

on film, I mean it’s been endlessly done.” She hopes this “fake outrage”, however, doesn’t allow viewers to discredit the film in other undeserved ways, adding that “sometimes there is an impulse to sideline some of these essential, important truths about how hard it was for these women to lead.” Fake outrage around Rourke’s film seems to appropriately mirror the stories and lies built around Mary herself to tarnish her reputation, a troubled legacy of leadership that the director felt had been mishandled in the past. “I suppose my studies built in me an instinct to look again when women are portrayed that way,” Rourke says. “I think Mary’s been done a gigantic injustice, and I had presumed that was something that the Victorians were responsible for with Pre-Raphaelite paintings of women, where they’re either a sort of tragic victim, reclining and therefore dead, or prepared for sex.” She adds, with a derisive laugh: “You look at those pictures and you can’t quite tell if she’s dead or coital.”

“When we talk about rivalry in women we seem to feel that’s incompatible with sisterhood, which of course it’s not” Josie Rourke

It was not just Mary’s life and reputation that Rourke sees as having been misrepresented in cinema, and to continue correcting these faults, Mary Queen of Scots crucially features many actors of colour. While we can hope these casting

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decisions will soon become the norm, cinema – and perhaps particularly period dramas – still have a long way to go. Rourke’s position is vitally clear – “I cannot and will not direct an all-white period drama. There were people of colour in Tudor England, so that has been inaccurately portrayed previously on film” – before going on to highlight some of her actors. “There’s Izuka Hoyle, who’s a brilliant young Scottish actor and a woman of colour, this film is her first job, and she plays Mary Seton. There’s Izuka, there’s Gemma Chan, Adrian Lester, there’s Ismael Cruz Cordova who is a Puerto Rican playing David Rizzio, a white European. We know that those people were white so the thing that it is doing is affording actors of colour the opportunity to play white historical figures.” Rourke displays a warm-spirited eagerness during our chat to discuss Scotland as the home of the story, as well as her fascination with its characters. Acknowledging Mary’s position as “a French queen as much as she was a Scottish queen,” she also describes her desire to “put her back into Scottish ownership as someone Scotland can be proud of as a historical figure.” Rourke reels off the list of Scottish cast members, highlighting the likes of Martin Compston, Jack Lowden and James McArdle, who she notes as an “incredible Glaswegian actor and an amazing rising star, certainly in theatre and I think on screen as well.” She was also delighted to involve Scottish comedy legend Karen Dunbar in the film, an actor she had previously worked with in her position as artistic director of the Donmar Warehouse, if only for one line. “I can confirm that is Karen Dunbar screaming ‘death to the whore’,” she laughs. Actors aside, the land itself held a great appeal to the director, closing out our discussion with praise for her enviable working environment. “Scotland is an incredible country,” Rourke says, “and the infinite variety of light, and climate, and landscape that you get within the course of a single day makes it certainly one of the most extraordinary filming locations on the planet.” Mary Queen of Scots is released on 18 Jan by Universal

Maniac Cop Karyn Kusama’s latest film, Destroyer, is an epic LA noir centered on a grizzled cop played by Nicole Kidman. The talented director discusses her rollercoaster career and the pleasure of seeing her porcelain star release her inner rage

Interview: Jamie Dunn

I learned, failures I climbed past, so now I’m kind of taking a more philosophical view of it. The business would like me to believe I can’t fail, but that’s not ultimately a very instructive way for me to be making movies.”

“It is sort of exciting to see a grown woman beat the crap out of a grown man. There’s just something elemental about that physical animus just getting worked out” Karyn Kusama

e’ve seen many movie cops like the detective at the heart of LA noir Destroyer. A sallow-skinned heavy drinker who’s quick to anger, they don’t have friends, lovers don’t hang around for long and if they have a family, they’re better off without them. Their past is full of pain and regret, but the future is no less rosy; whether it’s a bullet that does it or the booze, they’re not long for this world. They have hard-boiled names like “Dirty” Harry Callahan (Clint Eastwood, Dirty Harry), Jimmy “Popeye” Doyle (Gene Hackman, The French Connection), Bud White (Russell Crowe, L.A. Confidential) and John McClane (Bruce Willis, Die Hard). Erin Bell, the bruising maverick at the heart of Destroyer, belongs in this company, but does differ from these clichéd brutes in one respect: she’s a she, played by Nicole Kidman. “I feel like women don’t get enough opportunities to be unruly and difficult and unlikeable and confounding,” says Destroyer’s director, Karyn Kusama, when we sit down to discuss her new feature ahead of its UK premiere at London Film Festival. “So for me there was something really exciting about a character who was so frustrating – that really interested me.” Bell won’t be the first “unruly” woman Kusama has brought to the screen. Her irresistible debut, Girlfight, was a gritty melodrama about a tough teenage girl who takes up boxing and ends up beating up her boyfriend in the ring – the film also introduced the world to Michelle Rodriguez, who instantly became Hollywood’s go-to female hard case. Kusama’s whip-smart horror comedy Jennifer’s Body, meanwhile, starred Megan Fox as a high school princess who’s sacrificed by a devilworshiping indie band, only to mysteriously resurrect as a beautiful zombie who likes to eat dumb, pretty young men. Erin Bell makes these women look like pushovers, though. With bloodshot

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eyeballs, skin like a sand-blasted beef tomato and crumpled clothes that look like they haven’t left her body in weeks, it might take you a minute or two to spot it’s Kidman behind the bad complexion and heinous haircut. Kidman is a wonderful actor, but maybe wouldn’t be many people’s first choice to play a grizzled cop. It turns out she wasn’t Kusama’s either. “I hadn’t initially thought of Nicole at all,” admits the 50-year-old director. “You know, she’s so statuesque and so porcelain and kind of flawless. But I think she more than proves herself.” This shouldn’t be a surprise to anyone who’s followed Kidman’s career over the past three decades. Few of her Hollywood peers can claim as diverse and daring a CV. “Nicole’s so adventurous,” Kusama agrees. “She might be one of the most adventurous actors I’ve ever had the privilege to know. She’s just curious about the world, and that can translate into so many really interesting choices. And thinking about it, I probably hadn’t considered her initially because I assumed she wouldn’t consider doing the film, you know? And then the fact that she just dove right in, it was really a nice surprise.” As a director, Kusama has proved similarly daring and unpredictable. In between Girlfight and Jennifer’s Body, she made big budget sci-fi action film Æon Flux, while her most recent projects are the gut-churning dinner party thriller The Invitation and the standout segment of all-female helmed horror anthology XX. “Thank you,” Kusama says when we note that, like Kidman, we never know what she’s going to do next. “I don’t like to do the same thing twice. I like to feel like I’m trying something new and I’m sort of stepping outside of either what’s expected of me or outside of a comfort zone for myself, because I do think the greatest privilege of getting to make movies is to try new things and to even fall flat on your face and

fail. So that’s been my goal.” She’s certainly attained that with Æon Flux. The film was harshly derided by critics and failed to make back its $65 million budget in theatres. Jennifer’s Body’s box-office performance didn’t set the world on fire either, but Kusama can take solace that the spiky little horror has gained a fervent cult following in the intervening years despite a lukewarm reception back in 2009. It’s a sad truism in Hollywood that male directors are often forgiven for their ambitious failures (Zack Snyder, Guillermo del Toro and Ridley Scott are three flop-prone filmmakers who spring to mind), but female directors are not. Two critical maulings on the trot saw Kusama retreat back to her smaller scale film roots. The Invitation was shot cheap in a single location and Kusama made Destroyer – despite its epic scope and huge star – on a modest $9 million budget. She seems perfectly satisfied working in this indie realm, however. “I used to look at each film like it was my last. But I realise now that there is a part of that attitude that’s buying into that bias, that sense that a female director or artist isn’t allowed to fail at the same rate that a man is. And while that may be true, and I think it is, I do also feel like the only thing that has kept me going was a willingness to sort of start all over and let go of the baggage of failure in the past – or perceived failure.” The chief appeal of working at this low to mid-budget scale, she explains, is that it allows her to experiment. “I can remain true to myself as an artist. I do feel like it’s important for me to be open to risk taking, and kind of jumping off a ledge on a creative level, and then we’ll see where I land. I used to kind of have a very grim look at it all, particularly after [Æon Flux], which was a very difficult, soul-crushing experience. But then each film proved to have reasons for being, things that

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While Destroyer resembles those classic maverick cop movies mentioned earlier, it does break from the sub-genre in one pleasing fashion: there are no hints of those films’ fascistic overtones. Don’t get us wrong, Bell’s approach to law enforcement is certainly Old Testament, but we’re not entirely meant to be rooting for her. “Revenge is really overrated,” says Kusama. “In fact, it’s probably one of the most troubling and negative currents in civilised society, or it’s a current that expresses an uncivilised society.” There’s one thing that Kusama certainly didn’t want audiences to feel as Destroyer’s credits roll: that its anti-hero had done the right thing. “The whole movie is ultimately trying to uncover not just the mistakes of her past and her kind of fatal corrupt decisions, but the mistakes of her present. It’s interesting, I think that approach creates a scenario for some viewers that’s potentially less satisfying, because to me this notion of vengeance should feel troubling. I think we’ve been conditioned to accept vengeance as a reasonable goal, and I really questioned that.” In saying all that, there is a certain primordial pleasure to be had in seeing Nicole Kidman kick down doors, pistol-whip information out of lowlifes and, in the film’s most thrilling scene, be a complete badass during an all-out gun fight on the streets of downtown LA. “Don’t I know it,” laughs Kusama. “I thought it was interesting that Nicole’s character had this core of rage that expressed itself on a character level inwardly and on a kind of larger physical level outwardly. And, you know,” she laughs, “it is sort of exciting to see a grown woman beat the crap out of a grown man. I mean, there’s just something elemental about that physical animus just getting worked out. Women, I think, have been largely trained and conditioned to, like, stay still and shut up and not fight back, and this is a character who doesn’t know how to do that. And so there is something – even if it’s transgressive – thrilling about seeing her just not have limits, you know?” We could say the same about the film’s immensely talented director. Destroyer is released 25 Jan by Lionsgate

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Photo: Thunderbird Releasing

The Burning Issue Korean master Lee Chang-dong returns with Burning, an enthralling adaptation of a Haruki Murakami short story; we speak to the director and the film’s rising star Steven Yeun

rriving eight years after previous film Poetry, Korean director Lee Chang-dong’s Burning left last year’s Cannes without any competition prizes but with perhaps the most ardent critical support of any movie to premiere there in 2018. Much of the film’s pleasure comes from how it slowly reveals its mysteries, so it’s best to keep any plot details to a minimum. All we’ll say is that it concerns a young man, Jong-su (Yoo Ah-in), reconnecting with and developing feelings for a girl from his youth, Hae-mi (newcomer Jun Jong-seo). He agrees to look after her cat while she’s abroad in Africa. When she comes back, she’s accompanied by a mysterious companion, Ben (Steven Yeun), a wealthy man with a proclivity for pyromania that may be a cover for something more sinister. Based on Haruki Murakami’s short story, Barn Burning, Lee’s film marks the first featurelength adaptation of the beloved Japanese author’s work since Tran Anh Hung’s Norwegian Wood in 2010. The idea of adapting a Murakami text for the screen wasn’t initially Lee’s own. “NHK, the Japanese broadcaster, recommended making one of Murakami’s stories into a film,” says the 64-year-old filmmaker when we sit down to speak to him at the London Film Festival. “The film’s co-writer, Oh Jung-mi, first recommended [the short story] for me to read. And my first impression was that it seemed a bit like a simple story with two things going on: one is why the barn is burned and the second is why the girl went missing. But then I thought that mystery theme could be expanded and so we transformed that mystery into the film’s story.” Steven Yeun, who was born in Seoul but grew up in Troy, Michigan and is best known for his role in The Walking Dead, has a particular fondness for Murakami. “I had read a lot of his stuff but I really enjoyed the short stories,” the 34-year-old actor tells The Skinny and several other journalists gathered for our roundtable interview. “After the Quake was a really fun collection. I really loved his memoir, What I Talk

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About When I Talk About Running. I actually was an understudy for the lead to play Kafka in the Steppenwolf Theatre’s production of Kafka on the Shore, which was a very frustrating time because understudying is very frustrating. I’ve read a lot of his work and enjoy it a lot, but I also see how difficult it is to adapt.” Appearing in collection The Elephant Vanishes, most editions have Barn Burning running to 20 pages or fewer; Burning totals a more epic 148 minutes with credits. Upon watching the finished product, it’s hard to imagine the film being any shorter without sacrificing significant character nuances and atmosphere. Obviously, plenty has been added to expand the tiny narrative into a feature-length story, but one of the more interesting actual changes from the source text is the replacement of the eponymous burning barn motif with the burning of greenhouses. Lee tells us this was a change inspired by the setting of Paju in the north of South Korea, not far from the DMZ. “Paju, the city where I set my story, is just an hour’s drive from Seoul, only 30 minutes from my home. It’s a farming town, but the farming community spirit has all disappeared and nowadays is getting deserted. Also, in Paju, you can hear North Korea’s propaganda and so, in a way, the city exists but it’s not easily seen. In a way, for me, it’s a really metaphoric place to represent Korean society’s diverse problems in politics, society and economy.” Regarding the film’s Korean specificities, one of the most intriguing qualities of Yeun’s disquieting supporting performance comes from the curious otherness he projects in so many of his interactions with the other two leads. There’s something not quite ‘there’ about little gestures he makes and how he says certain things. As such, we wonder if Yeun’s Americanness lent a certain ambiguity appealing to Lee and others when casting that role, to which Yeun agrees completely. “I think that was definitely director Lee’s intention,” says the actor. “Ben is not American, he’s fully Korean, but [Lee] didn’t try to take away my

Americanness. Director Lee wanted that to remain, but he wanted to work on the other aspects, which was that my Korean had to be exact and on point; the nuances had to be on point. But there’s this sense [with Ben] like, ‘I don’t need to be here.’ That’s part of him that I think was aided by the fact that I’m not actually of there in that way. That was definitely a layer I think is genius filmmaking.”

“In Paju, you can hear North Korea’s propaganda... it’s a really metaphoric place to represent Korean society’s diverse problems” Lee Chang-dong

Lee reveals his own reasons for selecting Yeun, as well as co-stars Yoo Ah-in and Jun Jong-seo – who it should be noted, in light of American Yeun arguably stealing some of the spotlight in English-language coverage of the movie, are also tremendous in the film. “Yoo Ah-in, who plays Jong-su, is one of the most famous Korean actors in that age group,” Lee tells us, “and he’s known for being good at delivering emotionally strong and violent characters. In contrast to that, Jong-su is such a passive and shy character who doesn’t show his emotions and who doesn’t react, so I thought that would be really interesting. And with Hae-mi, Jun Jong-seo, who had no experience in acting, was

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Interview: Josh Slater-Williams

picked during the audition process. I noticed subtle double sides to her that I thought I could bring into Burning.” With the character of Ben, he says, “we actually had another actor on board, but then we had a copyright issue which delayed the shooting schedule so we couldn’t work with that actor and we had to look for someone else and my co-writer recommended Steven. I hadn’t seen The Walking Dead back then, but I’d seen Okja, directed by Bong Joon-ho, and his character in that film is totally different from the character in Burning. But somehow, I was very drawn into that character. And so we met and had a conversation and Steven was really understanding Ben, not only logically but even physically. And Steven also mentioned Ben’s motive for doing things would be the emptiness in his heart. That really spoke to me a lot.” As well as being a mesmerising character study and slow-burn mystery, Burning also simmers with tensions relating to the class divides in modern South Korea. Expanding on this theme, Lee discusses Burning’s relationship to the William Faulkner story that shares a title with Murakami’s one. “Before I made Burning,” he says, “there were lots of other projects. I brainstormed lots and even wrote three scripts, but they weren’t realised. But the similarity of those projects was that they are all talking about anger at what people in this society are going through. The Murakami story doesn’t come across as being about anger, but, actually, when you look into it, it is about anger. Coincidentally, William Faulkner’s short story with the same title is about a man who is a white working farmer who burns other people’s barns whenever he feels suffering. So, this story is directly leading to anger. The two stories are both talking about anger but with very different styles. And Burning is originally inspired by Murakami’s story, but the feeling of anger is directly from Faulkner’s story, which explores the feelings of anger and guilt.” Burning is released 1 Feb by Thunderbird Releasing

Theatre in Dark Times 2018 was a difficult year for many people for many reasons; Brexit, the Windrush Scandal, Trump, and whatever the hell is happening with the UK Government right now. So how can theatre support us and keep us going in these strange days?

t would be an understatement to say that we live in strange times, but the main thing about these weird days is that by the time this piece is published, everything could have changed – such is the news cycle, and the nature of the modern world. But when change is the only constant, how can theatre support us while we work towards a better world? We asked a collection of theatremakers if there’s a piece of theatre, or a quote that they find themselves reaching for during uncertain times. The two choices of the The Lyceum’s Artistic Director David Greig appear to almost perfectly sum up the current political climate. “Well, I’m tempted to say that the current political moment in the UK most brings to mind my own adaptation of Touching The Void, when Joe Simpson is crawling across eight miles of treacherous glacier with a broken leg. The line of dialogue he says is ‘Aaaaaaarrghhhhhhhh!’, over and over and over again. “But, truly, the play that most captures Donald Trump’s USA for me is Ubu Roi by Alfred Jarry. Ubu, the child monster creature who bullies his wife and is obsessed with ‘cack’, feels like a strangley prescient portrait of the current president.” For writer, performer and director Annie George, a line from the character Lincoln in Topdog/Underdog – the 2001 play by Suzan Lori-Parks, the first African-American woman playwright to win the Pulitzer Prize – keeps coming to mind: ‘People like they historical shit in a certain way. They like it to unfold the way they folded it up. Neatly like a book. Not raggedy and bloody and screaming.’ George explains: “It’s a powerful, theatrically rich and brilliantly written play about family, identity, duality... about two African-American brothers, Lincoln and Booth, one who, in whiteface, is an Abraham Lincoln impersonator, and the other a petty thief. “The quote talks about the way people are more comfortable with a history which is

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sanitised, that allows them to disassociate with reality, and become numb to the pain of other people. That’s exactly why people or politicians should be forced to experience the effects of their hatred or policies – austerity, war, torture etc.” “I am struggling with hope,” begins writer and performer Hannah Lavery, “but theatre has always been where I have gone when I need help to figure shit out.” Lavery turns to Brian Friel’s 1980 play Translations, which she read in university and saw at the National Theatre in 2018. “I am turning more and more to texts that I know,” she explains, “but this play... has always left me reeling. “My husband had studied the play at school in Northern Ireland and I read it as part of a course at university, and so it was for both of us a play that only existed until that moment on the page and in our imaginations. To see it come alive was always going to be thrilling, but why I talk of it in this context is it revealed what it is about now that terrifies me – how we have lost (or we are losing) our ability to hear each other, to see each other’s humanity. “We are asked more and more to be deaf to the Other – to the Other’s pain, history and stories. We all experience the world differently, understanding this is vital now.” For Kieran Hurley, the “weird and nightmarish world” of Philip Ridley’s surreal 1991 work The Pitchfork Disney has kept creeping up on him. “It’s a problematic play in some ways,” he says, “but an endlessly interesting one and it caught my imagination vividly when I first came across it, years ago now. It’s a play about fear really, and there’s a lot of that around these days. Maybe that’s why it’s on my mind.” An example of this is one of Haley’s lines from the play that keeps coming back to Hurley: ‘Don’t blame me. You remember what happened last time I went to the shops. It was terrible. I was so scared.’ Our responses weren’t all bleak, and many respondents recommended plays or quotes that

struck them as particularly optimistic. For the playwright and performer Jo Clifford, Pedro Calderón’s Life Is A Dream, which was first published in 1636, was her choice thanks to the line: ‘The good you do is never lost. Not even in dreams.’ Meanwhile, Jackie Wylie, the Artistic Director of the National Theatre of Scotland, opted for David Greig’s 1994 response to the Balkan wars and globalisation, Europe. “David Greig’s Europe was one of my formative theatre experiences, and one that I often think about,” she explains. “I first saw it as a teenager during its original run at the Traverse. It’s such a beautiful examination of identity and migration, both intimate and global in its themes. Even more than 20 years [later], I still carry the impact of its poetic and political relevance.” “You can’t beat scratch nights for a boost of optimism,” says Eve Nichol, a director and playwright. “It’s always a hopeful act to create something new and to want to share it with other human beings. Some of the most exciting recent shows were first seen in early forms at scratches; Little King’s Greater Belfast and Blood of the Young’s Daphne Oram’s Wonderful World of Sound. The Tron’s Outside Eyes is one of the best scratch nights, for the support it offers early career artists, the quality of care in its feedback facilitation, and its generosity in keeping the audience well wine-ed.” “If it’s all too much and I can’t bear to leave the house, reaching the script shelf for a dose of Douglas Maxwell will always warm me up,” Nichol says. “I’ve been enjoying rereading 2002’s Helmet, which celebrates the shared joy of video games.” Meanwhile, others found comfort in their own work, such as Amal Azuddin, one of the real-life Glasgow Girls who stood up to stop a friend being deported and inspired the musical of the same name. Azuddin says: “I choose Glasgow Girls because it’s not just about a story of seven school girls, but a community movement where people from all walks of life came together

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Interview: Amy Taylor Illustration: Rachel Tunstall

to fight for justice. “In a world that seems to be filled with negativity and hate, this musical showcases the power of kindness, humanity, love and hope!”

“It’s always a hopeful act to create something new and to want to share it with other human beings” Eve Nichol

Similarly, another real-life Glasgow Girl, Roza Salih echoed her sentiments and chose her favourite song from the musical; “When times are tough, I always think about Noreen’s song in Glasgow Girls, They Are Our Weans. It keeps me going and makes me stronger to stand my ground on whatever I am campaigning on... as Scotland is my home and I have been welcomed here.” “I think that art in general responds to dark times well,” says Gary McNair. “Arguably, theatre does this most powerfully as it is an immediate, shared space where you can’t escape the anger of the world around us. “We share the space with the audience that is living through the shite outside and offer a space of reflection, fantasy and hope.” Touching the Void, Lyceum Theatre, Edinburgh, 24 Jan-16 Feb Glasgow Girls, King’s Theatre, Glasgow, 15-19 Jan; King’s Theatre, Edinburgh, 23-26 Jan; Perth Theatre, 30 Jan-3 Feb; Eden Court, Inverness, 7-9 Feb theskinny.co.uk/theatre

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Home Truths A staple MC on the Scottish comedy scene, Liam Withnail talks about the challenges involved in getting political in his latest full-length show Homeboy

Interview: Yasmin Hackett

here’s a mounting pressure on comedians to dig deep to produce the perfect ‘Edinburgh show’. 2018’s Fringe perfectly demonstrated this as the impact of the #MeToo movement and its ripples in the comedy world inspired some of the most memorable efforts. Homeboy, Liam Withnail’s most recent hour at the Fringe, was his political comedy debut, an insightful and honest look at privilege from the perspective of the straight white male. But Withnail points out that what initially appears to be a pressure to fall in line is actually more of a microcosm of a wider trend seen in comedy all the time. “You’ll get that every year. Comedians respond to what’s happening,” he says. Leading up to this Fringe, eyes were on the comedy world “because you had the Louis C.K. allegations, and then you had Aziz Ansari. You obviously had the #MeToo movement as well, and it is something that’s been steadily growing. It really came to a point.” Pointing to Hannah Gadsby’s Nanette, joint winner of the Edinburgh Comedy Award at the 2017 Fringe, Withnail feels that 2018’s crop of shows were a little different. “You can’t really follow Nanette in terms of shows that have a serious point.” He adds that, despite the perceived challenge in dealing with feminism and the #MeToo movement among Fringe audiences, especially as a straight white male, Homeboy was his response to Gadsby’s smash hit. “I saw it at the festival last year and I was inspired to go in that direction.” The decision to go political, however, was just the first step in preparing a show like Homeboy. “I thought there would be left-wing people in there saying ‘you don’t get it’.” Withnail, though, wanted to challenge himself. In previous years, given his personal life at the time, his material almost seemed to write itself. His first Fringe show, True Defective, coincided with his decision to quit drinking. The second, The Immigration Game, came together after he and his wife had been separated due to immigration laws. “That gave me something to write about. It was obviously very sad as well – but you know, every cloud.” he laughs. “I say I’ve been sort of lucky, but I’ve been given two bad situations to write about in previous years.” This year, Withnail “had to look elsewhere for inspiration,” though the real challenge seemed to come from the material itself. “I thought I was kind of painting a big target on my chest for going at it in the way I was. I thought it wouldn’t be, for want of a better word, ‘woke’ enough,” he says, revealing the impact of the millennial generation’s interest in social responsibility. “There’s an image painted in the media of students being really right on, snowflakes, blah blah blah. Even though I’d like to think that I’m smart enough to be around that, I was still caught up by it a bit and thought, ‘Maybe people are going to come along and think I mean everything that I’m saying’.” Surprisingly, it was more often the opposite. “In general, people who didn’t like it were middle-aged white guys who just thought I was talking nonsense. If people don’t like it for that reason, I’m fine with that – if old, conservative people are like ‘this is bullshit’, that’s fine – you’re in your camp, I’m in mine.” At the end of his hour at the Fringe, and in

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[Homeboy] was very different from anything I’d ever done.” And where festivals give him a chance to explore his more “Guardian-friendly material,” at club gigs “people have been at work all week, they’re tired. They just want to hear someone tell jokes about farts.” The Scottish comedy scene also serves as an important training ground: from a regular MC spot at Edinburgh venue Monkey Barrel Comedy to gigs in the east end of Glasgow, without which, he says, “I would not be as qualified a comedian. “It’s good to challenge yourself,” Withnail says. “I can go to those rough pubs in the east end of Glasgow with my [Cockney] accent and say, ‘hello, everybody’ and really give it to them and come out the end of it going ‘that was a battle, but it was fun’.” MCing at Monkey Barrel is a different experience entirely. “What I like about hosting there is that it’s been built up by comedians, people who do it and have done it for years, so they know how a room should look and should feel.

“If old, conservative people are like ‘this is bullshit’, that’s fine – you’re in your camp, I’m in mine” Liam Withnail

the interest of equality, Withnail recommended two comedians: one male, one female. But does he have any comedy heroes? “[That’s] one I always find tough,” he says. “But, when I was seven, I watched a Jim Carrey movie and I said to my mum ‘that’s what I want to do’, and she took me to drama club the next week.” And female? “My current hero would be Susan Morrison, she’s one of the first stand-ups I saw in Scotland. I saw her at The Stand a couple of weeks after moving to Edinburgh and I’d never done comedy or anything. Susan was hosting and

I couldn’t understand a fucking word she said. She terrified me, but I was still laughing, because she was this really angry Scottish woman screaming at the crowd. And then getting to know her – what an amazing woman she is as well. She’s a real talent,” he adds. Politics and feminism, though, are quite new to Withnail’s style of comedy. Usually, he can be found gigging and compering in Edinburgh: so established is he on the Scottish scene, he recently won Best Compere at the Scottish Comedy Awards. “I’m used to doing club comedy.

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“It attracts students and backpackers, and they’re people I love having in the crowd because there’s just so many different and interesting things to talk about.” Having compered for so long, Withnail has learned a thing or two about saving face, but in the past it hasn’t been so easy. “When you start out, you just want to do gigs. You get better at figuring it out, often from the tone of the email that gets sent to you. If anyone ever says ‘birthday’ or ‘wedding’, for me that’s an immediate ‘I don’t care how much money you have, I’m not doing this’.” As to the future, there is still some uncertainty. Success partly brought on by an Amused Moose nomination gives him food for thought. “I have some vague ideas for a next show, and what’s weird – and what you never really get used to – is that people come to see you. I was stood at the door every day after shaking my bucket and speaking to people on the way out who were saying ‘oh, we come to see you every year’. People who I’ve never met before. And I still find that confusing; I’m like ‘why? D’you know my mum or something?’ I do think that if I’m doing a new show, people have seen what I’ve done previously so they’re gonna expect something like that. That’s a new thing for me!” Liam Withnail: Homeboy, The Stand Glasgow, 14 Jan, The Stand, Edinburgh, 15 Jan twitter.com/LiamWithnail

Sceptre, 2018

Kieran Muir K

ieran Muir (b. 1996) is a recent graduate of the Glasgow School of Art who fashions absurd cultural artefacts from imagined worlds and events. His most recent body of work references a carnivalesque “Sausage War” in which the foodstuff is weaponised and two clans, Link and Lorne, clash in a battle for sausage supremacy. These bizarre parallel universes are primarily explored through a variety of craft techniques including crochet, rugmaking and embroidery. His work also includes drawing and sculpture, making use of recurring motifs and colour schemes which link these objects to this world of carnivorous violence. While the work seeks to question the legitimate place of craft in the realm of fine art, its primary objective is to poke fun and invoke the humorous and irreverent spirit of the carnivalesque, drawing the viewer from the often cerebral environment of the gallery into the fun and frenzy of the carnival. Kieran Muir is based in Glasgow and is currently crafting a whole new body of work for The Royal Scottish Academy’s New Contemporaries Exhibition in March 2019. instagram.com/dammit_karol/ Beef, 2018

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SHOWCASE

THE SKINNY

Linked in Brotherhood, 2018

Halo, 2018

Sausage War (Detail), 2018

Glossolalia, 2018

January 2019

SHOWCASE

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Phantoms of the Opera Ahead of the premiere of Anthropocene, author Louise Welsh discusses her fourth opera, collaborating with composer Stuart MacRae, and traditional opera’s “women problem”

Interview: Amy Taylor

“I

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but then you really have to go off and think about the characterisation and all of that. I really like it. “An opera requires work that’s different from a novel. But the same thing that comes through it is story. Story and narrative has to be strong, and it has to be underpinned, and really, as you know, has to rely on characters.” Once the opera has been written, Welsh tends to be involved in the first few rehearsals, to make sure that the script suits the actors and to work with them to make any changes.

“Finding somebody or something within a place of nature, a wild place that we can’t control, is really a perennial story” Louise Welsh

Photo: Julie Broadfoot

’m always very busy, partly because I worry about what happens when it stops?” That’s the response of author Louise Welsh when asked about her incredible output. In fact, it sometimes seems like she never does stop; over her career, Welsh’s output has included eight critically acclaimed novels, including Saltire Awardwinning debut The Cutting Room and the Plague Times Trilogy. But over recent years, as well as books, she’s turned her hand to writing opera, with the help of composer, friend, and now frequent collaborator, Stuart MacRae. Their latest opera, Anthropocene, which is set for its world premiere at the Theatre Royal Glasgow later this month, also marks the fourth collaboration between the two artists. The new piece was born from an earlier Scottish Opera programme, Five:15, which saw five contemporary writers in Scotland create five new 15-minute operas. For Welsh, her first experience of opera was during her teenage years, when Channel 4 commissioned and broadcast a series of so-called “Gateway Operas” – new films of well-known operas, such as Carmen, La Traviata and Rigoletto. Welsh remembers recording them on VHS and watching them repeatedly, but she couldn’t help but notice something about the women in every one of these operas. “I think it’s not an accident that those are the ones that I remember,” she muses. “They’re very dramatic operas, they are all hugely high stakes, have passionate relationships; all of those things. Unfortunately, in all of those operas, the woman gets bumped off!” The fact that the lead female character in traditional operas never seems to survive to the curtain call has informed her work with MacRae and is also something that they’re both keen to tackle and challenge with their new work. Welsh says: “This is something that Stuart and I have engaged with as well, because this [female characters dying] is pretty typical of traditional form. The form is changing, the form is alive, we don’t do that! But that’s how it started with operas; the drama, the passion, the music, the story and the characters, and I was away with it.” Anthropocene is their first collaboration since 2016’s hugely successful opera, The Devil Inside. The title alludes to the time period that we live in, known as the Anthropocene period; the time in which humans have been responsible for most of the impact on the environment, climate and the planet. Set in the Arctic Circle, a group of scientists on an expedition realise that they are trapped in the frozen wastelands. Cut off from the outside world, and amid rising tensions, they realise that they are not alone; something from the ice has joined them. “It’s a story where something strange is found, but it’s not a grotesque thing,” says Welsh. “There’s still fear of the unknown, and that’s perennial.” Indeed, as Welsh points out, the story of humans encountering the unknown and the fear and chaos that creates is universal. As humans, we fear what we don’t understand. After all, what we understand is familiar, so what we don’t understand is unpredictable, uncontrollable and even monstrous.

Welsh continues: “I think that story of finding somebody or something within a place of nature, a wild place that we can’t control, is really a perennial story, isn’t it? You think of the very first stories... Beowulf, what’s that? A monster story. And I guess this, in a way, isn’t a monster story because the person on the ice is not grotesque. There’s not that grotesque element, but there’s certainly a strangeness, and that kind of strangeness works very well in a musical setting.” The musical setting, alongside the direction and design (from Matthew Richardson and Samal Blak, respectively) is, according to Welsh, responsible for much of the opera’s tension and suspense. But without a good story and characterisation, there would be no opera. It’s clear from the beginning that

Anthropocene is the result of not only years of friendship with MacRae, but also working closely together to create the work. “We do it in tandem,” Welsh tells us, “so I have to write the words before Stuart writes the music, so if I stall, then he stalls as well, so there’s that responsibility too.” Their working practice, which often sees them meeting either in Glasgow or Edinburgh (MacRae lives in the east, while Welsh resides in Glasgow) in cafes, sometimes a museum, or another public place to discuss ideas. Then they go home and work alone, before sharing their work with each other at the next meeting. We ask Welsh how she finds working with a collaborator, since it’s so different to the work of creating a novel alone. “It makes some things faster, so maybe, putting the plot together might be faster,

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“The text is a text until it comes to rehearsal, and, with an opera, because it’s all set to music you can’t change huge chunks [and] say, ‘You know what, we’re gonna take out 15 minutes of this’ or whatever. That would really not work. But there might be bits where there’s a word that doesn’t work; the singer would find they can’t get their mouth around a particular word, or they might just want to ask about their character, all those things.” With opening night fast approaching, Welsh is looking forward to seeing the opera performed for the first time. But the thought of seeing the piece in the flesh has caused her to reflect on the process of creating Anthropocene; from first idea, to discussing ideas and collaborating on it with MacRae, to the piece coming to fruition several years later. She says: “Something that’s just in your head, me and Stuart in a cafe talking, and then a couple of years down the line, you’re in this big theatre and hundreds of people have worked on something you’ve made. They’ve all come together, all these people that are at the top of their game, and they’ve moved themselves to Glasgow to work on this piece. “And then people have got in their cars and on buses in January, they’ve come through bad weather, and come to the theatre for an evening. I think that’s really thrilling.” But will the female characters survive the opera this time? Welsh pauses but decides to remain tight-lipped. “I can’t say, I can’t possibly say. If they go, it’ll be for a good reason, you know?” Anthropocene, Theatre Royal Glasgow, 24-26 Jan; Festival Theatre, Edinburgh, 31 Jan-2 Feb scottishopera.org.uk/shows/anthropocene/

THE SKINNY

The Real Thing David Keenan discusses the troubles, mobster humour, and his second novel For the Good Times Interview: Ross McIndoe

heltered from the Glasgow winter by the hipster haven of BrewDog’s Merchant City bar, it’s two years almost to the day since we last met here to talk about David Keenan’s debut novel, This is Memorial Device. That year saw the Brexit referendum and Donald Trump’s election, instigating events that have dictated much of our cultural narrative ever since. In times of everdeepening uncertainty, Keenan’s returning obsessions with reality, story and our capacity to shape the world in front of us seem all the more timely. “Me, personally, I’m in a fairly similar place,” Keenan says when asked about the tumultuous years between his previous novel and For the Good Times. “One of the things about the culture at large that’s changed is it seems now that magic is out in the open. It seems like people have realised that there’s a battle for reality. And that becomes like a sort of magical battle. War deploying ideas, symbols, fake news, re-worked reels of film, all these different techniques to colonise reality. And I think my books have always dealt with the idea that reality is up for grabs, so it kind of coincides with that.” Set in Belfast during The Troubles, Keenan’s novel has become all the more relevant as each passing week of Brexit back-and-forth erodes the Irish border. “It’s really odd the way things have come together,” he acknowledges. “The border is up for question again. There is a very real reality that The Troubles could come back in some sense.” The timing is essentially coincidental though, he notes. “I always wanted to write a book about The Troubles, about Belfast. My dad’s family had grown up in Ardoyne so I heard a lot of stories of what went on during The Troubles, what a terrifying, dangerous place it was in so many different ways and how you really had to improvise your own life to survive, psychologically.” Much like its predecessor, For the Good Times shows a particular fascination for the bonds between men, especially fathers and sons. Once again, Keenan can draw directly from his own experience. “Being around my dad and his brothers, I was so fascinated with these guys. I’m quite influenced by them. I looked up to the style they had; that kind of Perry Como style. My dad’s brothers were all very sharply-dressed, wore a lot of rings, a lot of gold chains, always had a suit jacket on,” he says, waving a heavily-banded hand before his own slick jacket, silver chain and neatly groomed beard. “I would sit around and just marvel at them. To me, it was like The Sopranos.” Like Tony Soprano’s clan or their swaggering Scorsese brethren, the gangsters of For the Good

January 2019

Times are seductive not just because of their proximity to power and their sense of style, but for the quality of their conversation. They are at their most enticing just sitting around, slinging words at one another with relentless, inventive energy. “My dad and most of the guys he knew were illiterate but their facility for language was absolutely amazing,” Keenan explains. “Nobody can tell a story like those guys, nobody can use language in ways that’ll have you absolutely marvelling, that’ll have you crying with laughter. The art of storytelling.”

“It seems now that magic is out in the open, like people have realised that there’s a battle for reality” David Keenan

Moving from Airdrie to Ardoyne once again gave Keenan the chance to explore “the working class obsession with patter”. One of the most damning things you can say about an Irishman or a Scot is that they have no chat. Banter takes on an almost religious importance. “These Irish and Scottish guys, they have such faith in language. They have such faith that if you can only use language and tell the story correctly, there’s some kind of revelation there at the end of it.” Just like the gruff Scottish tones of his first novel, For the Good Times’ rat-a-tat Irish vernacular isn’t just a piece of literary ventriloquism, but a vital part of the novel’s exploration of how we determine our own narrative. “It’s always about language,” Keenan attests with a mad smile and an almost zealous glint in his eye. “How you use language, how language can transform. The political aspects of language, how we define things, how you are defined. How we play with language and tell our own story, how we reclaim to language and make it our own. The way that the working class interact with language, the way that, when you’re in a war zone or under siege, you lay claim to your own language and tell your story using that.”

Set in a place of poets and killers, told in hallucinatory oral narratives that melt into one another, blurring fact and fiction together: in many ways, Keenan’s latest seems most at home in the realm of Magic Realism. Asked once why so much of this sort of writing seemed to come from South America, Gabriel García Márquez responded with a story about a truck pulling up outside a school in a small village in Colombia. Two men got out, claimed to be from the government, and proceeded to pack all the school’s furniture into the truck. It was only as they disappeared over the horizon that anyone noticed they had shown no ID or offered any explanation for what they were doing. In Colombia, Márquez explained, reality did not play by the same rules. Strange things happened so often that no one thought them strange anymore. “One of the inspirations for the book comes from a true story,” Keenan says. “We were back in Ardoyne visiting friends. My mum was a huge fan of Doctor Who and she was going past this comic shop and she saw this model of K-9 in the window, so her and my dad go into the shop and tell the guy at the counter they’re interested in buying it, and the guy is like ‘I’m really sorry, I need to close the shop. My wife’s been kidnapped by the IRA and I need to go pay them some

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ransom money’. And my mum was just like, ‘Cool, what time you opening tomorrow?’ and he was like, ‘Oh, nine o’clock as usual!’” Just as in Márquez’s Colombia, reality’s borders have begun to bend. “It was only when we were on the ferry out of Belfast, when we lost the proximity to it, that we all kind of clicked out of it. Like, how the fuck did we all think that was normal?” Many of the most famous works of Magic Realism were born, in part, from the colliding realities of post-colonialism. As one nation’s culture, its folklore and tradition, are assaulted by an invading force’s worldview, magical stories emerge from the conflict to harmonise the two. “That’s maybe what we’re talking about in terms of magic overwhelming all of us,” Keenan suggests. “Reality really is up for grabs because of the invention of the internet. It’s a whole new continent that we’re all battling to define.” Times were strange two years ago, and they’ve only got stranger. As we head into 2019, hoping to tell a better story than we did the one before, Keenan’s tale of blurred reality and banter will make for an excellent start. For the Good Times is out 24 Jan via Faber & Faber reversediorama.com

Coming Attractions Each year, before galleries head on their winter vacation, The Skinny asks what the Scottish art scene has coming up in 2019. Every year, the answers are surprising and exciting, and this is no exception

Words: Adam Benmakhlouf

efore the year was out, The Skinny checked in with Scotland’s many art spaces, galleries and workshops to figure out some idea of what’s coming up in 2019. So here’s the art calendar for 2019 as it stands at the time of writing. No doubt more announcements will be made over the course of the year, so keep up to date via our monthly art column in print and online. Glasgow The CCA had a tough 2018 after an unplanned closure in the wake of the fire at the art school in Glasgow. Starting off their year of new and experimental approaches to their gallery spaces, Katherine MacBride (9 Feb-24 Mar) will present a performance that speculates an alternative queer, decolonised, ecologically conscious and feminist Europe. Then, there’s the film work of Shadi Habib Allah who considers the dependencies and disparities of government welfare policies in Miami’s Liberty City neighbourhood. Working to create some overlap between the defined gallery slots, artist Emilia Beatriz “has been commissioned to make a new speculative fiction narrative based on oral histories from Scotland and Puerto Rico”, then for 16 weeks during the summer, the CCA pilot a programme of “non-stop” events, exhibitions and performances in the three downstairs gallery spaces. The participating artists will be announced early this year. Rounding off the year at CCA, there are further solo shows from prolific sculptor and multidisciplinary artist Grace Schwindt, and artist and filmmaker Basma Alsharif. Also directly affected by the fire in the Mackintosh Building, the Glasgow School of Art’s Reid Gallery reopens this month with some student-led design exhibitions. In February, there will be postponed group show ambi (named for the Punjabi term for what is known as Paisley pattern in Scotland), in which three invited artists and writers draw out new stories and artworks from the GSA textile archives. After the hijinks of degree show season, GSA Exhibitions celebrate the Art School Film Club’s consistent output of bespoke film posters to accompany weekly screenings since 2006, a selection of which will be shown later in the year (14-29 Sep). Market Gallery has some of its year already plotted, including a Night School event by the curator Linsey Young, who is hard at work on curating the Scottish presentation at the Venice Biennale this year. This event takes place at the end of January, full details TBC. In March, Market host an exchange exhibition by the curatorial collective Komplot. The curatorial collective, usually based in Brussels, give a platform to experimental and collaborative art.

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Photos by Doro Zinn

Street Level Photoworks has a packed year on and off-site with exciting exhibitions and projects from photographers and artists working with the medium. From 9 February, they showcase Arpita Shah’s Nalini, work which explores a specific diasporic experience as represented through three generations of women in her family whose histories span India and Africa before settling in the UK. This exhibition will also be shown in An Lanntair in Stornoway in October 2019. From 13 April to 23 June, Street Level work in collaboration with Stills in Edinburgh for their Ambit exhibition, before Doro Zinn presents the outcomes of her encounter with the Gorbals, an intimate portrait of the place and the people by the German-based photographer (29 Jun-8 Sep). As part of the same exchange programme, artist Robert Henderson presents an exhibition on Glasgow and Berlin, then there’s a focus on Scottish rural landscapes and communities in the photographs of Nicky Bird (Sep-Nov), before Scotland’s foremost documentary photographer of the 20th century, Oscar Marzaroli (1933-88), is given a retrospective. For Mary Mary in Glasgow, the year is already all planned out, and begins with the suggestive fabric sculptures of Gerda Scheepers (9 Feb-30 Mar), then the surreal and technically deft paintings of Emily Mae Smith (13 Apr-25 May), followed by painter Lisa Alvarado who engages non-Western concepts of abstraction in her large scale set piece paintings (1 Jun-20 Jul). The final two exhibitions bring the trompe l’oeil pencil drawings of Milano Chow (7 Sep-20 Oct) and Aleana Egan’s

evocative and often understated sculptural work (3 Nov-22 Dec). David Dale have some dates for the beginning of the year already set. They’re collaborating with the Lux archive, and will be tasking four early career artists with selecting some work to show alongside their own films, as well as potentially some readings and performances. These are planned to take place on 31 January, 7 February, 14 and 20 February. In Glasgow’s WASPS Studios, there will be exhibitions across their South Block and Briggait Gallery Spaces. In the Briggait, these include the nature-inspired sculptural and performance of Bibo Keeley (January), the formally elegant photographic-sculptural works of Angus Wolf (February), the experimental neon sculptural installations of Katrina Cowling (February), the colour field paintings of Eric Cruikshank (March), and the intuitively made colourful and sculptural drawn and painted works of Paul Keir (June). Platform in Glasgow’s East End has two exhibitions already on the roster for the year ahead. From 27 April to 25 May, they present Timefield – Ian Cameron, Kate Clayton, Frank McElhinney, Annie Peel and Lesley Wilson consider ageing, the passage of time and its effect on nature and the landscape across painting, photography and soundscape. Then, from 27 June to 3 August, Sogol Mabadi and Birthe Jorgensen build on their collaborative practice for Home Where Home Is Not, drawing on their identities as “New Scots”. 16 Nicholson Street will be showing the work

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of James St Findlay, whose films, drawings, writings, performance and sculptures slide back and forth between tender and intimate revelations and disturbing nightmares. Next, sculptor Temjai Cholsiri will be in residence then present an exhibition of work that considers balance, concentration and focus through the assemblage of art and non-art materials. The next part of the year is given over to supporting and showcasing the work of five 2018 graduates: Hayley Jane Dawson, Zolatrope, Josephine Lee, Helen Robinson and Holly Osborne. Glasgow-based curatorial collective Love Unlimited have big plans for their gallery space in the upcoming few months, though at this point aren’t ready to give confirmed details. However, they’re also looking forward to an off-site project at the flat of two of their members, possibly during Glasgow Open House. They’re planning on assembling a group of queer artists and performers that “work in/with fashion/costume”, and will combine a formal exhibition with performance events during or after the exhibition. Similarly, Transmission will release further details but so far have planned a series of events to open the year in February, before a themed international group show, their Members’ Show in June and July, a Scottish solo show in September and October and an international solo show in November and December. Also in the To Be Confirmed group, The Common Guild have made certain they will not host exhibitions at their current premises but instead will endeavour to put on a series of talks by artists, architects,

THE SKINNY

curators and other cultural practitioners through the year. Many Studios also has three projects already lined up for the year ahead. Dates are still to be confirmed, so keep a close eye on their website and social media for further details. In March 2019, artist Ayọ̀ Akínwándé takes part in a four-week residency in advance of his first solo UK exhibition. He works across media in order to “monologue socio-political realities in his environment” and, on his residence, will give particular attention to market trading, with the well-loved Glasgow market The Barras surrounding Many Studios. During the summer, Many Studios presents work by London-based artist Larry Achiampong, who “employs imagery, aural and visual archives, live performance and sound to explore ideas surrounding class, cross-cultural and post-digital identity.” As the last planned project of 2019, Many Studios partners with Content House in Kenya to host an exhibition of new work by eight Kenyan artists in October 2019. The project focuses on the experience of people in Turkana in Northern Kenya. Edinburgh Collective Gallery head into the the new year in their newly-refurbished gallery building on Calton Hill, and their first new show comes from artist Emmie McLuskey, as part of their Satellites Programme. Swedish artist Petra Bauer and SCOT-PEP (a sex-worker led organisation in Scotland) present Workers!, a new film resulting from their long-term collaboration and generated from feminist film practices (13 Apr - 30 Jun). From 26 July, artist James Richards presents a finely tuned six-channel sound work that combines material from the artist’s bank of found and recorded sound, works by other artists, murky late-night TV and archival research. In Edinburgh Sculpture Workshop, there will be a series of outcomes from the micro-residencies that begin this month. Residents include the performance artist and choreographer Ashanti Harris, as well as Chilean collagist and sculptor Carlos Navarrete, Jasper Coppes (who often works in large scale architectural interventions), and Dorian Braun, a sculptor who works in many ways with wood including by making musi-

cal instruments. The final resident confirmed so far is Leontios Toumpouris, who makes sculptures that reference historical objects. ESW’s DIY neighbour, Curfew is a front room gallery that has been raising Edinburgh’s grassroots art exhibition profile for over a year. So far, they’ve got one exhibition lined up by Glasgowbased sculptor Jack Cheetham. In Fruitmarket Gallery, the first new show of 2019 comes from African-American artist Senga Nengudi (16 Mar-26 May). She was a trailblazer in the avant-garde scenes of Los Angeles and New York in the 1960s and 1970s, and her work is characterised by a radical experimentation with material and form. The gallery then closes for refurbishment in June 2019. Fruitmarket will be involved with an off-site project during this time with artist Katie Paterson, who has created buckets and spades in the shape of world mountains that will tour the UK coastline. RSA New Contemporaries, the Royal Scottish Academy’s roundup of 2018 degree shows returns from 9 March to 3 April, and will showcase 64 graduates working across painting, sculpture, filmmaking, photography, printmaking, installation and architecture. In February, Talbot Rice Gallery presents Borderlines, a politically-charged group show that draws attention to ownership of natural resources, as well as legally-drawn borders and limits (23 Feb-4 May). Later, there’s “a new kind of student exhibition” that intends to draw connections and relationships between the art departments and the wider gamut of academic disciplines across the University of Edinburgh. From July-October, Hong Kong-based artist Samson Young presents an experiment into musical instrument-making. As the final project of the year, a group show – The Extended Mind – considers the cultural and technological means of “a new collective sense of self ”. Throughout the year, there are also five resident artists in Talbot Rice Gallery working across and with the University’s academic faculties, and they will present experimental outcomes throughout the year ahead. The National Galleries announced their full programme in November, and it’s a breathtaking schedule that includes artists and practices from across history, up until the contemporary. Some highlights include Cut and Paste: 400 Years of

Katherine MacBride

Collage, “the first survey exhibition of collage ever to take place anywhere in the world” (29 Jun-27 Oct). There’s also an ambitious retrospective of Portugese painter Paula Rego, whose figurative, atmospheric and often uncanny work draws into “contemporary feminist and political issues”. There are also two more episodes of NOW, “the dynamic three-year series of contemporary art exhibitions”, with the fifth centering on the changing, natural and spectacular installations and sculptures of Anya Gallaccio – a prominent figure of the Young British Artists, born in Paisley. Dundee The Cooper Gallery in Dundee start the year with Phil Collins’ Ceremony, a film that contextualises classical Communist thought within the social conditions of contemporary Britain (17 Jan-16 Feb). Then from 8 March, the Cooper hosts Anne-Marie Copestake for an exhibition, which includes the artist’s film, sculpture, writing and sound, ‘foregrounding the performativity and collaboration inherent within her practice.’ After the summer’s BA and MA degree shows, the winter exhibition is given to Jasmina Cibic, who explores the political rhetoric contained in art and architecture in her own film, sculpture, performance and installations. Dates and details

Phil Collins, Ceremony, 2017

for this final exhibition are still to be announced. For their 20th anniversary, Dundee Contemporary Arts are celebrating with an international programme of four exhibitions. Their new year of exhibitions begins with David Austen, whose exhibition Underworld will include new drawings, painting and film. (23 Mar-9 Jun) Come summer, LA and London-based artist Patrick Staff reworks a 19th century German play, continuing their practice of tackling “politicallycharged subject matter, blending both personal experiences with wider social issues… to question the authority of post-colonial power, its implications and its legacy.” For autumn, Barbadian artist – and recipient of the 2018/19 Margaret Tait Award – Alberta Whittle receives her first solo show in Dundee Contemporary Arts. Working across Scotland, Barbados and South Africa, Whittle’s performance, film and sculpture practice “is widely motivated by the desire to work collectively towards an idea of radical self-love”. The DCA year closes with a group show of Scottish, British and international Artists titled The Left Hand, centering around a groundbreaking sci-fi novel by well-respected author Ursula K Le Guin, “set on an icy planet called Winter, whose inhabitants shift and change gender throughout their lives”. In Generator Projects, they start the year with their Members’ Show (9 Feb-3 Mar). Next up, it’s Miriam Mallalieu and Daniel Twist, who both consider the sense of artworks in different ways (30 Mar-14 Apr). Generator is also known for giving its space over to members in a more substantial way than other artist-run spaces. Rachel McCreadie brings the year’s first takeover, who uses sculptural processes to generate a multisensory experience of repulsion and attraction through different materials, scents, silhouettes and textures in April 2019. They Had 4 Years is Generator’s annual showcasing of artists from around the Scottish degree shows of the previous year, and it returns from 25 May. Then, as the last confirmed show, there’s a takeover by Helen King, who combines artistic and architectural research and practices towards a “contemplation of the urban architectural environment” (22-30 Jun). Aberdeenshire Out of the main cities, the Scottish Sculpture Workshop are celebrating 40 years of making, as well as the 25th anniversary of their renowned foundry. There is the culmination of a long-term place-sensitive performance project in the Cairngorms National Park, which “explores and celebrates women’s+ relationships with montainous places”. They also launch their new courses this month for the year ahead, as well as more than 30 residencies throughout 2019. theskinny.co.uk/art

January 2019

ART

LE Y ST FE LI

Age of Empires It’s about time British and Scottish museums reckoned with their colonial histories. Here’s why

Interview: Katie Goh Illustration: Jacky Sheridan

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ou have our soul,” said the governor of Easter Island, Tarita Alarcón Rapu, last November, as she pleaded with the British Museum to return Hoa Hakananai’a, a moai statue taken by the British in 1869. The British Museum’s refusal to return Hoa Hakananai’a is hardly a unique case; museums up and down the UK are bursting with artefacts and artwork with dubious acquisition histories. Their desire to cling on to the plunder of the British Empire reinforces the fact that the UK is still choosing to benefit from its colonial past. Museums are not objective in the same way that history is not objective. History is told by the winners of battles, the conquerors of countries, the empires that subjugated masses of people. Similarly, museums get to choose their narratives. Exhibitions are carefully curated and objects are carefully chosen. When you walk through a museum you are walking through a micro-managed historical narrative, from the labels to the lighting to the gift shop to the artefacts behind glass. Alice Proctor noticed that she was being fed a very specific narrative at university. “I studied art history and I kept finding that I’d be in classes and no one would want to talk about colonialism, even though it was so obviously present,” she tells us. “No one really wanted to go there and I was surrounded by people who had never really spent any time thinking about imperialism and its legacies. So when we were going to museums and galleries, they just couldn’t see how present it was because they had been trained into this blindness towards it.”

“Glasgow wouldn’t be the shape it is without that blood money” Graham Campbell

In 2017, Proctor launched Uncomfortable Art Tours as a way to go off the beaten track and look for narratives that cultural institutions are either hiding or ignoring. The tours, led by Proctor, run at six sites in London: the National Gallery, National Portrait Gallery, British Museum, Victoria and Albert Museum, Tate Britain and the Queen’s House (National Maritime Museum). “I was very specific that I didn’t want to just do a ‘here’s all the stuff that was stolen’ tour,” she explains. “I wanted to talk about how people represent themselves and how that feeds into ideas of national identity and constructions of racialisation. When museums refuse to even engage in these kinds of conversations they’re just reinforcing they’re part of an out of date colonial power structure.” As well as Uncomfortable Art Tours, Proctor has launched an initiative called ‘display it as you stole it’ to pressure museums to display work with complete transparency. “If you have objects with contested histories and you have objects with links to imperialism and colonial cruelties, then you need to be honest about that and talk about that,” explains Proctor. She points to Hoa Hakananai’a at the British Museum as an example. “The gallery label for that doesn’t say anything about how the British got hold of it. All it says is it was donated to the museum by Queen Victoria.

Lifestyle

That’s not lying, but how did she get hold of it to donate it? I want to be able to make the transactions and timelines and movements of these objects a bit more visible.” In Scotland, cultural initiatives similar to ‘display it like you stole it’ are going on. Pressure is mounting on the Scottish government and museums to address Scotland’s links to colonialism and slavery that have been ignored for too long. Graham Campbell, an SNP councillor in Glasgow, is part of a museum committee with the Coalition for Racial Equality and Rights that have been campaigning over the last decade for Scotland to have a museum dedicated to the country’s links to slavery, colonialism and empire. Like the British Museum, and many other museums and galleries in England, Scotland has its fair share of artefacts with violent histories. “The museums in Glasgow are full of these artefacts; there are hundreds of spears from battles from Scottish soldiers who looted from the countries they were in because Scotland has such a military history,” explains Campbell. “And people don’t know what to do with them. Part of the problem is how do you display this without causing offense because, the fact is, somebody’s died and had stuff taken from them. The artefacts [in museums] are taken out of context and therefore the cultural interpretation of them is obviously outside the context of the cultures they’ve come from. “Obviously, museums should be giving stuff back,” he continues. “But really it’s about the stories. If having the artefacts is any use, you’ve got to have a story that tells the truth about where it came from.” Campbell points to public statues and the geography of areas like the Merchant City in Glasgow as another example of

where this transparency is needed. “I think we should tell the truth and the story of the artefacts on the street. So if you have a street sign that says Oswald Street, you should have a sign saying that Oswald was a slave owner.” Glasgow, a city that financially reaped the benefits of slavery and colonialism, is slowly beginning to come to terms with its troubled past. In September, the University of Glasgow announced a programme of “reparative justice” after a report found that significant donations made to the university had direct links to slavery. “There were 75 big donations that went into the Gilbert Scott building,” explains Campbell. “Of those large donations, 24 of them were directly linked to slavery. The value of them in today’s money is about 200 million pounds. And that’s just the big donations. The scholarships set up by the families that donated are still helping students, so this money is still working through the system. This isn’t an issue of the past.” So, how does Scotland, generally, come to terms with its past? Campbell emphasises the need for education reform. “A lot of people have said that they weren’t taught this in school and asked ‘why don’t we have it in the curriculum?’ So clearly that’s a national task for the Scottish government, to put the proper history of Scotland into the curriculum. It also requires history teachers to be correctly trained in how to raise these difficult subjects of colonialism, slavery and migration, and talk about them with children. “We’ve raised the issue of what reparative justice means,” says Campbell. “Glasgow University has been dealing with that and Edinburgh University has been grappling with how to deal with it. Reparation means you’ve got to repair the relationship; you’ve got to make amends. Sometimes that

INTERSECTIONS

means financial, sometimes that means restoring relationships between institutions. It might mean twinning universities or civic organisations like we do with Flag Up Scotland Jamaica.” A national museum, like Liverpool’s Museum of Slavery, is a necessary step for Scotland to address its history of slavery and colonialism. Campbell and the CRER are pushing for the Gallery of Modern Art to become a museum of slavery as the building was once William Cunninghame’s mansion. Cunninghame, Campbell explains, was “a major Jamaican plantation owner and slave driving mass murderer who laid out the streets around that area. Glasgow wouldn’t be the shape it is without that blood money.” While museums dedicated to ugly histories are required, pre-existing museums need to decolonise. “We’ve seen museums do the surface level diversity thing where they diversify their staff rooms, but they’re not actually diversifying their structures and they’re certainly not decolonising their structures,” says Proctor. “And museums need to start giving stuff back. Until they start doing that, we’re not going to see any changes. There are museums in the UK that haven’t even repatriated human remains in their collections and that’s atrocious. There’s no excuse for that.” Campbell agrees: “The process has to be recognition and awareness. We’re in the acknowledgement and awareness phase of the process, we then need to create institutions that respond to that acknowledgment and awareness. I don’t want a meaningless gesture. Apologies won’t change anything. What will change things is changing structures, institutions, and doing something proper for all those people who suffered and built the stuff that we’re enjoying now.”

THE SKINNY

School’s Out At the end of 2018, news broke that Scotland will be the first country in the world to embed LGBTI+ history in all school curriculums. We explore the impact of this historical reform

ike many a queer woman too young for The L Word but too old to have grown up amid semi-regular lesbian plot lines on Hollyoaks, I first really learned about lesbianism in 2013, from Blue is the Warmest Colour. Yes, this is painfully cringeworthy, but I’m far from an isolated case. In the dark days before Riverdale and pre-Killing Eve, representation of LGBTI+ folks in the media (or elsewhere) was near non-existent. Things may well be on the road to change now, but when I was younger misconceptions abounded. As I struggled with the guilt and self-hate I felt as a queer person, the world seemed pretty bleak. This was made considerably worse by the popular consensus that lesbians were little more than the barometer of poor fashion decisions, and bisexuality was just a drunken experiment for the male gaze. While I knew I was into girls, it also felt like something I could never be open about — at least until my days of polyester school shirts were finally behind me. It was only later, when I was older and in contact with queer people and spaces, that I was able to learn about LGBTI+ history and the achievements of the community to which I now proudly belong. Perhaps this is why I felt so overwhelmed in November when I learned that Scotland would be the first country in the world to introduce LGBTI+ education in schools, covering history and identity, while also making a concerted effort to combat homophobia and transphobia. Finally, queer kids will be growing up within an education system that centres their experience, rather than perpetuates their marginalisation. Moreover, the government’s decision was also a vital move to target the very real problem of LGBTI+ discrimination in schools. Although it’s been many years since Chris in my S1 Maths class called me a “weirdo lesbian,” life can still be a nightmare for LGBTI+ school pupils. At least this is what findings by Time For Inclusive Education (TIE), an advocacy group instrumental in bringing about the recent changes to Scottish education, would suggest. TIE’s research within Scottish schools underscores the necessity for measures to be taken to improve the situation for LGBTI+ students. The research found that nine out of ten LGBTI+ Scots experience homophobia at school, and 27% reported they had attempted suicide after being bullied. The investigation also found that there was little understanding in schools about prejudice against people with variations of sex characteristics and intersex bodies. These findings are not exclusive to TIE, and have been echoed by other groups and charities. As Cara Spence, Head of Programmes at the charity LGBT Youth Scotland, has written: “Young people have consistently told us that education is the area where they experience the most discrimination and LGBT young people continue to be bullied simply for being who they are. Importantly, evidence shows us that transgender young people are having the toughest time in school and teachers lack the confidence to support them effectively.” The fact that the Scottish government has acknowledged this problem and is actively looking for ways to improve the lives of LGBTI+ students is certainly laudable. The beauty of the plan for queer education is that it serves multifold purposes: LGBTI+ pupils discover more about their community, while cis-het students learn more about why transphobia and homophobia are wrong. Teachers are encouraged to improve their knowledge of LGBTI+ issues and will be given the tools to actively and effectively support their students. But why is this inclusive education just limited to Scotland? It’s not the

January 2019

Interview: Megan Wallace Illustration: Susie Purvis

case that LGBTI+ people stop existing once you cross the border, so why should disparities in school curriculums suggest this?

“Learning LGBTI+ history would send a signal that says that the oppression of people based on their sexuality is categorically wrong” Holly

Looking at the UK more broadly, research by Stonewall shows that 45% of lesbian, gay and bi students have been bullied for their sexual orientation, 64% of young trans people have been bullied at school, and 80% of secondary school teachers have not received specific training on tackling homophobia in schools. There are clearly issues in UK schools with LGBTI+ discrimination, to such an extent that substantial educational reform should be rolled out everywhere. Let’s hope that Scotland will be the first of many governments to implement inclusive education reforms. In order to hear more about what queer individuals from other parts of the UK think about the prospect of educational reform, I reached out to members of the LGBTI+ community. Holly, a 23-year-old bisexual woman from Bath, is behind the idea, highlighting the important role education plays in stamping out discrimination. “I think if LGBT history/literature/sex ed was taught in school it would be highly validating [and] a way for the school – which, let’s face it, may as well be the entirety of society at that age – [to recognise] that queer, trans, and non-binary people have as much right as anyone else to enjoy sex or make art. Learning the history would send a signal that says that the oppression of people based on their sexuality is categorically wrong.” Tom, a queer, non-binary person living in London is more reticent. “Of course, but it would depend how they taught it. I remember in school we studied In Memoriam by [English poet, Alfred] Tennyson and it was suggested it might actually be a love poem for his ‘friend’ Hallam but it was all very much an ‘isn’t that naughty,’ ‘hush hush’ kind of thing.” Tom is right to say that caution must be exercised — but this is true in both the Scottish and wider UK contexts. LGBTI+ education in schools must not erase or silence more marginalised members of the queer community, and it must also be linked to creating a more representative curriculum in other ways. Namely, an accurate history of LGBTI+ oppression must factor in the UK’s imperial past, and the British Empire’s role in criminalising homosexuality across its colonies. Any movement towards a more “inclusive” education must be intersectional, and ready to delve into the nuances of identity and deconstruct multifaceted discrimination. Then, finally, the burden will be taken off specific marginalised groups to fight their own battles, and a wider proportion of the public will have the knowledge and tools to tackle inequality.

Don’t Stop the Music This month’s columnist explores his love for headphones as an armour against street harassment

t sounds clichéd to say that I love music – anyone with a Tinder anthem and a fake-deep lyric quote can wax lyrical about the power of melody – but for me the statement needs to be more specific. It isn’t music that I love, it’s my headphones. Growing up as a visibly queer kid on a council estate meant regular street harassment, and the slurs hurled at me all chipped away at an armour I was trying desperately to build. Headphones became a way to muffle a world that hated the idea of my existence; even the shit pairs created a tiny, crackly barrier between me and the bigoted conversations I would hear on public transport, or the cries of “faggot” that followed me as I left the corner shop. They were the first protection I knew, and to this day nothing spikes my anxiety like a lost pair. Now I lean on them even more heavily because I’ve learned what happens when I respond to hatred. In the past I’ve been drunk and emboldened, frustrated and ready to take down anyone who tried to fuck with me. Often I

INTERSECTIONS

Words: Jake Hall

can diffuse situations, but in the past I’ve also just escalated the chaos. I’ve been threatened, spat at and sexually assaulted for daring to address the discrimination that queer people are merely expected to accept. On the increasingly regular days I wear make-up, I queue up the loudest, most furious songs on my phone. I blast them as I walk rapidly through the streets, my semi-beat face lowered slightly to avoid eye contact with potential aggressors. It’s a feeling that minorities worldwide know well – the fear that one hesitant gaze could result in immediate violence. It’s one which disproportionately plagues people of colour, trans and gender non-conforming people and women, whose catcallers can quickly turn nasty. I might be louder and more unapologetically queer than ever, but my confidence still crumbles quickly when I’m forced to walk through the world without music. My headphones give me more than just music: they muffle bigotry, drown out my fears and allow me to face reality with a sheath of musical armour.

Lifestyle

THE SKINNY

RE V IE W

Character Building We speak to Ellery Roberts and Ebony Hoorn, aka Lost Under Heaven, who three years ago forecast global turbulence. Now, on their second LP Love Hates What You Become, they reckon with it

Interview: Joe Goggins

ou could say, ‘I told you so, apocalypse came,’ but where does that get you?” Lost Under Heaven saw it coming. In 2016, Ellery Roberts and Ebony Hoorn released Spiritual Songs for Lovers to Sing, a scorchedearth treatise on the information age. It was a nervy affair, fraught with drama, that musically ran the gamut from anthemic tension (I&I, Unites) to thumping, end-of-days Auto-Tune ($ORO). Brexit hadn’t happened yet. The world was still holding its collective breath on Donald Trump. And yet here were these two soothsayers in Amsterdam, offering up the sort of deeply unflattering reflection of the world that none of us wanted to reckon with until we had to. “We were met with this blank-faced indifference,” chuckles Roberts grimly. He’s sitting, alongside Hoorn, in the back corner of a sleek, modern Manchester bar. It seems, somehow, wrong; from the start, Lost Under Heaven have specialised in turning over the stone and seeing what crawls out. Roberts especially remains a thoroughly enigmatic figure, the man who had the world at his feet with WU LYF, only to decide that it wasn’t for him. He disappeared afterwards. “We were playing across Europe, and it was right around the time of the Occupy movement – all that cultural dialogue – and we thought the songs were really going to connect. But they didn’t.” The pair had to regroup and think about what it was they were trying to say – politically, socially, soulfully. Roberts is from Manchester, Hoorn from Amsterdam, and they’d lived in the Dutch capital idealistically – “happily in line with our own lifestyle choices” – until, almost as if to herald the beginning of a new era of the band, reality came calling. “Amsterdam’s an expensive place to live, for a start,” says Roberts, as he begins to elucidate their relocation to Manchester. “And it doesn’t have the same culture of music as here. It’s hard to find people to play with. We lived there for six years and never really broke out of this one little art scene.”

“We were playing across Europe, around the time of the Occupy movement, and we thought the songs were really going to connect. But they didn’t” Ellery Roberts

Manchester offered collaborators and inspiration, but the day-to-day reality post-Brexit was bleak. “We moved back in October of 2016, and straight away it felt strange,” explains Hoorn. “There was a sense that Britain, in general, had lost

January 2019

Photo: Ebony Hoorn

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sight of an optimistic future. The tremors of what was to come on our first record had kind of been realised, but nobody knew what to do about it.” The pair could’ve pursued the same ideas as on their debut album, vindicated now that circumstances were as grim as they’d suggested, but they didn’t see the value in it. Instead, their sophomore LP, Love Hates What You Become is a reflection on the human condition, an album that places importance on compassion and empathy first and everything else second. “After WU LYF, I separated myself culturally,” Roberts explains. “And then, after that, I was probably living in self-imposed naivety. I came back with these protest songs, and they didn’t seem to catch the ears of the people – they didn’t digest it. We put that sense of idealism to motivate people aside. This record is much more honest.” By their own admission, Spiritual Songs for Lovers to Sing had begun as a sketch of a Roberts’ solo LP; Hoorn’s musical contributions mainly involved backing vocals, as she continued to work towards her art degree. Now, on Love Hates What You Become, she’s front and centre, not just taking the lead on the likes of Bunny’s Blues but actually crafting her own character within the lyrics. “This time, one of us would have an idea and we’d run with it from there between us,” says Hoorn, who learned to play bass as the record came together. “It was a real collaboration, with

both of us contributing ideas.” “What I really missed after WU LYF was human connection,” adds Roberts. “I didn’t want to have to make another album with a computer.” Accordingly, once the tracks were ready, the duo decamped to Los Angeles to record them with John Congleton (St. Vincent, Swans), a man who – on current form – might well be the sharpest producer on the planet. Not that Roberts was especially enamoured with the Californian excursion.“I thought we were going to Texas,” he laments. “But John has just moved to LA. He’s turned 40 and wanted to get out of his comfort zone... so I suppose we followed him out of it.” Congleton is a straight-talker and left the band under no illusion about what they were in for. “He’s like Steve Albini,” says Hoorn. “The albums aren’t ‘produced by’, they’re ‘recorded by’, and he’s more of an engineer than anything else.” It seems like an improbable match for a band so single-minded about what it is they’re trying to achieve, and sure enough Roberts confirms that heads were butted as Love Hates What You Become came together. “There were a couple of times where he played that card,” he recalls. “You know, a couple of times where he said, ‘I know best because I’m the big producer, and who are you?’ and I guess there were moments where I wish I’d pushed back against him, but maybe I don’t know what’s best for me at

MUSIC

times. John’s thing was mainly, ‘can you be present in the moment?’” Thor Harris of Swans lent his percussive talents to Love Hates What You Become, and the band have secured a touring drummer to round out the current line-up to a three-piece; after feeling as if the live shows behind Spiritual Songs for Lovers to Sing hadn’t quite done them justice, the new iteration of Lost Under Heaven is already well up and running, with a slew of UK shows under their belt last year. More than that, though, they’re putting out an album that’s an accurate reflection of their worldview, one that looks for the positives in an ever more turbulent world. “We made this album in 2017, so it’s reflective of the environment in which it was conceived,” explains Roberts. “It’s interesting, now, how everybody seems to be really right-on. Brexit’s happening, and everything’s reactive. It seems like everybody’s fighting the good fight, which isn’t how it felt a year or two ago when we were developing this music. It’s like we’ve been developing a character all along, and now we’re putting it out into the world. That’s encapsulated in the title – who have we become?” Love Hates What You Become is released on 18 Jan via Mute Records Lost Under Heaven play Nice ‘n’ Sleazy, Glasgow, 27 Jan lostunderheaven.com

Review

First Attempts We speak to Field Music’s Peter Brewis and Admiral Fallow’s Sarah Hayes – collectively known as You Tell Me – about meeting at a Kate Bush celebration, tour plans and recording their self-titled debut album

Interview: Fraser MacIntyre

record) to write lyrics for the first time. Brewis, “in awe” of what Hayes had sent over — I’m still not sure I believe those were first attempts” — invited her to Field Music’s former studio in Sunderland, which they shared at the time with long-time friends The Futureheads, to discuss recording the songs while she was passing through the north of England. “The original idea was for them to be released under Sarah’s name, and I would produce,” Brewis recalls, “but after a few hours of working and talking, it became apparent that we’d started a band instead.” Their debut album, out on 11 January via Memphis Industries, was recorded very quickly – surprising, considering how dynamic and fleshed out the arrangements are. “We only had a limited amount of time in the studio,” Brewis nods, “and tried to let things go after one or two takes… very different to when I work with my brother.” The two Brewis’ – Peter and David – have a formidable discography and a Mercury Prize nomination (for 2012’s Plumb) behind them, while Hayes herself was in the running for Composer of the Year at the 2015 Scots Trad Music Awards.

The presence of the two members’ other projects (and the influence of several artists both admire: Randy Newman, Fleetwood Mac and Sufjan Stevens all feature in the duo’s recent Spotify playlist, What We Like) can be felt on You Tell Me, but only subtly. A thoughtful Brewis describes how his writing process changed for these songs: “The lyrics are more open. I was quite intimated by what Sarah had written.” Foreign Parts and Clarion Call showcase the theatrical grandeur the duo can joyously conjure up with ease; Hayes’ stirring vocals are beautifully accompanied on Kabuki and Jouska by strings as comforting as a generous stretch of time spent in a cat (or dog) cafe. Made obvious from the beginning of our conversation is how respectful the creative dynamic between the two is: both formidable multi-instrumentalists are happy to elaborate on what the other has brought to the table. While the recording process was “a little difficult” for Hayes at times — “the songs are quite personal” — the two crack jokes and smile warmly as they recount how relaxed their collaboration has been, even in the studio, where Brewis admitted to being a little less fearful than usual of

ST.MARTiiNS @ King Tut’s, Glasgow, 11 Jan From 3-19 January, King Tut’s New Year’s Revolution returns. As it has done for the past few years, the St Vincent Street venue jumps head first into the new year with a host of local bands they think you should have your eye on in 2019. Tonight, ST.MARTiiNS, one of our favourite bands to come out of Dundee in recent times, are bringing their woozy, lo-fi pop to Tut’s and you should join them. Vive la révolution!

ST.MARTiiNS

Review

Heir of the Cursed

Photo: Euan Robertson

Do Not Miss Heir of the Cursed @ The Hug & Pint, Glasgow, 18 Jan Having just kicked off the night before, this year’s Celtic Connections is (as ever) full to bursting, and while events of all shapes and sizes are taking place across the city tonight, it’s Heir of the Cursed – aka Beldina Odenyo Onassis – at The Hug & Pint that’s our top pick. Originally from Kenya, Glasgow-based Onassis was inspired at a young age by the godmother of rock’n’roll, Sister Rosetta Tharpe, to learn the electric guitar and we’re bloody overjoyed that she did. With a sound so effortless, comforting and warm, this show is not to be missed.

Underachievers Club @ The Glad Cafe, Glasgow, 19 Jan To coincide with this year’s Celtic Connections, Glasgow’s newest party planners on the block – Siobhain Ma (Happy Spendy, Sister Collective) and Craig Angus (Savage Mansion) – are launching Underachievers Club. For their first outing, they’ve teamed up with CC and Lost Map for one flip of an all-dayer featuring The Spook School, Rozi Plain, Callum Easter, Mush and Hairband as well as the Underachievers’ bands themselves, Savage Mansion and Happy Spendy. Definitely looking forward to more Underachievers Club parties as 2019 continues.

MUSIC

Savage Mansion

Peter Brewis

After initially testing the waters with a couple of stripped-back duo performances, Brewis explains that You Tell Me now perform as a “four-piece rock band. The strings and the brass are gone.” Hayes laughs, and mentions that a second record is very much on the cards after the UK tour they have scheduled for March is finished. Before that, the two will spend a-weekand-a-half in January singing and signing in record stores across the UK as a duo. Hayes and Brewis, working together, have a real gift for balancing darkness and light. A You Tell Me song is never simply ‘happy’ or ‘sad’, it alternates, and thus arguably paints a sincerer picture. ‘Heard you were in the hospital and might not be the same’, Hayes sings on Springburn’s devastating opening line. The unfolding instrumental is appropriately coloured by sorrow, but also playfulness, a little joy and a sense of yearning. Sometimes simultaneously, sometimes all in quick succession. Beautiful, intelligent songwriting? You tell me. You Tell Me is released on 11 Jan via Memphis Industries You Tell Me play Monorail, Glasgow, 18 Jan; Assai Records, Edinburgh & Dundee, 19 Jan youtellme.co

Callum Easter

Photo: Beth Chalmers

“I

was in the house band. Peter was a visiting artiste.” Sarah Hayes, known to most as a founding member of Glasgow’s Admiral Fallow, is describing (with relish) her first encounter with Field Music’s Peter Brewis at an Emma Pollock-curated gig in September 2016. The two musicians – strangers then, collaborators and easy companions now – both performed as part of Running Up That Hill: A Celebration of Kate Bush in Aberdeen, alongside Kathryn Joseph, Kathryn Williams and other esteemed contemporaries (some of whom were not named Kathryn). Brewis – a Sunderland A.F.C. scarf wrapped tightly around his neck throughout our conversation – chuckles, not particularly comfortable being referred to with such gravitas, and takes up the story: “We kept in touch a little after the gig, but I didn’t see Sarah for another four months.” After re-connecting during Celtic Connections at the beginning of 2017, Hayes sent Brewis rough demos of a few songs that had begun to take shape while she attempted (and succeeded, with tender and articulate observations and confessions like ‘I replied a beat too late’ deployed frequently throughout You Tell Me’s self-titled

“After a few hours of working and talking it became apparent that we’d started a band”

Burns&Beyond: Lost Map – The Howlin’ Fling @ Secret Location, Edinburgh, 26 Jan As part of this year’s Burns&Beyond Cultural Trail, be sure to go in search of Lost Map Records as they transform an as-yet-undisclosed location in order to transport you to the Isle of Eigg, where their biennial Howlin’ Fling festival takes place. Once there, you’ll join Lost Map label boss Johnny Lynch for an evening of Highland hospitality, as he performs music under his cosmic Pictish Trail moniker alongside spoken word and saxophone from Alabaster dePlume and lo-fi rhythm and blues from Callum Easter, the latest addition to the label.

THE SKINNY

Photo: John Mackie

You Tell Me

Photo: Beth Chalmers

“throwing in the wrong kind of percussion.” As a result, You Tell Me is refreshingly bold and bright. Reverb is, to an extent, a notable and welcome absence. Though Brewis states that this is partially due to the fact that he’s “never got the hang of using it”, hearing everything so crisply and clearly only adds to the charming and captivating openness of the record.

The Circle of Life Ahead of releasing their debut EP, Whiplash, Bossy Love’s John Baillie Jnr tells us all about the Glasgow duo’s favourite era of pop music and all the sampling goodness that came with it

n the early noughties sampling got way easier. ProTools HD and workstation keyboards, like the Korg Triton and Roland Fantom, were in full swing and meant producers could bash out beats manually. This gave a natural feel that’s difficult to achieve with drum machines, and now with a dizzyingly large library of sounds that were instantly accessible, all but perfect, and crisp straight out of the box. Where you could fire in a string section in seconds and it wouldn’t sound fucked (well, maybe a wee bit) – like an early sonic CGI. People still bought over-priced CDs and the labels just threw money around, and lucky for us some of it ended up funding some of the tightest pop music ever. The effect of this technological and economic climate seems to be an era of pop music that feels ‘quick’; where experimentation and concept could be realised into an arrangement faster than ever, allowing the creative signal to come through more pure, and where traditional R’n’B or pop songwriters could have their songs framed in seemingly infinite possibilities. This lucky sweet spot of traditional hip-hop studio techniques and pop songwriting seemed to unlock a sudden tsunami of all-time bangers.

the story of a woman losing her shit and smashing up her man’s car because she caught him in bed with another woman. In The-Dream remix he adds a bunch of verses, taking on the role of the man who got caught, throwing the entire story into doubt, and general hilarity ensues. Talking about how the car will be getting fixed for the next two weeks and ‘by then you won’t even remember why you’re mad at me’, he takes her for a ride in the now windowless car (‘are you crying or are those tears from the wind?’), and eventually admits that it’s fine because he was leaving anyway.

Words: John Baillie Jnr

Blu Cantrell ft. Sean Paul Breathe [Arista, 2003] Charles Aznavour was known as the French Frank Sinatra. If you take his 1966 song Parce Que Tu Crois (‘Because You Believe’), loop the first two bars, slow it wayyyy down, add some sub-bass, a winey mono lead synth and a sparse drum beat, you have the framework for What’s the Difference, Eminem and Dre’s touching little love song to each other on the album 2001. The instrumental would later be reused for Blu Cantrell and Sean Paul’s banger Breathe (which Bossy Love released a free cover of last month – hiya!). Thus completing the sampling circle of life.

Rock by Treacherous Three, but mashes them together so meticulously. Mariah moulds it into such a perfectly satisfying pop song that you’d be forgiven for not realising they were samples at all. Missy Elliott Lick Shots [Elektra Records, 2001] As time goes on, it becomes clearer that Missy Elliott was (and is) in a league of her own creatively. She’s a phenomenal writer and producer in her own right, but the synergetic relationship with Timbaland is when shit really got real. Lick Shots is a deep cut from the Miss E... So Addictive album; it samples a 70s Israeli song, layering up arpeggiated synths, anchored down by Timbo’s usual broken, knocking beats. It’s 18 years old and yet I heard the instrumental being DJed by Modeselektor in a club relatively recently, and it went down an absolute storm.

Mariah Carey Honey [Columbia, 1997] Mariah’s pitch is so precise that her over-the-top runs always weave in and out of a track effortlessly – she’s scary good. Honey samples Hey DJ by The World’s Famous Supreme Team and The Body

Whiplash is self-released on 18 Jan Bossy Love play Mac Arts, Galashiels, 1 Feb; Stereo, Glasgow, 2 Feb facebook.com/bossylovemusic

GRSE: Winter Showcase! @ The Wee Red Bar, Edinburgh, 26 Jan After a top year for Girls Rock School Edinburgh, which saw them win The Social Award at the Creative Edinburgh Awards, join them tonight for a winter showcase at ECA's Wee Red Bar as they invite you to "take off yer bras and get ready to smash the patriarchy". At the time of sending these lovely pages to print it was brought to our attention that the mighty Fistymuffs are set to headline the showcase, so it's sure to be not only a great way to stick your finger up at the patriarchy, but also at the grimmest of never-ending months.

January 2019

Andrew Wasylyk

The Van T's

Photo: Martin Ross

Andrew Wasylyk @ Gardyne Theatre, Dundee, 31 Jan Inspired by a residency to create new music for a restored 19th century Erard Grecian harp by Arbroath arts centre and historic house Hospitalfield, multi-instrumentalist (and Idlewild bassist) Andrew Mitchell, aka Andrew Wasylyk, has created his third full-length album, The Paralian, which comes out on 1 February. In celebration, he’s out on the road for a few dates and tonight plays Dundee’s Gardyne Theatre. He also plays Voodoo Rooms, Edinburgh, 30 Jan and The Blue Arrow, Glasgow, 1 Feb.

Photo: Donald Milne

Photo: Deborah Mullen

Fistymuffs

Bossy Love

The Van T’s @ The Mash House, Edinburgh, 31 Jan As 2019’s UK-wide Independent Venue Week hits its midpoint (it’s running from 28 Jan-3 Feb this year), with indie venues all over Scotland getting involved, from Krakatoa in Aberdeen to The Bungalow Bar in Paisley, Ironworks in Inverness, Mac Arts in Galashiels and Beat Generator Live! in Dundee as well as multiple Glasgow and Edinburgh venues. Tonight one such Edinburgh venue, The Mash House, is celebrating its independence with a raucous show from grungy fourpiece The Van T’s, whose latest single Suis-Je Cool? is tres bon indeed.

MUSIC

Olive Grove presents The Archipelago EPs @ The Hug & Pint, 2 Feb As a new year gets well under way and January very quickly, without anyone really even noticing, turns into February, Olive Grove Records are here to start as they mean to go on with an ambitious new project for 2019. The Archipelago EPs will see the Glasgow label release a series of split EPs throughout the year from relatively new up-and-coming artists; as part of Celtic Connections, a whole bunch of those artists – Chrissy Barnacle, Pocket Knife, Moonsoup, Circle Meets Dot and Jarred Celosse – play The Hug & Pint to help launch the project.

Moonsoup

Review

Photo: Louise Connor

Jazmine Sullivan Bust Your Windows (remix ft. The-Dream) [J, Puppy Love, Arista, 2008] The-Dream’s remix of this became Bossy Love’s blueprint for how we remix songs, almost making a sequel and adding to the story. The original tells

Photo: Beth Chalmers

Brandy What About Us? [Atlantic, 2002] Destiny’s Child’s Say My Name starts with the sneaky announcement ‘Darkchild 99’ – the man responsible for much of the golden era of 00s R’n’B pop sound. What About Us? was released at the peak of his success; his creative breaks were off and the labels let him do whatever the hell he wanted. It’s an absolute wobbler and shouldn’t make sense. Heavy but unquantised, it gives me hope to know something this quirky was a radio hit. Brandy sits in the middle calling out false promises of her relationship, her rich vocal holding it all together. Her eagerness (even now) to tread into weird sonic territories makes her criminally overlooked.

Album of the Month The Twilight Sad

It Won/t Be Like This All The Time [Rock Action, 18 Jan]

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The last time The Twilight Sad released a record, there was a sense of now-or-never about it. Nobody Wants to Be Here and Nobody Wants to Leave broiled with urgency and tension. James Graham alternately growled and yelped his way through its ten tracks, and you got the sense he was a man with his back to the wall, who knew time was running out to make his masterpiece. Nobody Wants to Be Here was exactly that; moody, magnificent, and above all, honest. The question is, once you’ve made your magnum opus, what next? The Twilight Sad spent much of the Nobody Wants to Be Here era on the road, around the world, with The Cure, as if to ratchet up the stakes somehow – once their hero es, Robert Smith and co are now their contemporaries. If it feels as if It Won/t Be Like This All The Time has been a long time coming, that’s surely down in part to the fact that the band began trailing it as long ago as June. Far from settling themselves back in quietly, first single I/m Not Here [Missing Face] is almost violent in its intent; Andy MacFarlane’s reverb-laden guitar howls out over thumping percussion, and immediately it’s

Steve Mason

About the Light [Double Six, 18 Jan]

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About the Light is the fourth solo album from The Beta Band’s founding member Steve Mason. Fuelled with polyphonic pop anthems, like the title track to a film, the album opens with veritable earworm America is Your Boyfriend. The crashing cymbals and big band sound are reminiscent of The Flaming Lips, marching into your consciousness like a team of majorettes. Tracks such as Rocket and Don’t Know Where burn more slowly, bubbling along nicely with distant synth-like guitar capturing the sounds of a city at night, or as if we are floating in space. The album is an experimentation in sound with a range of musical influences from jazz, pop and blues, gently illuminating without being heavy-handed or didactic. Its lyrics are simple and repetitive, giving it all the qualities of a sermon, with Mason the sardonic preacher man. About the Light is an instant classic that merges different genres in a manner that is surprisingly cohesive. The only downside to the album is that it is so easy to listen to, we are carried almost unaware to The End, the final track in a collection of well thought out and well curated tunes. [Amy Kenyon] Listen to: America is Your Boyfriend, Rocket

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clear that complacency was never on the agenda. There’s clear progression in the Sad sound, with the record tipping its hat to krautrock here and there. Behind the pointed belligerence of the guitar, there’s quiet, undulating beds of synth, from the soft menace of VTr to the tentative optimism of Videograms. Opener [10 Good Reasons for Modern Drugs] is panoramic, while Let/s Get Lost simmers in uptempo fashion. Graham is as heart-on-sleeve as ever, and on the subtly reflective Sunday Day13, he anxiously asks ‘would you throw me out into the cold?’, and his brogue has never sounded richer. There are still moments of classic Sad drama - the chaos of the guitars on Auge/_Maschine is a case in point - and this is still the band we fell in love with over a decade ago: confessional, honest, enthralling. It’s just that this time out they’re sleeker and sharper than before. The Twilight Sad won’t be like this all the time. If they were, though, that wouldn’t be a problem. [Joe Goggins] Listen to: Shooting Dennis Hopper Shooting, Auge_Maschine, Videograms

You Tell Me

Sister John

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You Tell Me [Memphis Industries, 11 Jan]

Sister John [Last Night from Glasgow, 25 Jan]

When Field Music’s Peter Brewis watched Sarah Hayes – solo artist and member of Admiral Fallow – perform This Woman’s Work at a gig celebrating the music of Kate Bush, it kick-started events that would see them form You Tell Me. Their self-titled debut album not only has a running theme of communication but also sees the pair conversing musically; it bears the hallmarks of Brewis’ and Hayes’ separate projects but fuses these aspects together into a seamless blend. Sweeping orchestration, smatterings of airy woodwind and complex motifs sometimes carrying a funk-infused edge synergise with acoustic guitar and bare piano; Brewis and Hayes’ effortless harmonies become a cipher for how easily they combine forces. Get Out of the Room builds on its minimalist beginnings with echoing drums and brass, while Water Cooler is a glam stomper with intriguing melodic intricacies that never overshadow its core pop sensibilities. You Tell Me is probably at its height when it leans further towards these pacey, pop-infused moments. However, the handful of tracks that stray into ballad territory are still often striking, not simply due to the musical intricacies that lie within them but because Hayes’ vocals evoke strength and tenderness in equal measure, giving them some real emotional weight. Are Brewis and Hayes an inspired match? You don’t need us to tell you. [Eugenie Johnson] Listen to: Get Out of the Room, Water Cooler

Review

The Twilight Sad

Glasgow quartet Sister John’s Returned from Sea was one of the minor (and minor key) triumphs of 2017, a gorgeous sparse, vocals-and-strings record, so it’s great to have them back so soon with their self-titled sophomore release which sees them pushing doors with a new confidence. From the rich distorted shoogle of opener Eight Years to the glossy fiddle and harmonies of Waiting for the Sun, it’s the lush layered vocals throughout that are a real highlight. Lead singer Amanda McKeown lends a real tenderness to Airport’s refrain of ‘with all my

Bossy Love

Whiplash EP [Self-released, 18 Jan]

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After steadily building their fan base through slow-burning singles and strong festival appearances, Glasgow-based duo Bossy Love sound confident on their debut EP, Whiplash. Their approach to pop is fun and frenetic, twisting 90s R’n’B and noughties maximalist production. The band’s craft, thankfully, stands up on its own. John Baillie Jnr colourfully mixes live and programmed drums on Up All Over Me, as fizzing synth leads dart in and out with suprising shifts in tone and melody, while Amandah Wilkinson’s melody lines act as the anchor, offering sleek,

RECORDS

Photo: Kat Gollock

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loving I’ll be there before the dawn’, while the strutting I’m the One swaggers like Transformerera Lou Reed. For a band who have previously specialised in intimate gestures, it’s an unquestionably fun exercise in self-aggrandisement and a sign of the group’s blossoming songwriting abilities that they manage to pull it off in such an appealing fashion. Tracks like Lost and Won are more typical of their rootsy origins, with Jonathan Lilley’s mournful slide guitar brushing up against dramatic strings. In fact, across all 11 tracks, what comes across is a keen sense of craft, channelling the timeless work of Dylan, Cohen and Lou Reed into their own songs. You’d be a fool to sleep on Sister John. [Max Sefton] Listen to: I’m the One, Airport

charismatic verses and a ballsy singalong chorus. Whiplash is unabashedly optimistic and feel-good, but the individual songs frequently feel stitched together. The title track is a prime example, with chanted group vocals careening awkwardly into sung sections. No Control aims for dancefloor catharthis, but the bleating, high-gloss presentation grates more than it satisfies. Wilkinson’s simple chorus flits around a couple of notes in her higher register, which comes off as trashy rather than classy. There’s nothing at all wrong with trashy. Pop music was built on trashy, and with a few tweaks Bossy Love’s sound will be the refined, glorious take on trashy we’ve all been waiting for. Until then, their debut EP offers a lot of promise. [Stephen Butchard] Listen to: Up All Over Me

THE SKINNY

Remind Me Tomorrow [Jagjaguwar, 18 Jan]

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Veering away from the guitar-driven sad indie rock anthems that permeated her previous records, on Remind Me Tomorrow Sharon Van Etten experiments with more electronic sounds. Instead of songs that focus on themes of heartbreak and despair, here they are more upbeat and reflective, detailing her newfound contentment. Van Etten has a knack for crafting mood, and her lyrical scene-setting often comes in the simplest but most effective form. ‘We held hands / We held hands as we parted / We knocked knees / We knocked knees as it started,’ she sings on opener I Told You Everything, recounting the early stages of falling in love.. No One’s Easy to Love is almost Beach House-esque in the dreaminess of its synths, and

Blood Red Shoes Get Tragic [Jazz Life, 25 Jan]

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Brighton’s Blood Red Shoes make their longawaited return with their fifth studio album Get Tragic, the story of which is long and complex. Both Stephen Ansell (drums and vocals) and Laura-Mary Carter (guitar, vocals, and keys) have

marks the beginning of the album’s explorations into different sounds early on. The album’s closing trio, however, best encapsulates this very new-sounding Sharon Van Etten; travelling through the scuzzy, pulsing conclusion of You Shadow, to the psychedelic, reverb-heavy chorus of Hands and back to the dreamy soundscapes briefly explored earlier, on Stay. There’s a running theme throughout of looking back on old memories and an old self, accompanied by this idea of putting the past behind you and moving forward. Seventeen plays out like a letter of wisdom to her teenage self (‘I see you’re so uncomfortably alone / I wish I could show you how much you have grown’), while lead single Comeback Kid is a real shedding of old skin moment. Many Sharon Van Etten fans may be disappointed by the lack of sadness and darkness on Remind Me Tomorrow, and while there are still elements of both in the album’s undertones, there’s more of a hopefulness and sense of promise that suits her just as well. [Nadia Younes]

spoken openly about the obstacles and trials that led to them creating this fearless, invigorating and uniquely righteous ode to overcoming the difficulties of modern life. While aspects of the album meet the wondrously balanced rock-duo formula that launched Blood Red Shoes into the hearts and minds of many on 2008’s Box of Secrets, this album is definitely something different. Tracks such as the electrifying single Mexican Dress, a thrilling critique of rampant and desperate narcissism pervading our society highlight the

Deerhunter

TOY

Maggie Rogers

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Why Hasn’t Everything Already Disappeared? [4AD, 18 Jan] Deerhunter are a mark of consistency in a turbulent world, having released a string of critically acclaimed albums over the past 15 years. Always centered around Bradford Cox’s cryptic lyrics and melodious arrangements buried amidst avantgarde whims, this description largely holds true for Why Hasn’t Everything Already Disappeared? Framed as a reaction to the present state of the world, through a cracked prism that refuses to show things exactly as they are, Why Hasn’t takes fragments of cultural and societal decay to tell stories and evoke images via a range of emotions across its 36 minutes. Deerhunter know that enjoyment lies within the journey and on Why Hasn’t, the slow, crumbling decline of civilisation has rarely sounded so good. [Lewis Wade] Listen to: Death in Midsummer, No One’s Sleeping

January 2019

Sharon Van Etten

Listen to: Seventeen, You Shadow

Happy in the Hollow [Tough Love Records, 25 Jan] London-based TOY take a leap on Happy in the Hollow, producing and mixing for themselves for the first time. It also sees lead vocals shared among the band’s members for the first time, with bassist Maxim Barron detailing the breakdown of a relationship on You Make Me Forget Myself, making for the tenderest of moments. Energy and Jolt Awake introduce more of a pace, leaning more into the heavier side of psychedelia, exploring garagerock and psychobilly sensibilities. However, there are parts of the album that feel too safe and fall flat as a result. TOY continue to put their own unique spin on psychedelia with Happy in the Hollow, but ultimately the record lacks in any kind of urgency. [Nadia Younes] Listen to: Mistake a Stranger, Energy

Heard It In a Past Life [Debay Sounds / Capitol Records, 18 Jan] Maggie Rogers’ life changed in a moment, and ever since then it’s been on fast forward. Still a music student, a visit by Pharrell Williams saw a passing film crew happen to capture his reaction to her song Alaska, and it went viral. Since then, she’s had to cope with graduation, fame, love, heartbreak, never-ending travel and a longing for home. Major label debut Heard It In a Past Life does a good but not complete job of summarising those hectic emotions, featuring plenty of those stellar breakout hits. That said, Heard It In a Past Life lacks some vital elements, with a palette that can feel restrictive, and its lyrical matter predictable. [Robin Murray] Listen to: Light On, On + Off, Give a Little

development of Carter’s determination to speak her mind, demanding attention be paid to the sharp elegance of her songcraft. Others such as Find My Own Remorse offer Ansell a chance to explore the depth of troubles he has conquered and show a more thoughtful side to the haunting vocal range of both artists. (Interlude) is 49 seconds of pure synth joy and not something one might expect to find on the album, but it serves as a well-timed break before plunging into Anxiety, a song that drills its message with Ansell delivering a perfectly pitched and deceptively

Toro y Moi

Outer Peace [Carpark Records, 18 Jan]

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Outer Peace, the closest thing Chaz Bear has made to a Toro y Moi dance record, follows on from the sparse ambient R’n’B of 2017’s Boo Boo. At ten tracks, it’s a brisk listen, but the arrangements are dense and the production brims with character. The hook on featherweight jam Ordinary Pleasure condenses the album’s MO into four words: ‘Maximise all the pleasure’. Where Boo Boo was overlong and occasionally self-indulgent, Outer Peace by comparison can feel vacuous. But to criticise it for not having the pathos of its predecessor would be to criticise Bear’s greatest strength as a musician – his chameleonism. Chock-full of gluey basslines and gleaming synths, Outer Peace is very much a dance record and it’s pure ecstasy. [Alexander Smail] Listen to: Freelance, Laws of the Universe

RECORDS

Photo: Ryan Pfluger

Sharon Van Etten

staccato chorus amidst strong drums and beautifully chilling backing vocals from Carter. Nothing about this album is ordinary and nothing can be taken for granted – least of all the artists themselves. Get Tragic is a powerful album, raw in its unflinching honesty, experimental in its lyrical and instrumental balances, and deeply moving in its frank exploration of all that Ansell and Carter have made it through to reach this point. [Hannah Clark] Listen to: Eye To Eye, Bangsar, Howl, Elijah

Lost Under Heaven Love Hates What You Become [Mute, 18 Jan]

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Love Hates What You Become, is an emotionally rich set of songs, each crafted with a vulnerability and elegance that speaks volumes of how far Ellery Roberts and Ebony Hoorn have come since their 2016 debut. Written predominantly in Roberts’ hometown of Manchester, and recorded in America with John Congleton, Love Hates achieves a mature tone, complemented by Roberts’ gruff vocals and Hoorn’s velvety melodies. From the delicate The Breath of Light to the demanding For the Wild, LUH deliver consistently haunting instrumental melodies and deeply impassioned lyrics that serve as an opulent tonic to the cultural apathy they rebel against. [Hannah Clark] Listen to: Come, The Breath of Light, Bunny’s Blues

Swervedriver

Future Ruins [Rock Action, 25 Jan]

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Swervedriver’s refusal to fit into any convenient pigeonholes meant that their original run rather flew under the radar, too rock for shoegaze, too dreamy to be grunge. Time has helped weather those attitudes, however, with longstanding fans Mogwai signing them to Rock Action for sixth full length LP Future Ruins. A feast of unhinged guitar distortion, its centrepiece Drone Lover provides a virtual manifesto for their unfettered lust for rock minimalism. Not simply a feast of volume, their nuanced songwriting contains pearls of real beauty, such as the twinkling elements of Golden Remedy or the bittersweet Spiked Flower. Bold and ambitious, Future Ruins is deliriously difficult to place, and all the more exciting for it. [Robin Murray] Listen to: Drone Lover, Spiked Flower, Mary Winter

Review

Suite Sounds Glasgow-based DJ, producer and jazz guru, Rebecca Vasmant is the brains behind Era Suite, a new party night at Sub Club bringing jazz, Afrobeat, Latin, funk and electronica to the dance floor

ebecca Vasmant has long been known in Glasgow’s club scene for her fusing of jazz influences and modern electronic sounds. She cemented her place in the city’s scene with her Made In Glasgow and Know The Way parties, and her regular spot on BBC Radio Scotland’s The Jazz House saw her present some of the best contemporary jazz to a wide audience. Now, she’s taking the genre in all of its iterations to the Sub Club in new night Era Suite, combining selections from her collection with live slots from jazz musicians and bands. We caught up with Vasmant to talk about her love of the genre, the genesis of the new night and her highlights from the past 12 months. The Skinny: When did you first get into jazz, and what do you love about it? Rebecca Vasmant: I have a massive passion for jazz and Latin American music. Jazz – whether it is Latin, modal, free jazz or nu jazz – really gets to me and touches my soul. This may sound strange, but when I listen to an amazing piece of music, no matter what style, it can have the power to put me into a meditative state where I hear nothing and think of nothing else but the music. I can feel every note and the story that it is telling. I love warmth in music, I love musicality and I love soul in music. It may sound like an obvious thing to say but music can have soul whether it’s house music, jazz or funk. How did you come up with the idea for the Era Suite nights? Running a jazz event is something that I have always dreamed of doing, and when the Sub Club approached me to see if I would like to do it, it was a no-brainer and an absolute dream come true. Era Suite is all about allowing local talent to

come and play in a club/dancefloor environment, hopefully bringing people from both the jazz scene and the electronic scene together. Can you tell us about Sub Club’s history as a jazz venue and how this fits in with the Era Suite nights? Sub Club has an amazing history with jazz. Before Sub Club was booking the likes of Bonobo and Gilles Peterson, it was previously called Lucifers. Before that, the club operated as the Jamaica Inn, serving chicken in a basket to patrons – a cheeky little way to allow it to stay open longer than other bars! But back in the 1950s and 60s, Sub Club was Le Cavé – a ‘speakeasy’ after-hours jazz venue which hosted jazz luminaries including Louis Armstrong and Ella Fitzgerald. With the Era Suite nights, we want to bring back a bit of that old spirit and create a party that combines both the history of the club and the fact that there is an amazing wealth of local jazz talent in Glasgow. How does Glasgow’s jazz scene compare with other cities in the UK and Europe? Glasgow has a very young jazz scene and things are still growing here. Places like London or Manchester seem to have a lot of young musicians all working and playing together, and Glasgow is now starting to catch up. With the newly-opened The Blue Arrow on Glasgow’s Sauchiehall Street being an ‘exclusively jazz’ club, it’s become an amazing place for people to play regularly, and things seem to be growing all the time. I would previously never have been able to drop a jazz record in the Sub Club at 2.30am on a weekend, and I did that a few weekends ago when I was lucky enough to have played after Gilles Peterson. The reaction was so amazing. I played this one particular track that was just saxophone

and hand claps and people were shouting and banging on the roof. It was a moment to remember forever.

“We want to create a party that combines both the history of Sub Club and the fact that there is an amazing wealth of local jazz talent in Glasgow” Rebecca Vasmant

Do you think people have a misconception of what jazz is and how it can be played in a club environment? Yes, absolutely. People sometimes tend to associate jazz as something that is really tied into the more ‘trad’ sound. I think now attitudes are starting to change, and things are really opening up now in regards to people of all ages being into jazz too. When did you first get into DJing and producing and what inspired you to start? I did a radio production course back when I was 18 and I had been collecting records for a while. I

Review

Interview: Claire Francis

CLUBS

was always fascinated by the concept of playing records and would always imagine what it would feel like to play to a room full of people. I bought second-hand belt drive monstrosities and set out trying to learn how to mix. I don’t come from a musical background and I didn’t know anyone who was a DJ. Eventually, after at least six months of trying, I started to get the concept and just kept practicing. It was not easy for me and took a lot of work; it did not come naturally to me like for some people. Where’s your favourite place to shop for records? Underground Solu’shn in Edinburgh, Mixed Up Records in Glasgow or a trip to Paris! Paris seems to be like a dreamland for digging. When is the next Era Suite night and what acts have you booked? The next Era Suite is on Friday 25 January. We have Astrosnax who will play live, featuring vocals and trombone from Anoushka Nanguy, James Mackay on guitar, Peru Eizagirre on drums, Scott McPherson on bass and Aaron L from Stamp The Wax on the turntables – as well as myself too! What was your career highlight in 2018, and what are you most looking forward to this year? Starting my own show on Worldwide FM, and taking local trio Aku in to play in the London studio was an absolute highlight. Playing after Gilles, as I mentioned before was another highlight; it will stay in my memory forever. I am really looking forward to playing at Gilles’ festival, Leysin Worldwide, in Switzerland, playing at Mona Paris in February and also Kasheme in Zurich in March. Era Suite, Sub Club, Glasgow, 25 Jan, 7-11pm subclub.co.uk

THE SKINNY

January 2019

Review

Dansk Music As the ‘fast techno’ scene in Copenhagen continues to gather speed, we catch up with Najaaraq Vestbirk, AKA Courtesy, the DJ/producer who is leading the charge ajaaraq Vestbirk, AKA Courtesy, is a Copenhagen-based DJ, producer and label owner. Formerly a member of the Apeiron DJ crew – a collective that thrust Copenhagen’s dance music scene into the spotlight – Vestbirk has been at the forefront of the city’s 140+ BPM techno scene. With Apeiron Crew’s Mama Snake, she founded the renowned Ectotherm label, and her monthly Ectotherm radio show on NTS has become essential listening, as have her solo mixes. Last year, Vestbirk launched her own imprint Kulør (a way of saying colorful in Danish). We caught up with her ahead of her show in Glasgow this month to find out more about her plans for 2019. The Skinny: We’re looking forward to seeing you play at The Berkeley Suite in Glasgow in January. What is your favourite experience of the Scottish clubbing scene to date? Courtesy: I think my favorite Scottish clubbing experience was meeting and playing with the Glasgow-based DJ IDA. Besides being a lovely person, she’s such an incredible digger. We share a passion for going deep in the overlooked cheap crates and I’m constantly asking her to send me rips of the records she finds. 2018 was a huge year of touring for you. Is there a particular event or gig that stands out for you as a highlight? It’s difficult to pick one thing when I’ve played almost 100 gigs this year, so I’m going to focus on

something in the UK for this one: a really important part of touring for me is connecting with nice and interesting people, and Twitch in Belfast immediately made me feel at home. The night is run by a couple of smart guys with great taste for music who are doing a lot for their local scene. You launched your new label Kulør last year and, in October, released Kulør 001, which Resident Advisor described as ‘an excellent primer on Copenhagen’s fast techno scene’. Was this your intention for the compilation? Yes, I definitely wanted to show this particular part of the Copenhagen scene on Kulør 001, because what these guys are doing is really special. However, the label will feature music of various genres and tempos in the future. How did you select the artists that appear on Kulør 001? Do you know them personally? Yes, it’s people I know personally. I would actually never sign someone that I didn’t know in real life. Most of the artists on Kulør 001 were first featured on my old label Ectotherm, except for Sugar and Funeral Future, but these are both acts that I’ve wanted to work with for ages. Was it challenging to go from the Ectotherm label, which you co-ran with Mama Snake, to launching a new label by yourself? The biggest challenge, but also biggest reward, has been to trust myself in my creative decisions. It definitely felt less risky to spread the respons-

Courtesy

ibility out over two people, but starting this new project on my own, I realized how liberating it is to trust myself and be allowed to pursue all these ideas I’ve been sitting on for ages. The fast techno scene seems to be keen to introduce elements of trance back into dance music. How do you think trance fits in with techno today? For some time now, it’s been hard to find interesting techno with a splash of colour, and I honestly just think people have been craving smart drum programming with big bold melodies, which they’re getting from Copenhagen. If we were to visit Copenhagen, where are the best clubs and parties we should experience? The record store Percy hosts events, featuring a

Club, Actually Kick off 2019 with a month of parties across Scotland in our clubbing highlights round-up Funk Yer Resolutions #02 @ The Berkeley Suite, Glasgow, 4 Jan Mind Yer Self ease us all into 2019 with the warm and soothing sounds of soul, disco, funk, Balearic, Italo and more from MYS residents Lech and Mac. As per MYS policy, all money raised will go to a local mental health charity whose work provides a network of support services to those in need. Return To Mono with Clouds (All Night Long) @ Sub Club, Glasgow, 11 Jan Liam Robertson and Calum Macleod – the Perthborn pair behind Clouds – cemented themselves as young talents to watch with their impressive 2013 debut LP Ghost Systems Rave. Six years on and for the first Return To Mono of 2019, Clouds are putting in an all-night set in celebration of the release of their new album Heavy the Eclipse. The album, as they describe it, is “a concept album with a sci-fi backstory about a post-apocalyptic Glasgow ruled by a German conglomerate”. Just imagine how that will translate to the dancefloor. Phazed presents Austin Ato @ The Reading Rooms, Dundee, 11 Jan Austin Ato – aka Colin Bailey – has been a fixture of Scotland’s electronic landscape under various guises, perhaps best known as electro/techno producer and Peaches collaborator Drums of Death. As a producer and DJ, he brings together a rich mixture of influences – from afrobeat and dubby house, to pulsing disco and machine funk – that all combine to create a fresh dancefloor vibe. With releases on Phonica White, Me Me

Review

lot of interesting stuff in the more challenging, non-140 bpm side of club music. Otherwise, the Fast Forward Productions warehouse parties are an obvious choice for getting the full-on Copenhagen techno experience. Finally, what are your plans for 2019? My main focus for 2019 is Kulør. I have a number of different art projects which I will use that platform to execute. Besides that, I’m excited about what is looking like a really busy year of DJing and going back to school to start a BA in psychology this summer. Courtesy & Silver Dollar Club, The Berkeley Suite, Glasgow, 18 Jan soundcloud.com/courtesy707

Words: Claire Francis Illustration: Fran Caballero

Me and Futureboogie, and an upcoming 12” on Defected, this will be an exciting Rooms debut. Shapework / Pearson Sound @ The Mash House, Edinburgh, 12 Jan David Kennedy, aka Pearson Sound, is one third of the team behind Hessle Audio, the trailblazing label which he runs alongside Ben UFO and Pangaea. Also known for his work as Ramadanman and Maurice Donovan, Kennedy stops in at The Mash House as Pearson Sound to mark Shapework’s third birthday. hwts presents: Skatebård @ Sneaky Pete’s, Edinburgh, 14 Jan Expect carefree, Italo-inspired floor-fillers as Norwegian veteran Skatebård makes his Edinburgh debut. The instantly-recognisable bearded selector had a standout year in 2018, playing all over Europe, North and South America and Asia, including Boiler Room and main stage sets at Dekmantel. Who said Monday nights have to be boring? Courtesy & Silver Dollar Club @ The Berkeley Suite, Glasgow, 18 Jan One of the key figures spearheading the much talked-about ‘fast techno’ scene in Copenhagen, Courtesy is an exciting booking for the revamped Silver Dollar Club’s quarterly parties. Najaaraq Vestbirk was born in Greenland and grew up in Copenhagen, and has made a name for herself as a DJ, producer and music journalist. Her fast rise to the top of the techno game is a testament to her talents, alongside her own labels Ectotherm

(co-founded with former Apeiron cohort Mama Snake) and Kulør, which focus on showcasing the musical output of Denmark’s colorful club scene. Million Dollar Disco 2019 @ The Berkeley Suite, Glasgow, 19 Jan The third Saturday in January has become synonymous with Million Dollar Disco’s annual spectacular at Glasgow’s Berkeley Suite. As usual, Al Kent will be playing from start-to-end, serving up four hours of the most wonderful disco music. Since launching the Million Dollar Disco brand back in the 90s, Kent has released a number of impressive compilations of disco gems, and he’s well known for his unique DJing style which fuses exotic rarities with out-and-out classics. SENSU x Sub Club • Floorplan @ Sub Club, Glasgow, 25 Jan Floorplan are back in town, after rocking the stage

CLUBS

at Sub Club Soundsystem in 2017. The fatherdaughter duo of Detroit minimal techno pioneer Robert Hood and Lyric Hood will be preceded by the Sensu resident DJs, before the pair take over the booth for an exciting extended live set. Raphaël Top-Secret @ Sneaky Pete’s, Edinburgh, 30 Jan Paris native Raphaël Top-Secret had a fantastic 2018. As well as being the co-curator (with Music From Memory boss Jamie Tiller) behind the excellent Uneven Paths: Deviant Pop From Europe, 1980-1991 compilation, one of his floor-destroying edits also appeared on Hunee’s Hunchin’ All Night compilation. Come and hear what all the fuss is about as DJ Raphaël drops everything from boogie, downtempo and reggae to house and industrial bangers at this mid-week Sneaky Pete’s show. theskinny.co.uk/clubs

THE SKINNY

Photo: Kasia Zacharko

Interview: Claire Francis

Salt on Your Tongue By Charlotte Runcie

rrrrr What does the sea mean to you? Perhaps it’s childhood nostalgia, toes dipped in cold waves. Maybe it’s dread, the horror of dark watery depths. Or is it awe – at the people who have navigated it or the fabled beasties that lurk within? Whichever it is, Charlotte Runcie explores it all.

Taking the reader through the history of the sea, Runcie brings in mythology, shanties, sea creatures, literature and art, all the while informing us about lesser-known women who played important roles in these. Despite the title, Salt on Your Tongue is sweet, a melodic exploration of the most elusive part of the world. Runcie writes with an intriguing mix of beauty and straightforwardness, with splashes of humour, to create a wonderful ode to the deep blue. It’s easy to get swept along as she weaves memories of her baby’s birth and grandmother’s death, and how these anchor her to the oceans. Yet, sometimes the book’s flow feels disjointed, when the connection between Runcie’s personal memories and the sea aren’t immediately apparent. However, the book resembles a stormy tide: the swell of exploration, then the sudden pull away, leaving the raw experiences beached before us. Anyone who feels the lure of the sea will enjoy this book with its facts, myths and survival techniques. Although on the edge of over-romanticising, Runcie is self-aware. Salt on your Tongue is an ode not only to the sea but to women — to the extraordinary power that resides in both. [Rebecca Wojturska] Canongate, 3 Jan, £14.99 canongate.co.uk/books

Rhyme Watch Book groups, poetry slams and an exciting project bringing literature to the streets of Edinburgh all feature in our first spoken word round-up of 2019

My Sister, the Serial Killer By Oyinkan Braithwaite

nother year, another Scottish Slam Championship arrives on our January doorstep. Taking place on 13 January at 2pm in Glasgow’s Tron Theatre, the line-up consists of 2018’s poetry slam winners from across, mainly, Scotland’s central belt. It’s a real shame, too, that it appears only 13 slams have been held across the country for poets to qualify this year. How do we fix this and, more broadly, how do we open slams up to a wider audience? The poetry scene in Scotland is thriving and making incredibly positive steps towards inclusivity, so why are slams not reflecting this yet? Regardless, the quality of the poets is – as always – of the highest standard, and this should be an excellent afternoon of poetic entertainment. Good luck to all 13 of you, and may the best poet win. Tickets are available via the Tron website priced at £8.50. Poets Stewart Sanderson and Samuel Tongue will be launching their new pamphlets with independent Aberdeenshire press, Tapsalteerie. Sanderson’s An Offering and Tongue’s Stitch are already available to buy via the Tapsalteerie website or from the poets themselves. The double launch will take place at the Scottish Poetry Library in Edinburgh on 18 January, 7pm; the event is free, and both poets will be reading from their new works. If one of your New Year’s resolutions is to read more poetry (which, of course, it should be), then check out the Glasgow Poetry Book Group. The group meets every two months to discuss contemporary poetry and is run by Vicki Husband and Mark Russell. This month, the group will meet in the bar of the CCA on 30 January at 7pm and will be discussing Us by Birmingham-bred, Yorkshire-residing poet Zaffar Kunial. No specialist knowledge is needed to attend the group, just an enthusiasm for reading and discussing contemporary poetry. You can get in

January 2019

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“Three and they label you a serial killer.” To most, this is a fact; to Ayoola, it’s a warning. Ayoola is the favourite child, life’s opportunities seem to fall at her feet; she’s also killed three boyfriends in a row. Korede is cleaning up after her messes, literally and metaphorically. Whether it’s her familiarity with the intricacies of bleach, or stopping Ayoola posting joyously on Instagram when she should have a public face of mourning, protecting her sister – despite her own feelings – always bubbles to the surface. That is until her sibling’s focus switches to the object of Korede’s own affections. When he asks for Ayoola’s number, the question is on the horizon: Who will she stand by? And could he be number four? At a glance, the title lends itself to a highpaced thriller; instead, the serial killing is almost a background detail in Braithwaite’s expertly woven tale of sisterly dynamics. It nestles in on loyalty, and how far people would go – often without question – to protect their own blood. My Sister, the Serial Killer is sharp and witty; Braithwaite’s writing is so deadpan, her murderous star so blasé and unphased by the blood on her hands, that it’s unsettling in its precision. There’s no breathing room in her writing to get comfortable, even as dry laughs escape. A comically clever and exciting debut. [Heather McDaid] Atlantic Books, 3 Jan, £12.99

Paranoia is in the air of Prague. Born into communist Czechoslovakia in the 1980s, Jana’s childhood is a lonely one until she meets the raven-haired, furious Zorka. Just as the two girls begin to realise that life exists outside the city’s walls, their friendship is cut short when Zorka disappears. Years later, Jana is living in Paris as an interpreter when she receives a mysterious note from a man claiming he knew her childhood friend. Meanwhile, Aimée is in Paris after the death of her wife, and her life soon becomes interwoven with Jana’s. Then a third, seemingly unrelated, narrative that takes plac entirely in a lesbian chatroom begins to punctuate the European storyline. A queering of both the mystery genre and fairytales, Virtuoso is Yelena Moskovich’s follow up to The Natashas. Readers of that debut will know what to expect stylistically from Moskovich: short, episodic chapters; an uneasy sense of the surreal; and a slow sensation of dread. As Moskovich pulls us deeper into her literary labyrinth, questions are met with more questions and puzzle pieces don’t seem to quite fit together. Suddenly you’ll realise Moskovich has disappeared and you’ve been left to figure it out alone. If you’re not up to the challenge, maybe give this one a miss. If you are, you’ll love Virtuoso. [Katie Goh] Serpent’s Tail, 17 Jan, £14.99 serpentstail.com

atlantic-books.co.uk/book/my-sister-the-serial-killer

Jokes for the Gunmen By Mazen Maarouf

Words: Beth Cochrane

Virtuoso By Yelena Moskovich

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Oliver Loving By Stefan Merrill Block

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touch with the group beforehand by contacting them at poetrybookgroup@hotmail.co.uk In a multimedia mix of words, music and design, Message from the Skies returns to Edinburgh with six love letters, each addressed to Europe, projecting across some of the city’s best loved buildings. The letters will be penned by six prominent writers: The Guardian columnist and author Chitra Ramaswamy, Saltire Awardwinner Kapka Kassabova, short story and novel writer Louise Welsh, playwright Stef Smith, historical writer William Dalrymple, and poet Billy Letford. The projections will be shown on the walls of Custom House in Leith, the National Scottish Monument on Calton Hill, Techcube at Summerhall, The Bongo Club in Cowgate, Tron Kirk on the Royal Mile and Leith Library on Ferry Road. The project will run until 25 Jan, and - deep breath - is presented by Edinburgh’s Hogmanay and the Edinburgh International Book Festival, produced by Underbelly in partnership with Edinburgh UNESCO City of Literature Trust and developed with support from Creative Scotland through the Scottish Governments Festivals Expo Fund. For more events and launches in and around Scotland, keep an eye on the Poetry & Spoken Word in Scotland Facebook group. The page is a fantastic source of poetry news and a great place to hear about local events and catch up with other poets’ successes. Andrew Blair, Writing Communities co-ordinator at the Scottish Book Trust, began a thread in early November which sought to collate Scotland’s many open mic nights; there is plenty of in-date information there about open mic opportunities from all across the country, including details on how to get involved in your local scene.

Through bewilderment, violence and desperate irony, Mazen Maarouf’s collection of stories portray war-torn Beirut as a place stuck between fantasy and reality. Although missing limbs, deafness and glass eyes abound, Maarouf ’s stories are so involving it’s often hard to remember that the book is set during combat. This is perhaps because many are told from a child’s naive point of view: Matador is a Saki-esque funny-but-sad whirl of confusion, life and death in which the young protagonist’s uncle fails as a matador in life before not even being able to die correctly. In Cinema, a theatre bombing leaves a child alone with a lost, wandering cow as his only gateway between reality and fiction. Omnipresent is the concept of jokes as a form of currency, both social and actual. In one tale, soldiers guarding a school can be bribed with jokes; in another a man who has forgotten how to smile accidentally kills someone through humour. Maarouf ’s use of surreality is as sharp as shrapnel: the real horrors of a country in conflict are juxtaposed with hazy dream-nightmares to highlight the utter unreality war sprinkles across everyday life, love and work. In every story in Jokes for the Gunmen, Maarouf displays skill in distorting the lines between life and death, reality and dreams. The result is a collection that deftly tells the crucial story of a world that’s been knocked on its head. [Kirstyn Smith]

Oliver Loving explores a topic which many parents fear most: the loss of a child. In a small, racially divided town in West Texas, a shooter kills four students and wounds six others at their high school homecoming dance – an act which will tear the town of Bliss apart. Oliver Loving is among the wounded, and now lies paralysed and trapped in his own mind. Ten years later, when a new medical test reignites the hope that Oliver might yet wake up, questions of what happened that night – and why – resurface. Block’s prose is exquisite, and a stark contrast to the ugliness it describes. The story unfolds slowly, allowing the reader to develop a relationship with Oliver’s parents, Eve and Jed, and his brother Charlie, as they continue their lives in a limbo not all too different to Oliver himself. They are weighed down by guilt, and by the question why: Why did Hector shoot those students that night? Why was Oliver in the hallway at that moment? Why did Rebekkah escape unharmed? This is a book which requires patience and dedication. Oliver’s recovery takes its time, and his memories are unveiled at a leisurely pace. Equally, this book is complex: it considers the impact of racial divide, driven by political propaganda on immigration and the war on drugs, and the humanity of a young man who committed a monstrous act. Murky, beautiful and haunting, Oliver Loving is a critical re-evaluation of American society, and the consequences of its shortcomings. [Mika Cook]

theskinny.co.uk/books

Portobello Books, 3 Jan, £10.99

Atlantic Books, 3 Jan, £8.99

portobellobooks.com/jokes-for-the-gunmen

atlantic-books.co.uk/book/oliver-loving

BOOKS

Review

In Cinemas The Favourite

Director: Yorgos Lanthimos Starring: Olivia Colman, Rachel Weisz, Emma Stone, Nicholas Hoult, Joe Alwyn, James Smith, Mark Gatiss

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Ducks race and rabbits frolic on palace floors in Yorgos Lanthimos’ masterful period romp The Favourite, perhaps the Greek director’s most accessible – and entertaining – film. In this 18th century battle of wits we find Olivia Colman reigning as Queen Anne, whose time on the throne is riddled with a nasty case of gout. She holds the crown but the one pulling the strings is Lady Sarah (Weisz), the Queen’s closest companion, who uses her influence and position to control the kingdom. Their established hierarchy is shaken, however, by the arrival of Lady Sarah’s cousin Abigail (Stone). She’s looking for a job as a servant but hides bigger ulterior motives; a showdown to become the proverbial favourite commences. Many of the trademarks that helped crown Lanthimos the king of the Greek Weird Wave are

nowhere to be seen in The Favourite. The stilted dialogue seen in The Lobster and The Killing of a Sacred Deer are gone – characters actually talk, somewhat, like human beings, albeit ones with dubious morals. The Favourite also drops the misanthropy. On the contrary, there’s a genuine empathy that emanates, a care for the central three women that is uncharacteristic but welcome. Thankfully these changes haven’t come at the cost of the twisted sensibility Lanthimos has cultivated. Heavy in comebacks and heavier in expletives, characters attack with sharpened tongues. There is a violent side – a war with France is oft-discussed but never shown – but the battle on local soil is a cerebral tug-of-war for power. The women weaponise their femininity as well, luring men then discarding them like pawns with a remorseless kick to the balls. The regal madness is anchored by three career-best performances from Stone, Weisz and Colman. Each of their characters is trying to overcome tragedy, and this time it’s not played for awkward laughs. Maybe Lanthimos does have a heart after all. [Iana Murray] Released 1 Jan by 20th Century Fox; certificate 15

Mary Queen of Scots

Director: Josie Rourke Starring: Saoirse Ronan, Margot Robbie, Jack Lowden, Joe Alwyn, David Tennant, Guy Pearce

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Theatre director Josie Rourke tackles her first cinematic feature with Mary Queen of Scots, an expansive and ambitious retelling of the political and religious rivalry that developed between Mary Stuart (Ronan) and her cousin Queen Elizabeth I (Robbie) in the late 1500s. The film delivers a gutsy portrayal of defiant yet vulnerable women intent on maintaining their rule over the whims of their male (ill-)advisors. Rourke brings an elegance to small moments, and artistic touches throughout tie the cousins together in interesting if not always subtle parallels. There’s an ongoing concern with the similarities and differences between the two queens – both undeniably and publicly powerful and quick-thinking, but distanced by insecurities and choices made in their personal lives. While Mary lies in bloodied sheets after childbirth, Elizabeth sits wide-legged among streams of red

paper flowers, her only substitute for Mary’s experience of motherhood. As Elizabeth gazes upon a portrait of fair Mary, a cruel distortion of her own face in a mirror visualises her internal anxieties and envy. Toying with its historical inaccuracies and artistic license, the film imagines a meeting between Mary and Elizabeth that historians would dispute. Regardless, this scene is the film’s finest creative moment and grants some much needed time to both Ronan and Robbie, allowing them space to reach the depths of their characters. Elsewhere the film too often jumps between events and places instead of finding a steadier pace to tell this unwieldy story. Fitting a wealth of history into two hours is not easy, and Rourke seems uncertain over the film’s commitment to telling Elizabeth’s story as much as Mary’s. These issues with structure and pacing hinder what is otherwise a valiant film that details the inadequacies of men throughout history and champions two great young actors in Ronan and Robbie, who both give equally bold and sensitive performances. [Caitlin Quinlan] Released 18 Jan by Focus Features; certificate 15

Beautiful Boy

Can You Ever Forgive Me?

Burning

Beautiful Boy

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Director: Karyn Kusama Starring: Nicole Kidman, Toby Kebbell, Tatiana Maslany, Sebastian Stan, Scoot McNairy, Bradley Whitford, Toby Huss

Softness and sharp edges all blur into one in Felix van Groeningen’s film about the inescapable grasp of substance abuse and the role it played in the lives of addict Nic Sheff (Chalamet) and his father, Dave (Carell). Based on the real-life memoirs of both men, the film documents Nic’s spiral into crystal meth addiction, his efforts at recovery, and his most painful relapses. Both Steve Carell and Timothée Chalamet are outstanding. Their performances, and the tone of the film as a whole, never venture too close to saccharine sentimentality. Flashbacks are used throughout to tell the tragedy of a boy who doctors say is physically “unable not unwilling” to defy his addiction. David’s best intentions and profound longing for his son lead him down a path of intense investigation, frantically searching for a way to piece Nic’s fractured life back together. It is the saddest realisation of all that there is very little he is capable of doing. Beautiful Boy is an affecting drama with impressive lead performances, guided by a sensitive directorial hand. [Caitlin Quinlan]

A path of vengeance permeates this weary LA noir. Nicole Kidman stars as a washed-up alcoholic detective as she hunts down the mysterious Silas, an armed robber with whom she had a life-destroying encounter in years past. Kidman will be the subject of much praise for this role, as beautiful actors who dress down for gritty roles usually are. She’s caked in makeup, looking like some kind of cross between Charlize Theron in Monster and Linda Blair in The Exorcist. And she stumbles across the screen snarling with rage; there’s an aggression to this performance unseen in her previous work. While Kidman’s scenery-chewing is effective, the real star of Destroyer is director Karyn Kusama. As in her previous career highlights (Girlfight, The Invitation), there’s a muscularity to Kusama’s compositions that makes the movie pulsate. Like its main character, Destroyer has a slight tendency to get in its own way – there are a few too many structural tricks – but Kusama’s sense of mood is breathtakingly direct, taking us into a world of scorpions in a barrel. [Ian Mantgani]

Melissa McCarthy has never been better than in this remarkable true-life tale based on the memoir of writer-turned-literary forger Lee Israel. Directed by Marielle Heller, we open in the early 90s with the irascible Lee struggling to make ends meet, whiling away her hours getting soused on whisky with old acquaintance Jack Hock (Grant), a down-and-out gay bon vivant of great charm. By chance, Lee discovers a valuable letter by famed vaudeville artist Fanny Brice, which she promptly sells, although told that if it were ‘spicier’ it would have made more money. This lightbulb moment leads to her embellishing, and later forging, letters by literary greats like Dorothy Parker and Noel Coward. But before long the FBI are on her trail. Against a backdrop of bookish landmarks and gay bars in winter-chilled New York, Heller delicately balances whip-smart acerbic wit and tragedy, as we are plunged into the inner life of a troubled writer. It’s a melancholic, smart, cautionary tale about a woman who decided if you can’t make it, fake it. [Joseph Walsh]

Released 25 Jan by Lionsgate; certificate 15

Released 1 Feb by 20th Century Fox; certificate 15

Director: Lee Chang-dong Starring: Yoo Ah-in, Yeun Steven, Jun Jong-seo

Burning’s set-up wouldn’t be out of place in a romantic comedy: a broke writer starts a fling with an old school friend who goes to mime class and wants to be an actress. She goes away, comes back, and when he meets her at the airport, she’s got a new companion: a slick guy who drives a Porsche. Is he gonna have to compete for her affection? But humour and love triangles are not the interests of Lee Chang-dong’s mystery. Based on Haruki Murakami’s short story Barn Burning, the film is full of little details that set the mind to wander. Hae-mi, the girl, asks the writer, Jong-su, to feed her cat while she’s away – is the cat real, or imaginary? The tone is set for her own disappearance. Has she eccentrically wandered off on another adventure, or is there something sinister going on? Burning is a stark, tantalising thriller, planting seeds to frustrate our minds along with Jong-su. It may take the form of a potboiler, but there’s something more disturbing and lingering simmering underneath. [Ian Mantgani] Released 1 Feb by Thunderbird; certificate 15

Director: Felix van Groeningen Starring: Steve Carell, Timothée Chalamet, Maura Tierney, Amy Ryan

Released 18 Jan by StudioCanal; certificate 15

Review

Destroyer

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FILM & TV

Can You Ever Forgive Me?

Director: Marielle Heller Starring: Melissa McCarthy, Richard E. Grant

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THE SKINNY

Diamonds of the Night

Director: Jan Němec Starring: Ladislav Jánsky, Antonín Kumbera, Ilse Bischofova

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Jan Němec’s Diamonds of the Night opens, propulsively, in media res, with two boys desperately running for their lives. An intimate handheld camera stays uncomfortably close as they stumble in and out of frame and across scrubland, wheezing up a hill as rifle shots and shouts of ‘halt!’ ring out. As they claw at the earth and help pull each other to safety, the lens feels like a third member of this terrifying race for freedom. While the context is later confirmed – via flashbacks showing white paint daubed on the boys’ coats and scenes in a prisoner transport train – as Nazi-occupied Czechoslovakia, Němec isn’t interested in historical examination. This almost dialogue-free debut feature is an attempt to place the viewer in the minds of these two boys, for better or worse. Surreal allusions to Buñuel are both horror and hallucination, while exhausted reveries reveal dreamlike snippets of life immediately before transportation. Perhaps the most unsettling scene of psychological projection comes when a farmer’s wife gives one of the boys some bread and we see various iterations of the boy’s fantasies of killing and raping her – only to return to her moments later in search of milk. His deteriorating mental state is clearly evident through formal theatrics, but his desire to survive remains the driving force behind what little narrative development there is and the film’s engrossing spartan aesthetic. Extras In addition to the extras on Second Run’s original DVD release of the film, the Blu-ray version includes Němec’s FAMU graduation film, A Loaf of Bread. It is effectively a short prelude to Diamonds of the Night, both of which were inspired by Arnošt Lustig short stories. The disc also includes a new filmed interview with Lustig’s daughter, Eva Lustigova, and a new audio commentary by Michael Brooke. [Ben Nicholson] Out on Blu-ray on 21 Jan from Second Run; certificate 12

A Simple Favour

The Wife

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Director: Paul Feig Starring: Anna Kendrick, Blake Lively, Henry Golding, Andrew Rannells, Linda Cardellini, Rupert Friend It is a shame that Paul Feig’s mystery thriller-melodrama – an exciting departure for the Bridesmaids auteur – was lost at the autumn box office; while somewhat hampered by an uneven tone and baffling story, it is certainly worth checking out on the small screen for its ballsy twists, engagingly off-kilter performances, and drop-dead gorgeous costume design. While stuffed too full to have much substance behind the shocks, A Simple Favour is surprising, entertaining and gorgeous to look at – it is hard to want more, even if it does not stick in the mind for long. Billed as the “dark side” of the American comedy stalwart, the film’s genre-defying nature is both its greatest strength and Achilles’ heel. It involves the unlikely friendship that forms over early afternoon Martinis between Stephanie (Kendrick), an uptight mommy blogger, and Emily (Blake Lively), a glamorous publicist with a killer wardrobe, before the latter goes missing. Little else can be said before wading into spoiler territory, but the pace at which moods, tropes, and plot points unfold and fold into each other is entertaining, if ultimately slight. The film’s coherence suffers from this tonal whiplash, but its fearlessness in some initial twists undermines any expectations from the trailer/marketing material and makes what follows an enthralling ride. Thankfully, Feig does not take his story too seriously, keeping the tone light throughout so that the more ridiculous reveals increase the melodramatic fun instead of heightening disbelief. The performers’ self-awareness of the fantastical premise, as well as strong comedic instincts, ultimately sell the piece. Kendrick’s subversion of her overachieving everywoman type is a stroke of genius, and Lively’s charisma sells the other characters’ fascination with the missing, mysterious Emily. The supporting cast of American comedy television stalwarts are woefully underused, but they add charisma and quasi-commentary to their brief appearances. The production design cannot be faulted – Emily’s house and immaculate wardrobe are pure interior design and fashion pornography. [Carmen Paddock]

Director: Björn Runge Starring: Glenn Close, Jonathan Pryce, Christian Slater, Max Irons, Annie Starke, Harry Lloyd, Elizabeth McGovern Revered author Joseph Castleman (Pryce) is lucky to have his devoted wife Joan (Close) by his side, a fact he’s keen to point out at every opportunity. When the phone rings with the momentous news that he’s won the Nobel Prize for Literature, he asks if she can listen in on the extension. But as she does, her expression is strangely one of distress, not delight. From inspecting Joe’s beard for crumbs to weathering his infidelities with composure, Joan has done everything to deserve his constant praise; in lavish speeches, he claims he’d be nothing without her. But she insists, “I don’t want to be seen as the long-suffering wife.” There’s a discrepancy here; some truth lurking below the surface, waiting to devastate the status quo of their marriage. This finely-wound screen adaptation of the Meg Wolitzer novel discloses its revelations carefully, in a series of flashbacks and uncomfortable betrayals. Two stories play out; one in 90s Stockholm in the run-up to the Nobel Prize ceremony, another in the 60s, when Joseph and Joan first met. Anchoring the drama, Glenn Close delivers an incredible turn as a woman who has chosen to abandon personal glory in the absolute service of her husband. As an intimate character study, The Wife is superb. To watch Joan’s inner pain is as unpleasant as it is to observe her husband’s ego trip – the climax of a lifetime unburdened by conscience. But this is also a thought-provoking drama that takes time to really sink in after a first viewing, as does the true brilliance of Close’s performance. This isn’t just another tale of a woman standing in the shadow of a man; to consider Joan a victim would be folly. The Wife is about a woman who has insisted on writing her own story, for better or worse. [Kirsty Leckie-Palmer] Out on DVD, Blu-ray and digital on 28 Jan from Lionsgate; certificate 15

Available on digital download from 14 Jan and DVD, Blu-Ray on 21 Jan from Lionsgate; certificate 15

CCA Highlights Glasgow’s Centre for Contemporary Arts is kicking off 2019 in fine style, with new work from Glasgow-based Danish artists Lotte Gertz, a smattering of Celtic Connection gigs and the return of Nicolas Cage celebration Cage-a-rama

fter a turbulent 2018, CCA returns for a new year with a typically lively programme of art, music and film. Major exhibition A Weakness for Raisins (until 27 Jan) celebrating Ester Krumbachová – the filmmaker and costume designer at the vanguard of the Czech New Wave – continues into January. As well as artworks inspired by Krumbachová’s work and displaying 250 pieces from her own archive, including letters, costumes and drawings, the exhibition also features a parallel film retrospective of several Czech classics in which Krumbachová was involved. If you can make it to only one of the four double-bills in January, we suggest the screening of Krumbachová’s sole directorial effort The Murder of Mr Devil, which is paired with Jan Němec’s masterful Diamonds of the Night (26 Jan). In February, A Weakness for Raisins will make way for the new solo show from Glasgow-based

Danish artist Lotte Gertz, who’ll be presenting a series of work produced during her residency at Cove Park in the spring of 2018. Gertz’s practice involves painting, printmaking and collage, and we’re told her Cove Park work will explore themes of the everyday, typography and personal histories through painting and experimental markmaking (28 Feb-9 Mar; preview 23 Feb). Catching our eye in terms of gigs is the new live show from The Wave Pictures. It’s been a busy old year for these industrious alt-rock stalwarts, with two albums released in 2018. First, there was the joyous Look Inside Your Heart, celebrating friendship, happiness and drunken party times, which was then followed by the more complentative Brushes with Happiness. Expect a salty-sweet selection from both when they play CCA on 19 January. Across Glasgow, the massive Celtic Conn-

Lotte Gertz

January 2019

The Wave Pictures

ections is bringing another eclectic selection of folk and roots music to brighten up the Scottish winter, and several shows come to the CCA. Among the highlights are Mull Historical Society, who are joined on 24 January by Bernard Butler and Joel Gardner; singer-songwriter John Paul White, best known as one-half of the critically acclaimed The Civil Wars, plays the day after; and Dundalk-born David Keenan is joined by Belfast duo Saint Sister on the final night of the festival (3 Feb). There’s also the chance to see You Tell Me, the new duo partnership between Peter Brewis from Field Music and Admiral Fallow’s Sarah Hayes (2 Feb). Talking of festivals, Cage-a-rama (4-6 Jan), “officially Europe’s longest-running Nicolas Cage film festival”, returns to CCA for its second year of Cage-related antics under the banner of Cage-arama 2: Cage Uncaged. Ranging from his barn-

FILM & TV / ART

storming turns in Adaptation, Wild at Heart and Bad Lieutenant to his simply barmy ones in Mandy, The Wicker Man and Vampire’s Kiss, there’s a Cage performance for every mood. Cage-a-rama 2 will also be rolling out the red carpet for mint fresh movie Between Worlds, with director Maria Pulera joining for a Q&A to give some insight into working with the man of the hour. Red carpets will also be rolled out in February when Glasgow Film Festival returns (20 Feb-3 Mar), with the CCA once again a key venue. The programme isn’t revealed until 23 January, but if previous years are anything to go by, expect a vibrant selection of art house and independent films from around the world, world premieres of homegrown work, and a smattering of classic films shown in shimmering new contexts. cca-glasgow.com

Review

Where Art Now? Escape the loneliness of skint January life with some free art exhibitions and events, or for the artistically inclined get planning for a residency or opportunity by keeping up with the big deadlines coming up soon

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Smoothly confounding audience expectations, the exhibition of work by Czech New Wave costume designer, filmmaker and artist Ester Krumbachová (1923-1996) turns from a group show of recognisable contemporary artists mostly working in Scotland, to a staged domestic environment adorned with items from the archive of Krumbachová’s life and work. Around dressing table mirrors, a huge number of her drawings, Polaroids and other photos are arranged, looking like the covered kitchen and bedroom walls of a social and prolific creative. The sense of an intimate glimpse into the disarray of a private space supersedes any commitment to the museological or chronological presentation of a neat biography. Without the stability of a gallery text, even, the works of the contemporary artists merge easily with the archival materials. France-Lise McGurn’s paintings, for example, evidence the same stylishly subtle caricaturing and eye for garment detail as Krumbachová’s drawings. The

multi-material artist Lorna Macintyre explores new ways to play with the likes of cyanotypes, digital prints and photography in her exhibition Pieces of You are Here. The fantastic showcasing of women’s work is also in Glasgow, as Tramway present the work of Lucy Beech and her new film which addresses the power and agency of reproductive relations, exploring women’s labour, visibility and the flow of bodily revenue streams in what has come to be known as Reproductive Exile, the title of the exhibition. Is it just us or does January feel like a great opportunity to celebrate women artists across the country? Warm your cockles by burning the

singular identity of the artist at the centre of the retrospective is displaced in favour of resonances and non-prescribed insight through juxtaposition. Among the anarchic soundscape of the main gallery space, one of the actors in the newly-produced video works wears all black face paint except for whitened eye sockets and white teeth painted above their lip. The volume is too low to hear the text that is being read to have a context for the apparent blackface, making curated disarray swing towards (at best) thoughtlessly troubling consequences. In the last room, added to the constellation of reels, letter and snapshots, there’s a full feature-length documentary. Even if it’s a concession to some linear information-giving, it’s still a small part of the hours of content already present. In frustrating conventions of exhibitionmaking and especially large historical solo shows, the Krumbachová retrospective draws out new possibilities for this exhibition genre. [Adam Benmakhlouf] A Weakness for Raisins, CCA, Glasgow, until 27 Jan, free

Review

Photo: Ruth Clark

Residencies What better way to escape the cold than applying for a residency in Portugal? Curiosa are offering an intensive residential course bringing together visual artists and musicians to work collaboratively over ten days, creating new works combining photography, moving image, music and sound art. The deadline is a way away, but still a nice thought to warm yourself to. Deadline: 25 July Stirling Health and Care Village are searching for an artist in residence to work with staff

Awards and Call for Entries Berwick Visual Arts are offering possibly the most interesting artist opportunity of 2019 so far: they are searching for a visual artist to research and explore the impact of Brexit on small rural communities. They are looking for an artist that has an established, engaging and accessible visual arts practice, who has previously explored rural social issues. Deadline: 11 January City of Edinburgh Council are offering two artists the opportunity to get some cash money behind their new and emerging projects. The bursaries will be tailored to suit the emerging artist in whatever discipline they practice. Deadline: 5 February theskinny.co.uk/art

Simona Ciocarlan, They Danced in a Different Way

Jill Todd Photographic Award Street Level Photoworks

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cca-glasgow.com

A Weakness for Raisins, installation view

patriarchy… or by engaging in some of these incredible exhibitions.

and those staying in a new health centre to realise the therapeutic potential of the new building and its outdoor spaces for a whole year. Deadline: 11 January The RSA have an exciting residency opportunity that allows artists to apply for funds of up to £5000 to partake in a programme at one or more of their partner venues. Deadline: 20 January

Throughout the Jill Todd 2018 Photographic Award exhibition, the shortlisted photographers seem as interested in processes of revealing as they are in poignant or suggestive obscuring. In the work of Amy D’agorne, for example, there’s an aerial shot of a misted canopy. It’s placed among images of protestors, the fog suggesting something beyond first sights – a colonised and contested landscape in New Zealand, it turns out. Across the room, also representing natural elements, the lights dim in Joseph Glover’s nocturnes. His dark images of water and foliage are charged, moody moments of quiet sublimity. For Christina Webber, a near-portrait of a person lying back on a pillow partially dissolves into a fuzzy grain. A sign of the film or the effect of a dark room chemical, the distortion heightens the sense of texture, touch, intimacy. Also experimenting with strategies of erasure, Jill Quigley adds a painted layer to her photographs of painter-decorators to draw out a sensual understanding of what is photographed.

ART

Photo: Courtesy of the Jill Todd Award

Ester Krumbachová CCA

Emma Hart, BANGER, Installation view The Fruitmarket Gallery, 2018

Photo: Alan Dimmick

Exhibition Highlights Galleries across the country will be doing exactly what you’re trying to do in January: just keep ticking along until it’s not as bleak outside. There’s very few openings this month, but that’s not to say there isn’t plenty to see. In Edinburgh, The Fruitmarket Gallery continue their exhibition of Banger, Emma Hart’s irresistibly playful installation full of movement, colour and joy. It closes at the start of February, so this exhibition should be some light and warming relief from the icy weather outside. Meanwhile, the Talbot Rice Gallery have Tremble Tremble and At The Gates, their duo of powerful exhibitions exploring the role of women and autonomy, over their bodies but also over their beings. These close at the end of January, so if you need to be re-empowered after a Christmas surrounded by your family questioning what you’re doing with your life in the arts, get yourself to these exhibitions and fill yourself with the energy of women smashing the patriarchy. Up in Dundee, until 24 February, the DCA continue celebrating the work of two artists living and working in Scotland. Margaret Salmon, a Glasgow-based artist and filmmaker, will present a new moving image work and installation commissioned specifically for DCA. In the next gallery,

Words: Rosie Priest

As suggested, there’s also the impulse across several of the artists to open up spaces that are otherwise private or for very specific audiences. Sarah Michelle Riisager’s photos show the relaxed vulnerability of young female performers in dance competitions. Also seeking to make public a hidden way of living, Simona Ciocarlan photographs people in traditional Romanian dress and homes, often in seemingly long moments of quiet thought, paradoxically becoming filmic in their stillness. Similarly, in Alishia Farnan’s work, there’s the sense of a long shot of a quiet room, lending the suggestion of prolonged inactivity in the former workers’ community clubs as she poignantly records the fracturing of a communal way of being. Through their experiments with the relationship of photographer and subject, or with the technical processes themselves, each of these artists pushes at the limits of what can be represented within photography. [Adam Benmakhlouf] Jill Todd Photographic Award, Street Level Photoworks, Glasgow, until 27 Jan, free streetlevelphotoworks.org

THE SKINNY

Sisters, My Sisters Artist Niamh Moloney makes a poetic response to her role in Jesse Jones’ Tremble Tremble, a performance work that is now on show in Talbot Rice Gallery, Edinburgh rimming the edges; sweeping the dust; stemming the flow of water. Tremble Tremble was birthed at the 57th Venice Biennale in a dark space in the Arsenale, where ghosts roamed and brushed our cheeks. Not frightening ghosts but ones that were lonely. Ones that just wanted to touch someone, to feel our warmth in that cold dark crumbling place. Swishing past and around and back we moved together, pulling fabric through space. Joyful skips and beats and rhythm. Matching each other’s cadence, the foot falls the same. Drawing two curtains together until they formed clasped hands. That moment of creation and of conception. An idea born of its own volition without the force of construction. We were there together in this watery place, drying tears and shedding some more. Being together, moving together and speaking together. A trio in speaking and sharing and laughing and sleeping and burning in the sun. Tending to the space where the giantess towers over us inviting us to play her game of memory. Remembering those stories that have been passed down through the bones of time. Those women; Their faith; Their difference; their torture; their bridling; their silencing. My body releases her grief as I write this. This moment I recall sits in my throat where death lurks and truth speaks of women whom I revere. Who are like me, yet different. We are lovers of each other. Soulfully connected. The veil

thin around us. A steady swish, the softness like rain on a soft day transforming into turbulent storms in a lagoon city that is drowning. We float to the surface. We always do. We are the witches that survived. Tremate Tremate le streghe son tornate. Tremble Tremble the witches have returned. We have coexisted together before, known each other and rediscovered again each other in this life. Enveloped in maternal comfort we were safe walking the alleyways of the drowning city after dark, getting lost in her venous flows. We crouched by waterways speaking in whispers and making our offerings, telling tales of sex and of love, of pain and of death. Burning promises to the moon and to ourselves. The ghosts moved among us. Letters in our faces and our names, we are written into each other’s stories. Sisters, my sisters, let us live in victory once more. Our bones are not hollow but heavy with memory. Encased as we were in the Ireland Pavilion, our bodies on the precipice of freedom from something now repealed. Tremble Tremble, a love story to you women who hear and see one another. Who teach of grief, of feeling and of knowing those things that we cannot always see. Of dreaming. Who danced through this dark space with me. Tremble Tremble

Tremble Tremble, Talbot Rice Gallery, until 26 Jan

Credit: Jesse Jones

Words: Niamh Moloney

Misery Loves Company Returning to Scotland after nearly a decade, the latest tour of the runaway smash musical that is Les Misérables has already sold out. But what is it that makes the show so popular?

Les Misérables

What is Les Mis? Les Mis, or to give it its full name, Les Misérables, is a musical – music by Claude-Michel Schönberg, and original French lyrics by Alain Boubill and Jean-Marc Natel. The English lyrics and libretto were written by Herbet Kretzmer. Isn’t it based on a novel? Yes, Les Mis was based on the 1200 page novel of the same name by Victor Hugo from 1862, which is often considered to be one of the greatest

January 2019

novels of the 19th century. The story begins in 1815 and ends with the 1832 June Rebellion in Paris – it is not set during the French Revolution; that began in 1789 and lasted until 1799. What’s it all about? It follows a man called Jean Valjean, a peasant who was sentenced to 19 years’ imprisonment; five years initially for stealing a loaf of bread to feed his starving nephew, and a further 14 for escape attempts. After breaking his parole, he

Photo: Matthew Murphy

reinvents himself as a factory owner and mayor and is then swept up into a revolutionary movement, where a group of young people attempt to overthrow the government. Meanwhile, a police inspector called Javert has vowed to track Valjean down at any cost. When was it first performed? It originally was released as a concept album, before making the leap to the French stage in 1980. Although it closed after three months, the English-language version of the musical opened five years later in London in October 1985, helmed by the producer Cameron Mackintosh, who also brought Cats to Broadway. The initial reviews were negative, with some critics condemning the idea that classic literature could be made into a musical, and whether it was proper to have every word sung instead of spoken. However, it weathered the storm and the London production has run continuously since its premiere, becoming the second longest-running West End show after The Mousetrap, and the longest-running musical in the West End. The Broadway production opened in March 1987 and ran until May 2003, earning 12 Tony Award nominations, and winning eight, including Best Musical. Why is it so popular? Well, there seems to be no single reason for Les Mis’s continuing success. Musical-wise it has it

ART / THEATRE

Words: Amy Taylor all, catchy tunes (I Dreamed a Dream, One Day More, Do You Hear the People Sing?) with fantastical lyrics, and unlike a lot of other musicals (here’s looking at you, Cats), Les Mis actually has a plot. In fact, it’s the plot that helps make it stand out from other shows. It’s a big, epic, anti-capitalist piece of theatre, tackling difficult themes from abuse to poverty, redemption to revolution. But ultimately, Les Mis, for all its darkness and all its scenes and songs about human suffering, is a musical about hope. It’s about how much the human spirit can endure about dreaming of a better time, a better world. Although set hundreds of years ago, its themes are universal; we still live in a world dogged by inequality, poverty and injustice. If all art is political, then Les Mis is a piece of theatre that wants to help you escape difficult times, but also make you question the present by looking at a long-lost past. How much are tickets? Uh, well, this is where it gets awkward. Because it’s been nearly a decade since anyone brought such a large-scale touring production of Les Mis to Scotland (and this is a new production, conceived for the show’s 25th anniversary back in 2009), demand has been high and tickets have sold out. But try for returns, you might get lucky. You have to dream a dream, after all. Les Misérables, Festival Theatre, Edinburgh, 22 Jan-16 Feb

Review

Fresh Perspectives Scotland's trailblazing festival of innovative visual theatre and animation returns, with performances from artists around the world. But with so many different art forms on show, what themes are tackled in this year's programme?

ow in its twelfth year, manipulate, Puppet Animation Scotland’s annual festival celebrating visual theatre, puppetry and animated film will return in February and features established Scottish and international makers, as well as platforms for emerging artists and mid-development productions. Artist-focused workshops and a day-long industry seminar will also make an appearance. But with so many artists onboard, what themes can be found on the programme this year? Unique Visuals The saturation of numbingly bland digital effects in mainstream cinema (think DC or Marvel universes, swamped with shiny, untouchable superheroes) and the increasing mediation of our lives, for better and worse, through screens and online platforms, throws the live ‘manipulation’ in puppetry and visual theatre into sharp relief. With the puppets’ crafted aesthetic, and the skills of the performers in imbuing their drawings or creatures with life (we can often see the artist performing the trick), we become more aware of the form itself. Such visual ingenuity and grace appears across the manipulate programme. In Wunderkammer, from Figurentheater Tubingen (Germany), ‘the complex, many-faceted medium of the marionette can release our sense and understanding to perceive gravity and magnetism’. In Transmographiles, Hopeful Monster (Scotland) use their hands in innovative ways to create unexpected creatures and characters.

Horror This sense of wonder is not always light; if anything, the macabre and a violent surrealism are often present. The proclivity of horror in visual theatre seems to imply that our fears are themselves already monstrous and the artists are merely reflecting them back to us. In Beguiled from Invisible Thread (England), we are treated to an adaptation of a scary Victorian children’s tale and a scene of slapstick puppetry that features death-defying plank action.

Theatre (Finland), small models placed on bare skin combine with video projections to offer us an intimate view of the refugee crisis, in contrast, perhaps, to the chaotic scenes so often seen on our televisions and in the news. The Paper Cinema (England) return to manipulate with Macbeth, Shakespeare’s tragedy created through intricate pen and ink illustrations that are manipulated and layered in real time in front of a camera and projected on to the big screen.

New Technologies While there may be an analog or handmade aesthetic to these techniques, manipulate nonetheless brings us artists who are working with new technologies and ways of incorporating them into live performance. From a previous inclusion in Dance International Glasgow in 2017 (then shown underneath a motorway flyover), comes Void, the electric and award-winning performance from Mele Broomes. Voidis an adaptation of JG Ballard’s Concrete Island, “reimagined through the lens of a black female protagonist and staged as a meshing of experimental dance and abstract glitch video landscapes.” Scale A theme that runs throughout the programme is that of scale. Many of the manipulate artists exploit the size of their materials to offer us new perspectives. In Invisible Lands, from Livsmedlet

Wunderkammer

Photo: Courtesy of Figurentheater Tuebingen and manipulate

Words: Roisin O'Brien

War While there is plenty of buffoonery and clownery to be had throughout the festival, larger political concerns are brought to the fore too. The festival features a screening of films from Colombian animator Carlos Santa, which will be followed with a Q&A with Santa. Bursting with surreal landscapes and haunting images, and created within a context of a country torn apart by civil war, the films “unflinchingly portray the political context of both the philosophical and the day to day struggles of a people living through cruel and relentless conflict.” With beauty and farce, and from the everyday to our place in a globalised society, this year’s festival promises to be an intriguing, inventive and challenging week. manipulate festival, 2-12 Feb, venues across Scotland manipulatefestival.org

Stage Directions The return of Glasgow Girls, survival against the odds, and a couple of appearances from Rabbie Burns are just a few of the highlights in Scotland’s theatres following the tinsel and dames of panto season

Words: Amy Taylor

hile some of the pantos of Scotland finished last month, a few are still going on (we see you, we appreciate you, it’s only ten more months before panto rehearsals begin again). January 2019 is shaping up to be a colourful and exciting month. Seven years after its explosive debut, Cora Bissett’s award-winning musical drama Glasgow Girls returns with a new cast and a new tour of Scotland, which kicks off on 15 January at Glasgow’s King’s Theatre. Based on the true story of a group of seven Glasgow schoolgirls who, when faced with one of their friends being deported, decided to stand up and do something for all child asylum seekers in Scotland. The tour will also call at King’s Theatre, Edinburgh (23-26 Jan), Perth Theatre (30 Jan-3 Feb), and Eden Court, Inverness (7-9 Feb). Another musical returning after a long absence is Les Misérables, which opens at the Festival Theatre in Edinburgh on 22 January. Come for the songs, stay for the revolution in this dynamic new staging, which has already sold out, but keep your fingers crossed for returns. Louise Welsh and Stuart MacRae return with their fourth operatic collaboration, Anthropocene, which opens at the Theatre Royal, Glasgow on 24 January before touring to Edinburgh’s King’s Theatre (31 Jan-2 Feb) and the Hackney Empire in London (7-9 Feb). Set in the frozen Arctic wastelands, this new opera follows an expeditionary team of scientists as they become trapped, and it

Review

Glasgow Girls

soon becomes apparent that they are not alone. Keeping up with themes of extreme cold weather and isolation, the Royal Lyceum Theatre’s first production of the new year is the long-awaited stage adaptation of Joe Simpson’s bestselling memoir, Touching the Void (24 Jan-16 Feb). Adapted and directed by David Greig, the play follows Simpson and his climbing companion Simon Yates in their infamous attempt to be the first to scale the Siula Grande mountain in the Peruvian Andes in 1985. Although successful,

Simpson’s fall during the descent leads to Yates facing an appalling dilemma; perched on an unstable snow slope, with Simpson hanging from a rope below him, knowing that they will both fall if he doesn’t do anything, he cuts the rope and changes both their lives forever. On a lighter note, Big Burns Supper returns for its eighth year from 24 January to 3 February and brings with it a strong theatre programme. As always, based not on the man himself but on a modern reflection of his work, the festival

THEATRE

Photo: Mihaela Bodlovic

features recognisable names, such as Alan Bissett’s The Moira Monologues (1 Feb) and The Scottish Falsetto Sock Puppet Theatre (27 Jan). That’s alongside new works presented in the festival’s new theatre space, The Container Theatre, including We Know Now Snowmen Exist (26 Jan), based on the Dyatlov Pass Incident in which nine hikers died in mysterious circumstances while trekking through the Ural mountains. Meanwhile, the festival’s cabaret arm features Hans Like a German (27 Jan), Smut Slam (31 Jan), Le Haggis (25-26 Jan) and Queer Haggis (26 Jan), a night of performance from Scotland’s best LGBTQ+ artists. Finishing off the month is Celtic Connections, and while this event is traditionally associated with music, two theatre productions have slipped on to the programme. Taking to the stage at the Tron Theatre is Gary McNair’s tragic comedy McGonagall’s Chronicles (22-25 Jan), his retelling of the life and work of “Scotland’s worst poet” Sir William Topaz McGonagall, which was recently seen at the Traverse as part of its Christmas programming. Warning: contains cabbage. Another appearance from Scotland’s more famous bard, Robert Burns, can be found in Gillian Duffy’s The Ghosting of Rabbie Burns (29 Jan) at Òran Mór. Here, the ghost of the late poet gives dating advice to a very heartbroken woman. Warning: contains songs by Rabbie Burns. theskinny.co.uk/theatre

THE SKINNY

ICYMI In this new series, we ask comedians to get a hold of some cult comedy they’ve never seen before. First up, rising star of the Scottish circuit Amelia Bayler drops some truths on the alternative comedy catalyst Illustration: Xenia Latii

eries one of The Young Ones undid the 14 hours of meditation I had completed on the mindfulness app on my phone… within the first three minutes. There is a lot of shouting and stuff. The last few months of my life spent trying to be mentally and physically well seemed irrelevant as one of the characters, a punk called Vyvyan, entered the scene for the first time by falling through a wall. I fell in love with the unlikeable and disgusting characters instantly. The show centres around a group of students played by a bunch of alt comedy legends: a wanky emo poet (Rik Mayall), an angry punk guy (Adrian Edmondson), a preppy dude (Christopher Ryan) and a sad hippie guy (Nigel Planer). Alexei Sayle also does an alt comedy-style cameo as their landlord and some other pricks. Watching the show is almost like watching Skins but in an alternate universe where all the main characters are straight white guys and on speed rather than MDMA. As I watched the students argue through each episode I almost felt like I was back at a tutorial at uni – just replace the angry punk guy with a Nike Huarache-wearing DJ/promoter. The show is like a comedy Kinder Bueno: nutty observational humour wrapped inside delicious absurdist craziness. Jesus, I’m good at similes. There is a vague narrative broken up by moments where parts of the house come to life as a sort of puppet show and occasionally the characters talk directly to the camera – mainly to perform some purposefully bad stand-up. It has the same subversive energy as when Nirvana went

January 2019

on Top of the Pops and refused to mime properly. There is a cool (insert cool emoji here) band on each episode who play a next level banger and interact vaguely with what’s going on. There are also like fake TV show segments including a show called Nozin’ Around which is a parody of TV shows made for young people. Yeah, the show is meta as f (‘meta’ is quite a trendy word to say right now, isn’t it? Meta meta meta meta meta. ‘I was really meta today. I ate a burger within another burger. It was a Big Mac.’) I like the vibe ‘coz so much different stuff is going on it’s almost like I’m flicking through Instagram stories but I don’t have to press a screen on my phone, I can just lie lifeless under the covers and let it wash over me as I shove cheese puffs into my mouth. I feel the same way about getting into The Young Ones as I did about trying to get into The Velvet Underground when I was younger. Like, I’d be listening to Heroin thinking I was super cool… but I’d be sitting in my Superman pyjamas, eating Special K and arranging to meet my pals for a panini or something. Now, I’m watching these boundary-pushing guys do their thing while the most forward-thinking thing I’ve done recently with comedy is probably plan my travel for a gig booked for 2019. If you’re into Bridget Christie, Stewart Lee or The Mighty Boosh then you’ll enjoy watching this. And vice versa.And in terms of live stuff, also check out the alt comedy nights we have in Glasgow and Edinburgh: Chunks, Peter Pancakes, Project X, Lightbulb and Komedy. I love them.

COMEDY

Review

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Illustration: Michael Arnold

THE SKINNY

Glasgow Music Thu 03 Jan

KING TUT’S NEW YEAR’S REVOLUTION 2019: LUNA THE PROFESSOR (LIGHT FROM THE CITY + THE ALLIES + STONE IVY + EVERYTHING SHAKES (VENUE DJ))

KING TUT’S, FROM 20:00, £8.80

THE BROKEN RAVENS (TWISTER + LITTLE HANDS OF SILVER) NICE ‘N’ SLEAZY, FROM 20:00, £5

The Stornoway thrashers deliver their usual wall of head-banging, foot-stomping fuzz. CATE LE BON

KIRK STRACHAN PIE & BREW, FROM 20:00, FREE

Kirk Strachan is a singer-songwriter based in Glasgow. EUAN STEVENSON TRIBUTE TO BENNY GOODMAN

THE BLUE ARROW, FROM 19:30, £5 - £8

The Welsh singer-songwriter makes a stop in Scotland on her solo piano tour.

Elegance and swing combine as Tom Gibbs, Euan Stevenson and Tom Gordon revisit the music of the great Benny Goodman.

Martin Kershaw continues to be a central figure on the Scottish music scene.

Thu 10 Jan

Sun 13 Jan

Fri 04 Jan

O2 ACADEMY GLASGOW, FROM 19:00, £28.65

Teenage indie-rockers from Wishaw. MARTIN KERSHAW TRIO

THE BLUE ARROW, FROM 19:30, £5 - £8

THE SANDEMANS

ORAN MOR, FROM 19:00, £8

Five-piece indie rock band from Perth.

KING TUT’S NEW YEAR’S REVOLUTION 2019: THE RISING SOULS (PARIAH SOUL + RUN INTO THE NIGHT + THE FRESH START COMPANY (VENUE DJ))

KING TUT’S, FROM 20:30, £8.80

Dynamic soulful rock band hailing from Scotland’s capital city; a punchy and intoxicating amalgamation of rock and soul. NOSTALGIC

NICE ‘N’ SLEAZY, FROM 19:30, £8

Formed in mid-2016, post-punk four-piece Nostalgic play a mix of originals and songs from an era of music that has inspired many of today’s artists.

ST LUKE’S, FROM 19:00, £15 - £16.50

A BOWIE CELEBRATION: THE DAVID BOWIE ALUMNI TOUR

Join key alumni musicians of David Bowie’s bands from across the decades.

KING TUT’S NEW YEAR’S REVOLUTION 2019: BAD HOMBRES (REFUGE ISLAND + FRANKY’S EVIL PARTY + CATS WITH GLASSES + HIIP PRIEST (VENUE DJ))

BLOC+ JAM OPEN MIC

BLOC+, FROM 21:00, FREE

Weekly Open Mic with host Jamie Stuart and friends. KING TUT’S NEW YEAR’S REVOLUTION 2019: STATIC UNION (PLASTIC POETRY + NEONWAVES + CRAIG WHITE + IS THIS MUSIC (VENUE DJ)) KING TUT’S, FROM 20:30, £8.80

Rock’n’roll four-piece from Glasgow.

Four-piece alt-rock band from Glasgow’s Southside. Their sound is influenced by their love of The National, Arcade Fire, Radiohead, The Smiths, and Joy Division.

BROADCAST, FROM 19:00, £5

Mon 14 Jan

KING TUT’S, FROM 20:30, £8.80

ANNA CØNDA

Alternative indie band based in Ayr, playing with fuzzy riffs and four way harmonies. THE BLUE ARROW BIG BAND

GIODYNAMICS

NICE ‘N’ SLEAZY, FROM 20:00, FREE

Improvised open mic with Jer Reid.

THE BLUE ARROW, FROM 19:30, £5 - £8

EMAROSA

ROCK IT! FOR CHARITY: HAPPY NEW YEAR, PUNK (KROW + GROIN DAY + KURO + ANNA SECRET POET)

Fri 11 Jan

Hopeless Records-signed hardcore band from Lexington, Kentucky. Soaring, trembling vocals and rousing guitars.

BOX, FROM 20:00, FREE

The world’s one and only tribute to The Style Council.

Rock It! For Charity sees in the new year with another punk gig but this time it’s an EDM special. DESPERATE DAN

THE BLUE ARROW, FROM 19:30, £5 - £8

Tribute to Steely Dan.

Sat 05 Jan

KING TUT’S NEW YEAR’S REVOLUTION 2019: THE FENCES (GREEDY SOUL + LUKE LA VOLPE + PARIS STREET REBELS + MARK SHARP (VENUE DJ)) KING TUT’S, FROM 20:30, £8.80

Five-piece rock’n’roll band from Clydebank. THE CORE

NICE ‘N’ SLEAZY, FROM 19:30, £10

Glasgow-based five-man rock juggernaut, built on foot stomping songs, instant lyrical hooks and a fine line in haunting melodies.

Sun 06 Jan BLOC+ JAM OPEN MIC

BLOC+, FROM 21:00, FREE

Weekly Open Mic with host Jamie Stuart and friends.

KING TUT’S NEW YEAR’S REVOLUTION 2019: KATEE KROSS & THE AMBERJAX (CORTNE + JAMES EDWYN AND THE BORROWED BAND + LISA KOWALSKI + MICK HARGAN (VENUE DJ))

KING TUT’S, FROM 20:30, £8.80

The Irish and Manx five-piece stir up a lil folky goodness.

Mon 07 Jan

ACOUSTIC OPEN MIC W/ GERRY LYONS

NICE ‘N’ SLEAZY, FROM 20:00, FREE

Come and see some of the best unsigned artists in the country for free. WOLF & MOON

THE HUG AND PINT, FROM 19:30, £7

Wolf & Moon paints a colourful picture between vision and reality.

Tue 08 Jan

KING TUT’S NEW YEAR’S REVOLUTION 2019: BEMZ (DOPESICKFLY + BUSKER RHYMES + DHARMA MACGREGOR + CSGB MEDIA (VENUE DJ)) KING TUT’S, FROM 20:30, £8.80

A rapper from South Ayrshire! You heard!

Wed 09 Jan

KING TUT’S NEW YEAR’S REVOLUTION 2019: FAITHFUL STRANGER (RIGID SOUL + TINY VINYL + GARLANDS + FRESH SOUNDS (VENUE DJ))

KING TUT’S, FROM 20:30, £8.80

Josh Elcock presents The Blue Arrow Big Band. THE STYLE COUNCILLORS

ORAN MOR, FROM 19:00, £15

KING TUT’S NEW YEAR’S REVOLUTION 2019: ST.MARTIINS (FAUVES + RUSSELL STEWART + DRIFT + LITTLE INDIE BLOG (VENUE DJ)) KING TUT’S, FROM 20:30, £8.80

Dundee-based indie duo who’ve drawn comparisons to Model Aeroplanes. HORNED (EXEMPTION)

NICE ‘N’ SLEAZY, FROM 19:30, £5

French hardcore/beatdown band. FROM THE JAM

QUEEN MARGARET UNION, FROM 19:30, £25.50 - £28.05

Original Jam member Bruce Foxton swings by for a belter. DIRT BOX DISCO (REACTION)

BROADCAST, FROM 19:00, £12

Dirt Box Disco are a ‘big-noise’ with their earworm-like punk rock punchlines. EMMA MURDOCH

PIE & BREW, FROM 20:00, FREE

THE GARAGE GLASGOW, FROM 19:00, £14

Tue 15 Jan

KING TUT’S NEW YEAR’S REVOLUTION 2019: DENI SMITH (MATT SPICER + RILEY + KEIR GIBSON + KAT MCGOLDRICK (VENUE DJ)) KING TUT’S, FROM 20:30, £8.80

Sun-soaked pop with a hint of guitar twang, a dash of two-step and oozing personality. BAD SUNS

THE GARAGE GLASGOW, FROM 19:00, £11

Vagrant Records signees, melding 80s post-punk with Elvis Costello’s melodic sensibilities.

Wed 16 Jan

KING TUT’S NEW YEAR’S REVOLUTION 2019: THE FRONTIERS (VEMODALEN + ZOLA + HUMAN RENEGADE + MOSHVILLE TIMES (VENUE DJ)) KING TUT’S, FROM 20:30, £8.80

Up-and-coming alternative rock band from Ayrshire. AVATAR

THE GARAGE GLASGOW, FROM 19:00, £19.25

Emma is a singer-songwriter based in Glasgow.

Swedish metal band.

THE BLUE ARROW, FROM 19:30, £5 - £8

THE HUG AND PINT, FROM 19:30, £12

TRIO MAGICO

FOUR FISTS

Three musicians brought together by their passion and experience in playing Brazilian music.

Atmospheric folk sounds from the Glasgow locals.

Sat 12 Jan

Recently reformed, the trio plays newly composed original material by the leader with influences from mainstream and contemporary jazz, classical and world music styles.

ASKING FOR A FRIEND

ORAN MOR, FROM 19:00, £15

A benefit night, featuring performances from The Shiverin’ Sheiks, Awkward Family Portraits and Emma & The Rag Men, among others. KING TUT’S NEW YEAR’S REVOLUTION 2019: THE MORNING RETAKES (PARLIAMO + BLACK DOVE + THE NOVACS + DAN SOUTH (VENUE DJ)) KING TUT’S, FROM 20:30, £8.80

Punk rock four-piece now based in Glasgow. FLYING BY MIRRORS (NÜ CROS + DAISY MILES)

NICE ‘N’ SLEAZY, FROM 19:30, £8

Making waves throughout Scotland, Glasgow’s Flying By Mirrors are sure to bring a dynamically lively set leaving you hooked from the outset.

PETER JOHNSTONE TRIO

THE BLUE ARROW, FROM 19:30, £5 - £8

Thu 17 Jan

ARCHITECTS (BEARTOOTH + POLARIS)

O2 ACADEMY GLASGOW, FROM 19:00, £37.10

Hardcore Brighton foursome, mixing a pummeling concoction of post-metalcore, metal and progressive to suitably headmangling effect.

KING TUT’S NEW YEAR’S REVOLUTION 2019: FACENDO COSE (THE REASON + MOTHER FOCUS + RUBIAN + UNDERCURRENT (VENUE DJ)) KING TUT’S, FROM 20:30, £8.80

THE 1975

Six-piece soul and funk band from Glasgow.

THE SSE HYDRO, FROM 18:30, £31.20 - £36.90

THE GARAGE GLASGOW, FROM 19:00, FREE

Manchester four-piece crafting wonderful, 80s-indebted pop influenced by youth culture and the modern world.

DAN AND SHAY

American country music duo comprising of vocalists and songwriters Dan Smyers and Shay Mooney.

SUCH GOLD (KOJI + DUCKING PUNCHES)

HAMISH NAPIER (CLAIRE HASTINGS)

BROADCAST, FROM 19:00, £11

GLASGOW ROYAL CONCERT HALL, FROM 20:00, £14.50

Melodic hardcore punk group from New York with a host of releases across some of America’s more respected underground labels. NATHANIEL RATELIFF & THE NIGHT SWEATS

BARROWLANDS, FROM 19:00, £27.50

Highland-born composer and multi-instrumentalist Hamish Napier performs his second solo album, 2018’s The Railway. THE MAMMALS (MAY ERLEWINE)

ST LUKE’S, FROM 19:30, £15

Indie folk rock hard-knock from Denver, Colorado, touring with his band of spirited musicians.

The band Ruth Ungar and Mike Merenda formed in 2001 are back following a lengthy hiatus.

THE FLYING DUCK, FROM 20:00, FREE

THE OLD HAIRDRESSERS, FROM 19:00, £5 - £6

LIKE A LIQUID LAUNCH PARTY

A psychedelic adventure in dreamy noise; a combination of pure electronic instrumentals alongside songs about a spider, a falling man and freezing your toes off. OPENING NIGHT: SYNE OF THE TIMES

GLASGOW ROYAL CONCERT HALL, FROM 19:30, £20 - £24.50

Celtic Connections’ 2019 opening concert inaugurates this year’s theme of passing traditions between generations. LAETITIA SADIER SOURCE ENSEMBLE (MARKER STARLING)

THE HUG AND PINT, FROM 19:30, £12

The latest project from the singer of Stereolab. JOHN BRAMWELL

THE BLUE ARROW, FROM 19:30, £12

The I Am Kloot singer-songwriter and frontman hits the road solo.

Fri 18 Jan

MOXIE (GREG RUSSELL & CIARAN ALGAR)

ORAN MOR, FROM 19:00, £15

Traditional Irish folk updated for the 21st century, often spreading out onto more explorational plains. KING TUT’S NEW YEAR’S REVOLUTION 2019: DANCING ON TABLES (MADE AS MANNEQUINS + ALTINAK + OVER YONDER + CLUB DECODE (VENUE DJ))

KING TUT’S, FROM 20:30, £8.80

Five-piece indie-pop band from Dunfermline. Officially formed in a school cupboard, the boys have spent their last teenage years earning plaudits for their dreamy melodies wrapped up in luring harmonies. GOOSEBUMPS: 25 YEARS OF MARINA RECORDS (FENELLA)

MITCHELL THEATRE, FROM 19:30, £17

Tonight’s finale to 2018’s 25th birthday festivities assembles a vast cast of Marina Records artists. YOU TELL ME

MONORAIL, FROM 17:30, FREE

The new musical venture of Admiral Fallow’s Sarah Hayes and Field Music’ Peter Brewis. BONG

NICE ‘N’ SLEAZY, FROM 19:30, TBC

Improvisational basslines, glacial tempo and crushing guitar fuzz drone tones.

LO RAYS EP LAUNCH

LATE NIGHT SESSIONS

DRYGATE BREWING CO., FROM 23:00, £7.50

Late night music under the Seven Peaks as part of Celtic Connections 2019. HEIR OF THE CURSED (TAMU MASSIF + ROBIN ADAMS)

THE HUG AND PINT, FROM 19:30, £11

Beldina Odenyo Onassis operates under the musical moniker Heir of the Cursed. EMMA MURDOCH

PIE & BREW, FROM 20:00, FREE

Emma is a singer-songwriter based in Glasgow.

JEAN-PAUL ESTIÉVENART TRIO

THE BLUE ARROW, FROM 19:30, £11

NATHANIEL RATELIFF & THE NIGHT SWEATS

BARROWLANDS, FROM 19:00, £27.50

Indie folk rock hard-knock from Denver, Colorado, touring with his band of spirited musicians. TIREE: A TOAST TO 10 YEARS OF TIREE MUSIC FESTIVAL

OLD FRUITMARKET GLASGOW, FROM 21:30, £20

To launch 2019’s 10th edition of Tiree Music Festival, Skerryvore and other Tiree-rooted artists feature on tonight’s bill. PAUL TOWNDROW & THE KEYWORK ORCHESTRA (ESTHER SWIFT)

GLASGOW ROYAL CONCERT HALL, FROM 19:30, £18

Saxophonist Paul Towndrow’s Deepening the River celebrates Glasgow’s transformation into an international trading port following the 17th century dredging of the Clyde.

DIY OR DIE: WOODWIFE + CURDLE + GRAVELLE THE HUG AND PINT, FROM 19:30, £5

Indie rock band from Glasgow.

A brand new gig series by independents for independents.

January 2019

Find full listings at theskinny.co.uk/whats-on

LATE NIGHT SESSIONS

Late night music under the Seven Peaks as part of Celtic Connections 2019. A. WESLEY CHUNG

THE HUG AND PINT, FROM 19:30, £11

Californian-born, Glasgow-based Americana musician, who recently released his debut solo album on Glasgow’s LP Records. SEAN MCGARVEY

PIE & BREW, FROM 20:00, FREE

Lead singer-songwriter in Glasgow indie band Static Union, who has been writing his own music since he was 11 and gigging in bars since he was 13. INSIDE DAVE VAN RONK WITH ROSS CLARK

THE BLUE ARROW, FROM 19:30, £11

Ross Clark of Fiskur plays Dave Van Ronk’s 1964 album. RAMBOOTAN

THE BLUE ARROW, FROM 23:00, £5 - £8

Sat 19 Jan

Sun 20 Jan

British country from Michael Weston King and Lou Dalgleish.

MASTODON (KVELERTAK + MUTOID MAN)

O2 ACADEMY GLASGOW, FROM 19:00, £39.90

Classic and southern-styled rock influences abound as the mighty Atlanta heavy-metallers descend. BLUE ROSE CODE PRESENTS ‘THIS IS CALEDONIAN SOUL’

CITY HALLS, FROM 19:30, £22

What is Caledonian Soul? Ross Wilson (aka Blue Rose Code) will attempt to answer this question with the help of a 14-piece band and some well-known musical friends. KING TUT’S NEW YEAR’S REVOLUTION 2019: WALT DISCO (CRYSTAL + BUBBATREES + CHUCHOTER + TENEMENT TV (VENUE DJ)) KING TUT’S, FROM 20:30, £8.80

HELICON

NICE ‘N’ SLEAZY, FROM 19:30, TBC

ELEPHANT SESSIONS (DALLAHAN)

QUEEN MARGARET UNION, FROM 19:30, £16

Award-winning neo-trad quintet forged in the Highlands of Scotland. KURUPT FM

SWG3 GLASGOW, FROM 22:00, £20

People Just Do Nothing - Kurupt FM on what will “probably” be their last ever tour as the garage group. KATHLEEN MACINNES (AMIINA)

GLASGOW ROYAL CONCERT HALL, FROM 19:30, £16.50

The gorgeous, peat smoked tone of Kathleen MacInnes’ Gaelic singing has earned the South Uist native international acclaim. DEAF SHEPHERD (ALDEN PATTERSON & DASHWOOD)

GLASGOW ROYAL CONCERT HALL, FROM 20:00, £15

Deaf Shepherd return to Celtic Connections to celebrate their 25th anniversary, featuring guest appearances by all of the band’s original members. MOONLIGHT BENJAMIN

ST LUKE’S, FROM 19:30, £15

Haitian musician proclaimed as “the priest of voodoo rock'n'roll”.

FOURTH MOON (DA STREEN)

DRYGATE BREWING CO., FROM 19:30, £14

With a killer – albeit unorthodox – line-up of musicians, Fourth Moon raise the bar with concertina, fiddle, whistles, flute, pipes and guitar.

The Gracious Losers bring their blend of Celtic soul and Americana to The Hug and Pint.

Rambootan are a young funk four-piece from Glasgow bringing funky vibes and neo-soul to the dancefloor.

ORAN MOR, FROM 19:00, £15

ST LUKE’S, FROM 19:30, £15

The Icelandic quartet perform a live score to the 1913 silent movie Juve Contre Fantômas.

LAST NIGHT FROM GLASGOW: THE GRACIOUS LOSERS (L-SPACE (ACOUSTIC))

Belgian trumpet player Jean-Paul Estiévenart is joined by Sam Gerstmans on double bass and Antoine Pierre on drums. MY DARLING CLEMENTINE

AMIINA: FANTÔMAS (MAARJA NUUT + RUUM)

DRYGATE BREWING CO., FROM 19:30, £15

DRYGATE BREWING CO., FROM 23:00, £7.50

DELGRES

UNCLE ACID

Psychedelic doom band hailing from Cambridge, drawing influences from late 60s metal.

GARY INNES (SAVANNAH DONOHOE & CHARLIE GALLOWAY)

DRYGATE BREWING CO., FROM 19:30, £15

Connecting the Caribbean, New Orleans and the Mississippi Delta, French trio Delgres explore the human and cultural history embodied by its lead singer/guitarist Pascal Danaë.

The psych-rockers celebrate the launch of their new EP, Zero Fucks.

THE GARAGE GLASGOW, FROM 19:00, £17

LOST MAP: UNDERACHIEVERS CLUB

THE GLAD CAFE, FROM 14:00, £25

Celtic Connections and Lost Map present the debut show from Underachievers Club, a Glasgowbased collective ran by Siobhain Ma and Craig Angus.

Mànran accordionist and Take the Floor presenter Gary Innes unveils his third solo album, Imminent.

THE GARAGE GLASGOW, FROM 19:00, TBC

21-year-old singer-songwriter from the land down under, specifically Brisbane.

Witty indie-pop trio headed by vocalist and guitarist Dave Tattersall.

Lo Rays combine catchy melodies, heavy breakdowns and unpredictable rhythms.

Flamboyant Glasgow art-pop quartet.

JAKE HILL

THE WAVE PICTURES CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:30, £12 - £13

SALTFISHFORTY (JAMIE SMITH’S MABON)

ORAN MOR, FROM 19:00, £16

Saltfishforty, a fresh and dynamic duo hailing from the Orkney Islands venture south, bringing a treat to the ‘wegians. BLOC+ JAM OPEN MIC

BLOC+, FROM 21:00, FREE

Weekly Open Mic with host Jamie Stuart and friends. DAOIRÍ FARRELL AND FRIENDS: ‘THE DUBLIN SESSION’ CITY HALLS, FROM 19:30, £18

Currently one of the city’s most fêted musical sons, Daoirí Farrell celebrates Dublin’s musical past and present. THE APPARENTS (SMALL SEEDS)

NICE ‘N’ SLEAZY, FROM 19:30, £5

Unapologetic punk rock band from Ayrshire. SONA JOBARTEH

QUEEN MARGARET UNION, FROM 19:30, £18

Gambian/British artist Sona Jobarteh is the first woman of such lineage to attain virtuoso status on the kora, interrupting seven centuries of exclusively male tradition. POWERWOLF

SWG3 GLASGOW, FROM 17:00, £21.50

German power metal band who’ve been active for over 15 years. TWIN BANDIT (STEPH CAMERON)

BROADCAST, FROM 19:00, £8.50

Vancouver-based duo, Hannah Walker and Jamie Elliot continue to expand their sonic palette of folk, alternative and country. NEW VOICES: GRÁINNE BRADY

GLASGOW ROYAL CONCERT HALL, FROM 13:00, £12.50

Cavan-born, now Glasgow-based fiddler Gráinne Brady launches her three-part project Beyond: The Story of An Irish Immigrant. ROAMING ROOTS REVUE: ABBEY ROAD 50TH FEATURING THE SUN KING ORCHESTRA

GLASGOW ROYAL CONCERT HALL, FROM 19:30, £20 - £24.50

Performing Abbey Road picks alongside their own material, performers include KT Tunstall, The Staves, and You Tell Me, among others. JENNA REID & HARRIS PLAYFAIR (MR MCFALL’S CHAMBER + ANDREW COLLINS TRIO) GLASGOW ROYAL CONCERT HALL, FROM 20:00, £16

Shetland fiddler Jenna Reid and her long-standing musical partner, pianist Harris Playfair, team up once again.

THE HUG AND PINT, FROM 19:30, £11

Mon 21 Jan THE STREETS

O2 ACADEMY GLASGOW, FROM 19:00, £48.35

Dry Your Eyes because Mike Skinner and co are back. JIGS N REELZY

NICE ‘N’ SLEAZY, FROM 20:00, FREE

Trad/folk open floor with Neil McDermott. WILLIE WATSON (THE HARMALEIGHS)

BROADCAST, FROM 19:00, £16.50

Founding member of Old Crow Medicine Show, Willie Watson tours on his own playing American folk staples such as Midnight Special and Mexican Cowboy. HAIKU SALUT

THE HUG AND PINT, FROM 19:30, £13

Following the release of second LP Etch and Etch Deep, the Derbyshire-based trio bring their unique ‘lamp show’ to Glasgow, taking to the stage surrounded by a light orchestra of vintage household lamps. LIKE A CAT TIED TO A STICK

THE BLUE ARROW, FROM 19:30, £12

A night of Radiohead songs, re-imagined, rearranged and performed by a ten-piece band of musicians from Glasgow’s vibrant contemporary jazz scene.

Tue 22 Jan FUCKED UP

KING TUT’S, FROM 20:30, £17.60

Hardcore punk outfit hailing from Toronto: as brash and ballsy as their name suggests. CHRIS JAMES (AMANDA MCALLISTAIR + DREW LESSLIE)

NICE ‘N’ SLEAZY, FROM 19:30, TBC

A singer-songwriter who shall be combining the soundtrack themes of Twin Peaks with Radiohead songs. THE YOUTH AND YOUNG (MEGAN D + PETER JOHNSTONE) BROADCAST, FROM 19:00, £6

Taking the energy of Celtic rock and marrying it to the exuberance of modern Scottish indie-folk. SLOTHRUST

STEREO, FROM 19:00, £8

LA-based alt-rock trio, fusing 90s elements with a modern edge.

Wed 23 Jan PETE WYLIE

KING TUT’S, FROM 20:30, £22

The Mighty Wah! frontman sings some songs and tells some tales. NOV3L (LYLO)

NICE ‘N’ SLEAZY, FROM 19:30, £7 - £9

Exciting new Canadian collective, featuring members of Crack Cloud, Women and Cindy Lee. CAKE (ISRAEL NASH)

QUEEN MARGARET UNION, FROM 19:30, £26

START TO END PRESENTS: VAN MORRISON – ASTRAL ST LUKE’S, FROM 19:30, £15

Widely regarded as a classic album across the folk, rock and jazz music worlds, Start to End recreate and reinterpret the youthful, freewheeling nature of the original album. THE ONCE (MIKE VASS)

DRYGATE BREWING CO., FROM 19:30, £15

Canadian trio treading the line between folk, roots and indie. THE SWEETHEART REVUE

THE HUG AND PINT, FROM 19:30, £11

Glasgow-based melody-makers, building their sound on the more mellow, melancholic side of country music. SAM AMIDON

THE BLUE ARROW, FROM 19:30, £15

Experimental folk artist, singer and multi-instrumentalist Sam Amidon tours the UK.

Thu 24 Jan GAVIN JAMES

ORAN MOR, FROM 19:00, £13

Dublin singer-songwriter, stepping out of the shadow of Sam Smith and Ed Sheeran support slots with his debut album. THE WOMBATS (BLAENAVON + VISTAS)

O2 ACADEMY GLASGOW, FROM 19:00, £26.40

The Liverpudlian indie-rock scamps return bigger, brighter, and with their new album in tow. ZOE GRAHAM (JOHN EDGE + THE KINGS OF NOWHERE)

KING TUT’S, FROM 20:30, £8.80

Singer-songwriter who famously wrote an ode to Anniesland.

BLACK CLYDE & THE TUBE DISASTERS (MIDDLE CLASS GUILT + BIGHT + VINCENT)

NICE ‘N’ SLEAZY, FROM 19:30, TBC

Weird name? Must be a punk band. And it is! SOURKATA KOITE (DUNCAN MARQUISS + BURD ELLEN)

PLATFORM, FROM 19:00, £7.50 - £12.50

Sourakata Koite is a member of the much revered and respected Griot cast, itinerant singers immersed in the cultural and musical heritage of West Africa. SONGHOY BLUES

QUEEN MARGARET UNION, FROM 19:30, £18

Malian powerhouse and top notch cheesers perform tracks from their new album Résistance. WARM DRAG

BROADCAST, FROM 19:00, £10

Paul Quattrone of Thee Oh Sees and !!! teams up with singer Vashti Windish on this new musical project. KAISER CHIEFS

BARROWLANDS, FROM 19:00, £40.30

We’re not going to insult your intelligence with ‘Predict a Riot jokes’. You’re better than that. And we don’t predict one anyway. ROO PANES (ME FOR QUEEN)

ST LUKE’S, FROM 19:30, £16

Classical folk/pop outfit hailing from that there London town. MULL HISTORIAL SOCIETY (BERNARD BUTLER + JOEL GARDNER)

CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:30, £17

Colin MacIntyre is a multi-awardwinning musician, producer, author and playwright. His most notable releases have been under the name Mull Historical Society. SNOWFLAKE TRIO (DIANE CANNON)

DRYGATE BREWING CO., FROM 19:30, £14

The clever and satiric rockers, best-known for their ubiquitous hit The Distance, are fronted by John McCrea with his sarcastic lyrics and monotone vocals.

The Norwegian/Irish Snowflake Trio is named for the uniqueness of every performance.

SWG3 GLASGOW, FROM 19:00, £16

Late night music under the Seven Peaks as part of Celtic Connections 2019.

MATT CORBY

Rising Australian singer-songwriter, making sweet sweet waves. ENTER SHIKARI

BARROWLANDS, FROM 19:00, £29

More in the way of new-wave, post-hardcore politicking from the St Albans quartet.

RONNIE SPECTOR & THE RONETTES (UNOMA OKUDO) OLD FRUITMARKET GLASGOW, FROM 20:00, £27

One of the greatest girl groups of all time, Ronnie Spector & The Ronettes perform their hits, and there are loads.

LATE NIGHT SESSIONS

DRYGATE BREWING CO., FROM 23:00, £7.50

IDA MAE

THE HUG AND PINT, FROM 19:30, £11

British soul and acoustic Americana duo. MEZCLA

THE BLUE ARROW, FROM 19:30, £12

Jazz/fusion collective blazing an improv trail.

Fri 25 Jan GAVIN JAMES

ORAN MOR, FROM 19:00, £13

Dublin singer-songwriter, stepping out of the shadow of Sam Smith and Ed Sheeran support slots with his debut album.

Listings

THE WOMBATS (BLAENAVON + VISTAS) O2 ACADEMY GLASGOW, FROM 19:00, £26.40

The Liverpudlian indie-rock scamps return bigger, brighter, and with their new album in tow. RACHEL SERMANNI & JARLATH HENDERSON WITH SCOTTISH CHAMBER ORCHESTRA

CITY HALLS, FROM 19:30, £20

Two of Scottish folk music’s most distinctive contemporary artists take to the stage together to perform brand new arrangements of their respective repertoires. MICHAEL CASSIDY (MICHAEL TIMMONS)

KING TUT’S, FROM 20:30, £11

Paisley musician Michael Cassidy swings by for an eve of contemporary pop-folk. MOLD (OBJECTIFIED)

NICE ‘N’ SLEAZY, FROM 19:30, £5 - £7

Anarchic art-punk band from Manchester.

HEN OGLEDD (GYMNASTIC BAND)

PLATFORM, FROM 19:00, £7.50 - £15

Musical project started by folk maverick Richard Dawson, alongside harpist Rhodri Davies. Here, they are joined by Mrs Richard Dawson, Sally Pilkington and Dawn Bothwell. DANÚ (ÍMAR + HUNTZA)

QUEEN MARGARET UNION, FROM 19:30, £16

Danú’s current core sextet, variously hailing from Waterford, Cork, Dublin and Donegal, casts their musical net wider than ever. ROYAL REPUBLIC

THE GARAGE GLASGOW, FROM 19:00, £16.50

Swedish punk and funk-influenced four-piece, who specialise in making a big ol’ racket. RORY AND THE ISLAND

THE GARAGE GLASGOW, FROM 19:00, £12

Donegal-based musician, with a revolving door of collaborators. DLÙ (CANNY CEILIDH BAND)

BROADCAST, FROM 19:00, £7

DLÙ are an alt-trad band from Glasgow, who met at the Glasgow Gaelic School. J MASCIS

ST LUKE’S, FROM 19:00, £23.50 - £25.85

The Dinosaur Jr frontman goes it alone. JOHN PAUL WHITE

CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:30, £17

Formerly one half of The Civil Wars, the American singersongwriter returns with his first release in nearly a decade.

SAM REIDER & THE HUMAN HANDS (GARDENING FOR BUMBLEBEES) DRYGATE BREWING CO., FROM 19:30, £14

Jazz-schooled pianist Sam Reider and his band fuse the melodic allure of folk with high-wire improvisation and high-octane ensemble verve. LATE NIGHT SESSIONS

DRYGATE BREWING CO., FROM 23:00, £7.50

Late night music under the Seven Peaks as part of Celtic Connections 2019. EMMA MURDOCH

PIE & BREW, FROM 20:00, FREE

Emma is a singer-songwriter based in Glasgow. AK PATTERSON

THE BLUE ARROW, FROM 19:30, £10

AK Patterson’s unique vocal style is at the heart of each performance.

Sat 26 Jan

AMY HELM (ANDREW COMBS)

ORAN MOR, FROM 19:00, £16

Daughter of The Band drummer, Levon Helm, Amy Helm has American roots, quite literally, in her blood.

DEATH CAB FOR CUTIE (THE BETHS)

O2 ACADEMY GLASGOW, FROM 19:00, £32.60

The Ben Gibbard led four-piece do their heart-on-sleeve indie-rock thing, with gem of a song I Will Follow You Into the Dark getting us every bloody time.

SUSHEELA RAMAN (TOM BANCROFT)

CITY HALLS, FROM 19:30, £20

British/Indian musician known for using the sacred Bhakti and Sufi traditions of India and Pakistan to energetic live effect. COLIN MACLEOD

KING TUT’S, FROM 20:30, £12.10

Stornoway alt-indie songwriter Colin Macleod tours his debut album Bloodlines. FROG POCKET

NICE ‘N’ SLEAZY, FROM 19:30, £6

The recording name of Scottish musician John Charles Wilson.

Listings

SETH LAKEMAN (SÍOMHA) QUEEN MARGARET UNION, FROM 19:30, £18

The Devon folk singer-songwriter and virtuoso fiddler does his damned impressive live thing, shredding strings as he goes. FREE THROW

THE GARAGE GLASGOW, FROM 19:00, £10

Going against the country-heavy Nashville music scene, Free Throw are bringing back emo. MONARCHY

BROADCAST, FROM 23:00, £8

A late night show from the English electronic duo, made up of Andrew Armstrong and Ra Black. STICK IN THE WHEEL

BROADCAST, FROM 19:00, £13.20

East London folk band Stick in the Wheel are headed by singer Nicola Kearey and guitarist/producer Ian Carter. NITEWORKS (MERCEDES PEON)

BARROWLANDS, FROM 19:30, £20

Young Scottish folk fusion outfit, mixing Celtic and electronic sounds in live Gaelic vocals, pipes and whistles. SIOBHAN WILSON (OLD SEA BRIGADE)

ST LUKE’S, FROM 19:30, £15

Echoes of great artists such as Joni Mitchell, Kate Bush and Nina Simone can be heard in the soulful songs of Siobhan Wilson. GAELS LE CHÈILE@CEÒL’S CRAIC

CCA: CENTRE FOR CONTEMPORARY ART, FROM 20:00, £15

A celebration of the shared Gaelic culture of Scotland and Ireland featuring Árchú, Anne Martin and DLÙ. BROKEN CHANTER (JILL O’SULLIVAN)

THE GLAD CAFE, FROM 19:30, £14.50

New project from Kid Canaveral’s principal songwriter, David MacGregor. BOYZONE

THE SSE HYDRO, FROM 18:30, £48.25 - £56.75

Ronan, Shane, Keith and Mikey continue proceedings, some 20 years on since they first stormed the pop world. FOFOULAH

DRYGATE BREWING CO., FROM 19:30, £15

London-based collective Fofoulah’s music centres on Gambian frontman Kaw Secka’s shamanic vocals and propulsive sabar drumming. LATE NIGHT SESSIONS

DRYGATE BREWING CO., FROM 23:00, £7.50

Late night music under the Seven Peaks as part of Celtic Connections 2019. DANIEL KNOX

THE HUG AND PINT, FROM 19:30, £11

Part-time late-shift cinema projectionist, part-time musician, Daniel Knox’s goth-tinged chamber pop has garnered comparisons to Tom Waits and Nick Cave. MOTOWN MOMENTS

PIE & BREW, FROM 20:00, FREE

On the last Saturday of every month, Glaswegian starlet Kitty and her hand-picked band play everything from old school Motown and soul, to neo-soul jams. PETER BRODERICK SINGS ARTHUR RUSSELL

THE BLUE ARROW, FROM 19:30, £16

American-born musician Peter Broderick sings the songs of the great Arthur Russell.

Sun 27 Jan

THE DELINES (DORI FREEDMAN)

ORAN MOR, FROM 19:00, £16

New-country/soul outfit lead by Willy Vlautin of Richmond Fontaine, out on tour armed with their new LP. BLOC+ JAM OPEN MIC

BLOC+, FROM 21:00, FREE

Weekly Open Mic with host Jamie Stuart and friends.

KARINE POLWART AND KRIS DREVER WITH SCOTTISH CHAMBER ORCHESTRA

THE KING’S THEATRE, FROM 19:30, £19.25 - £28.25

Karine Polwart and Kris Drever premiere sumptuous orchestral versions of songs old and new, arranged by Pippa Murphy and Kate St John. LOST UNDER HEAVEN

NICE ‘N’ SLEAZY, FROM 20:00, £10

Duo comprising WU LYF’s former frontman Ellery Roberts and Ebony Hoorn.

BAILE AIR BHOIL (INYAL + GRIOGAIR LABHRUIDH & THE LEAGUE OF HIGHLAND GENTLEMEN) QUEEN MARGARET UNION, FROM 20:00, £14

Gaelic club night Baile air Bhoil makes its Celtic Connections debut, headlined by two of Gaelic music’s most innovative acts. SILENT RIVAL

THE GARAGE GLASGOW, FROM 19:00, £8.80

LA-based trio, each originally hailing from a different country. MI MYE

BROADCAST, FROM 19:00, £7

Wakefield folksters fronted by Jamie Lockhart. ASHLEY MONROE (SEAN MCCONNELL)

ST LUKE’S, FROM 19:30, £16

A regular Nashville performer since her mid-teens, Tennessee singer-songwriter Ashley Monroe has been hailed as a new heroine of old-school country. HENRY & FLEETWOOD

THE HUG AND PINT, FROM 19:30, £11

The musical collaboration of Martin John Henry (De Rosa) and Gillian Fleetwood (State Broadcasters). BETH ROWLEY

THE BLUE ARROW, FROM 19:30, £13.50

English singer-songwriter championed by Jools Holland himself, touring after the release of GOTA FRIA in September 2017.

Mon 28 Jan THE HOT SARDINES

THE KING’S THEATRE, FROM 19:30, £19.25 - £28.25

New York’s The Hot Sardines recharge century-old sounds with all their original zest and joie de vivre. ACOUSTIC OPEN MIC W/ GERRY LYONS

NICE ‘N’ SLEAZY, FROM 20:00, FREE

Come and see some of the best unsigned artists in the country for free. CLOUD NOTHINGS

ST LUKE’S, FROM 19:30, £12.50 - £13.75

The Cleveland four-piece fronted by Dylan Baldi are considered torchbearers of frenetic, visceral and thundering rock. BRIGID MAE POWER

THE HUG AND PINT, FROM 19:30, £11

Brigid Mae Power is an Irish singersongwriter and multi-instrumentalist who paints her songs in dreamily expansive strokes, transporting earthly compositions into universal and exultant realms.

GRAEME STEPHEN (AIDAN O’ROURKE QUARTET)

THE BLUE ARROW, FROM 19:30, £15

Graeme Stephen and his trio bring melodic, rhythmic soundscapes to a lucky audience.

Tue 29 Jan

FRANK TURNER AND THE SLEEPING SOULS (JIMMY EAT WORLD + GRACE PETRIE)

O2 ACADEMY GLASGOW, FROM 18:30, £39.90

The former Million Dead singer turned folk troubadour does his thing – full of his usual rockabilly charm – backed by his live band, the Sleeping Souls. GRETCHEN PETERS (THE HONEY DEWDROPS)

THE KING’S THEATRE, FROM 19:30, £19.25 - £28.25

The honey-toned American singersongwriter does her countrified folk thing. START TO END: CAROLE KING – TAPESTRY

MITCHELL THEATRE, FROM 20:00, £12.50

The Start to End lot take on another classic, Carole King’s Tapestry.

CHAMPAGNE SUPERCHILLIN’ (ROMEO TAYLOR)

NICE ‘N’ SLEAZY, FROM 19:30, £8

Breezy psych-riffs and off-kilter garage rock, stylized French-pop numbers and new-wave dance jams with jazz hooks and synthgrooves.

Wed 30 Jan CARLA J. EASTON (MARK MCGOWAN)

ORAN MOR, FROM 19:00, £12

Wondrous, synth-soaked and uncompromising symphonic pop from the Scottish musician. TEN TONNES

KING TUT’S, FROM 20:30, £9.90

George Ezra’s lil bro, Ethan Barnett, paving his own musical career. EDDI READER (LEEROY STAGGER)

THE KING’S THEATRE, FROM 19:30, £19.25 - £28.25

Reader weaves her velvety vocal palette around a selection of traditional and contemporary songs. ACID DAD

NICE ‘N’ SLEAZY, FROM 19:30, £6

NYC hi-fi rockers.

DELPHI (THE ASURAS + FIENDZ)

BROADCAST, FROM 19:00, £6

Four-piece indie rock band from Glasgow. THE DANDY WARHOLS

OLD FRUITMARKET GLASGOW, FROM 19:30, £26.50

The perennial psych-rockers return to the UK promising hits old and new. PAUL MCKENNA BAND

DRYGATE BREWING CO., FROM 19:30, £14

ANDY JENKINS (MT. DOUBT + BEERJACKET)

THE HUG AND PINT, FROM 19:30, £11

American singer-songwriter aiming to put his home state of Virginia back on the musical map.

PRESSURE VALVE UNPLUGGED

BANNERMANS, FROM 19:30, FREE

Local artists play stripped back sets, before the public get to be the stars at karaoke.

Fri 04 Jan STATIC SATELLITES

BANNERMANS, FROM 19:30, £5

Indie/folk band making their Bannermans debut. GHOSTWRITER

LEITH DEPOT, FROM 19:30, TBC

Ghostwriter are celebrating their single launch with a performance at Leith Depot.

Sat 05 Jan

THE APPARENTS (UNF + RISE OF THE FALLEN)

Mother Eat Moth are a fuzzy, noisy, rocky trio, with lots of distortion, lots of power and lots of energy.

JAMES LINDSAY GROUP

Sun 06 Jan

BLACK MIDI

Black Midi is an experimental rock group based in London. THE BLUE ARROW, FROM 19:30, £12

Scottish bass player and composer James Lindsay plays with his band.

Thu 31 Jan

THIS WILD LIFE (WILLIAM RYAN KEY + JAMIE BACON) KING TUT’S, FROM 20:00, £14

Acoustic duo hailing from Long Beach, California, bringing the punk pop sound. BLAZIN’ FIDDLES (KAREN MATHESON + TANXUGUEIRAS)

THE KING’S THEATRE, FROM 19:30, £17.25 - £26.25

Blazin’ Fiddles delight audiences with their Highlands and Islands fiddle music and tales. Fiddles and bows blaze away with guitar and piano for one of the most exciting fiddle ensembles ever to take to the stage. GALOSHINS

NICE ‘N’ SLEAZY, FROM 19:30, TBC

Album launch featuring Rikki Will. DISTANT VOICES: NOT KNOWN AT THIS ADDRESS

QUEEN MARGARET UNION, FROM 19:30, £18

The resulting album of Distant Voices’ songwriting workshops is performed by its co-writers. HYYTS

SWG3 GLASGOW, FROM 19:00, £8

Much-hyped new Glasgow duo, who simply “play pop music”. STEVE MASON

SWG3 GLASGOW, FROM 19:00, £20

The Beta Band frontman plays a solo set, back with his latest album, About the Light.

FREE CAKE FOR EVERY CREATURE (COP GRAVEYARD + CHRISSY BARNACLE) BROADCAST, FROM 19:00, £8

Free Cake For Every Creature is a soft pop band currently based in Philadelphia. BLOOD RED SHOES

STEREO, FROM 19:00, £14

Brighton-based indie rock’n’rollers made up of anthemic yelper Laura-Mary Carter and drummer Steven Ansell, out and touring their latest LP. VANIVES (LIELA MOSS)

CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:30, £12

LOW

Minnesota-formed indie-rock ensemble composed of founding members and married-withkiddies coupling Alan Sparhawk and Mimi Parker.

Tue 01 Jan

THE HUG AND PINT, FROM 19:30, £7 - £10

THE SSE HYDRO, FROM 18:30, £50.70 - £83.70

TRAMWAY, FROM 19:00, £30.25

JARROD DICKENSON (JP RUGGIERI)

THE HUG AND PINT, FROM 19:30, £12

Texas-born singer-songwriter of the folksy variety.

Unapologetic punk rock band from Ayrshire.

BROADCAST, FROM 19:00, £6

THE GOOD ARMS

Late night music under the Seven Peaks as part of Celtic Connections 2019.

Scottish singer-songwriter Paul McKenna and his band draw on both Scottish and Irish roots, in a dynamic, full-bodied array of original and traditional material.

Rising duo fusing electronica, R'n'B and folk. They have left music lovers and critics floored at every turn.

Hard rock band from Glasgow.

LATE NIGHT SESSIONS DRYGATE BREWING CO., FROM 23:00, £7.50

SNOW PATROL

Gary Lightbody et al do their amiable indie-rock thing. We once rather beautifully described them as a “bed-wet fest”. Enjoy. BIRDS OF CHICAGO (SALT HOUSE)

DRYGATE BREWING CO., FROM 19:30, £15

Birds of Chicago brings together the fervent, rousing vocals and haunting, evocative songwriting of Allison Russell and JT Nero, from JT and the Clouds.

BANNERMANS, FROM 19:30, £5

MOTHER EAT MOTH

LEITH DEPOT, FROM 19:30, TBC

OPEN MIC

BANNERMANS, FROM 15:00, FREE

Free music all day from acoustic to blues and rock.

Mon 07 Jan

JED POTTS & THE HILLMAN HUNTERS

BANNERMANS, FROM 19:30, £6

More intimate and electric blues from Potts and his merry band.

Tue 08 Jan

PRESSURE VALVE UNPLUGGED

BANNERMANS, FROM 19:30, FREE

Edinburgh Music Sun 13 Jan

Sat 19 Jan

BANNERMANS, FROM 15:00, FREE

BANNERMANS, FROM 19:30, £9 - £12

OPEN MIC

Free music all day from acoustic to blues and rock. CRANACHAN

BANNERMANS, FROM 21:00, FREE

Classic rock covers from the 60s to present day. FROM THE JAM

THE LIQUID ROOM, FROM 19:00, £28.05

Original Jam member Bruce Foxton swings by for a belter. FUZZBAT PRESENTS (OMEGA CORRIDOR + JOY & STRUGGLE + BURNT PAW)

LEITH DEPOT, FROM 19:30, TBC

A gig featuring a variety of acts of different shapes and sizes.

Mon 14 Jan MUSICIANS CIRCLE

BANNERMANS, FROM 19:30, FREE

A mass gathering of musicians playing together in an off the cuff fashion. BECC SANDERSON - BOWIE

TRAVERSE THEATRE, FROM 19:30, £11

A rare chance to see The Becc Sanderson Sextet perform their album Becc Sanderson Sextet Bows to Bowie in full.

Tue 15 Jan

PRESSURE VALVE UNPLUGGED

THE BROKEN RAVENS (TWISTER + MOTHER NIGHT)

BANNERMANS, FROM 20:00, £9 - £11

The Stornoway thrashers deliver their usual wall of head-banging, foot-stomping fuzz.

Fri 11 Jan

AFTER THE END (EEZILY LED)

BANNERMANS, FROM 19:30, £12

Black Sabbath and Led Zeppelin tributes team up for a night of great rock.

Sat 12 Jan

Edinburgh Blues Club is a Social Enterprise established to harness popular support for regular blues events in Edinburgh to ensure that the city and surrounding areas do not miss out on quality touring blues acts. THE MAMMALS

TRAVERSE THEATRE, FROM 19:30, £11

THE SUPER MOONS (TRAMPLED DAISY)

BANNERMANS, FROM 19:30, £5

SOUTHSIDE OF THE TRACKS

THE QUEEN’S HALL, FROM 19:30, £25

An impressive and carefully selected ‘house band’ of Celtic musicians will be joined by an exciting line-up of guests, to celebrate the The Queen’s Hall’s 40th anniversary.

DEEP SEA CREATURE (REDOLENT + DINOSAUR 94)

OXHEAD (AVU + STYLO)

SNEAKY PETE’S, FROM 19:00, £5

Oxhead is an experimental project of Edinburgh musician Ollie Turbit, primarily focusing on dark, ambient and electronic soundscapes.

Thu 17 Jan

LO RAYS (THE PATRYNS + BARBE ROUSSE)

SNEAKY PETE’S, FROM 19:00, £5

BANSHEEMANS FESTIVAL 4

BANNERMANS, FROM 15:00, £7 - £10

Bannermans and Banshee Labyrinth join forces to present an evening of great acts, touring and local. DJ SCRATCH AND SNIFF (ROBERT RIDLEY SHACKLETON)

HENRY’S CELLAR BAR, FROM 19:30, TBC

The ‘cookie Djs’ create live-mixed improvisational dance music, all the while baking small batches of gourmet vegan cookies live on stage.

SNEAKY PETE’S, FROM 19:00, £5 - £7

NEIL & LIAM FINN

THE STYLE COUNCILLORS

Father-son duo teaming up for the first time to release their debut album Lightsleeper.

Deep Sea Creature is the Scottish alternative rock project of singersongwriter, Liam Dempsey. LA BELLE ANGELE, FROM 19:00, £15

The world’s one and only tribute to The Style Council. FRONT TOWARD ENEMY

LEITH DEPOT, FROM 19:30, TBC

Front Toward Enemy is an alternative rock band from the heart of Scotland that fuse the heart of early 90s rock with classic 70s rock.

Free music all day from acoustic to blues and rock.

EDINBURGH UNIVERSITY UNTAPPED TALENT SOCIETY

SNEAKY PETE’S, FROM 19:00, TBC

The Edinburgh University Untapped Talent Society take over Sneaks for an evening of under the radar talent.

Mon 21 Jan CRANACHAN

THE QUEEN’S HALL, FROM 19:00, £32.50

THE ZANGWILLS (32 TENS)

SNEAKY PETE’S, FROM 19:00, £7.50

The Zangwills, a young energetic North Western four-piece, play alongside 32 Tens in an exciting youthful line-up. THE WAVE PICTURES

SUMMERHALL, FROM 20:00, £12

Witty indie-pop trio headed by vocalist and guitarist Dave Tattersall.

Fri 25 Jan RAMIN KARIMLOO

THE QUEEN’S HALL, FROM 20:00, £28.50

One of the world’s most accomplished stars of the West End and Broadway Stage comes to The Queen’s Hall. TAKE TODAY (WRTHLSS + THC DREAMS)

SNEAKY PETE’S, FROM 19:00, £6 - £8

Killer local line-up including “one of the hardest working new bands to break onto the Glasgow scene.” YORMA + SHOCK AND AWE

LEITH DEPOT, FROM 19:30, TBC

YoRMa, aka Your Reptilian Masters, host a night with friends and legendary three chord heroes, Shock and Awe.

Sat 26 Jan

OXROX PRESENTS (HELL’S GAZELLES + BLACK TREE VULTURES + TANTRUM) BANNERMANS, FROM 19:30, £8 - £10

Three outstanding rock and metal acts team up for a great night of live music. ASHES TO ASHES

THE VOODOO ROOMS, FROM 19:30, £10

Classic rock covers from the 60s to present day.

An all-star cast feature in Ashes to Ashes cabaret tribute to Bowie. All proceeds go to Cabaret vs Cancer.

TRAVERSE THEATRE, FROM 19:30, £11

USHER HALL, FROM 19:30, £30.25 - £60.50

BANNERMANS, FROM 21:00, £10

JOHN GOLDIE & THE HIGH PLAINS

AIRSTREAM FUTURES (MEAN CAESAR)

BANNERMANS, FROM 19:30, TBC

Two great indie punk bands join forces, as Airstream make their Scottish debut. START TO END PRESENTS: VAN MORRISON – ASTRAL

SUMMERHALL, FROM 19:30, £13

Widely regarded as a classic album across the folk, rock and jazz music worlds, Start to End recreate and reinterpret the youthful, freewheeling nature of the original album. OVERLAPS

LEITH DEPOT, FROM 19:30, TBC

MICHALE GRAVES (NOISE POLLUTION + NOT ROBOTS)

The American blues poet does his gravelly-voiced thing.

Fri 18 Jan

HENRY’S CELLAR BAR, FROM 19:00, TBC

OPEN MIC

BANNERMANS, FROM 15:00, FREE

TRAVERSE THEATRE, FROM 19:30, £15

CHRIS SMITHER

BIG ART PETERS (ISAAC BRUTAL)

Big Art Peters comes to Edinburgh for a special one-off show of his Punktry and Western Hootenanny.

Sun 20 Jan

Experimental jam session with special guests.

BANNERMANS, FROM 21:00, £5

A night of metal madness.

Victor Pope Band debut their new album.

The Super Moons arrived from outer space to bring solid guitar music to the masses.

Lo Rays combine catchy melodies with heavy breakdowns and quirky rhythms.

STORMRIDER (RUNEMASTER + SKYRIDER)

THE VICTOR POPE BAND

LEITH DEPOT, FROM 19:30, TBC

Tue 22 Jan

Wed 16 Jan

Thu 10 Jan

Celebrating the 40th Anniversary of ELO’s iconic album Out of the Blue.

THE VOODOO ROOMS, FROM 19:30, £17

EDINBURGH BLUES CLUB (SUGARAY RAYFORD + ANDY GUNN)

Wed 09 Jan BANNERMANS, FROM 20:00, £5

ELO AGAIN

USHER HALL, FROM 19:30, £27.50

Drawing on a rich seam of musical influences, John Goldie’s ability to combine bass, chords, melody and groove together is quite remarkable.

The band Ruth Ungar and Mike Merenda formed in 2001 are back following a lengthy hiatus.

A trip of prog and psychedelic music.

Scotland’s two great tributes to Muse and Rage Against the Machine join forces.

Local artists play stripped back sets, before the public get to be the stars at karaoke.

BANNERMANS, FROM 19:00, FREE

Local artists play stripped back sets, before the public get to be the stars at karaoke. HARVEY & THE MOON (CROW MOON)

MACMUSE (RAGE AGAINST THE DEEN)

Wed 23 Jan

BANNERMANS, FROM 19:30, £15 - £18

GOLDEN GIRLS

Three of the UK’s national treasures, musical theatre star Maria Friedman, soprano Lesley Garrett CBE and actor Bonnie Langford, join forces. ØRMSTONS (PLEASURE HEADS + FIENDZ)

SNEAKY PETE’S, FROM 19:00, TBC

Ørmstons are a four-piece indie rock band from Leeds formed in early 2016. CHRISÈE

THE FOREST CAFE, FROM 16:00, FREE

South London singer-songwriter who has been writing songs since the age of nine. SUPPER CLUB

THE SAFARI LOUNGE, FROM 20:00, £0 - £5

Supper Club is an irregular night for irregular people; a danceable pop, hip-hop and electronic extravaganza with live music from local music-makers and resident DJs playing vinyl. PYGMIES + THE JIT-JIVE DUO

LEITH DEPOT, FROM 19:30, TBC

Pygmies! make their debut at the wonderful Leith Depot, partnered with The Jit-Jive Duo.

The former Misfits frontman makes a welcome return after an epic show last year.

Sun 27 Jan

Thu 24 Jan

Free music all day from acoustic to blues and rock.

THOMAS SILVER

BANNERMANS, FROM 19:30, £11 - £13

Former hardcore superstar guitarist hits Edinburgh for his only Scottish date with his latest band. GOOD GRIEF PRESENTS: IRMA VEP (BUFFET LUNCH) HENRY’S CELLAR BAR, FROM 20:00, £6

Full band show from Welsh musician Edwin Stevens. JOHNNY BROWN

SNEAKY PETE’S, FROM 19:00, £6

At just 18, Cockenzie’s Johnny Brown is already a prolific songwriter, penning his first song at just 13, and he has gigged in and around Edinburgh from a young age. JOHN SMITH

LA BELLE ANGELE, FROM 19:00, £15

John Smith has a uniquely intimate take on love, loss or even murder (?!), combined with his innovative guitar work. HEN OGLEDD

THE MASH HOUSE, FROM 19:00, FREE

Musical project started by folk maverick Richard Dawson, alongside harpist Rhodri Davies. Here, they are joined by Mrs Richard Dawson Sally Pilkington and Dawn Bothwell. BETTY AND THE BASS + THE ECLECTICS

LEITH DEPOT, FROM 19:30, TBC

Country/grunge sweetness from Edinburgh trio.

OPEN MIC

BANNERMANS, FROM 15:00, FREE

AMY HELM

THE VOODOO ROOMS, FROM 19:30, £16

Daughter of The Band drummer, Levon Helm, Amy Helm has American roots, quite literally, in her blood. VISHTÈN

TRAVERSE THEATRE, FROM 19:30, £11

A powerhouse multi-instrumental trio, Vishtèn are flagbearers for their unique Acadian musical tradition throughout the world. FUZZBAT PRESENTS (BELL LUNGS + STAR ROVER + THE PALPS + DR. VZX MOIST + FISTYMUFFS + POCKETS + JOE COGHILL)

LEITH DEPOT, FROM 13:30, TBC

A day-long gig featuring a variety of acts of different shapes and sizes. SIXTIES ON A SUNDAY (FAYE AND THE CRUISERS)

THE BASEMENT THEATRE, FROM 14:00, £7.50

A Sunday afternoon to drink, dance and sing along to simply the most authentic 60s band you will ever hear.

Mon 28 Jan CRANACHAN

BANNERMANS, FROM 21:00, £5

Classic rock covers from the 60s to present day. ADAM HOLMES AND THE EMBERS (HEIDI TALBOT) TRAVERSE THEATRE, FROM 19:30, £16

Young rootsy-pop singersongwriter Adam Holmes plays accompanied by his five-strong band of players, The Embers.

THE SKINNY

MAKENESS SNEAKY PETE’S, FROM 19:00, £8

Just off tour with Unknown Mortal Orchestra, Makeness creates gleefully noisy post-punk electronica.

Tue 29 Jan

PRESSURE VALVE UNPLUGGED

BANNERMANS, FROM 17:00, £5 - £7

Local artists play stripped back sets, before the public get to be the stars at karaoke. BRIGID MAE POWER

SNEAKY PETE’S, FROM 19:00, £10

Brigid Mae Power is an Irish singersongwriter and multi-instrumentalist who paints her songs in dreamily expansive strokes, transporting earthly compositions into universal and exultant realms. THE FARTING SUFFRAGETTES

LEITH DEPOT, FROM 19:30, TBC

Loud, energetic, feminist punk band The Farting Suffragettes bring in the noise for Independent Venue Week.

Sun 27 Jan

THE EXEMPT (NEIL MORRISON BAND + BOOTLACE) CHURCH, FROM 19:00, £3

A newly formed rock band who deliver catchy, uplifting songs with an energetic garage/grungy vibe and thought provoking lyrics.

Wed 30 Jan CHURCH, FROM 19:00, £20 - £35

THE GARAGE GLASGOW, FROM 23:00, £3 - £6

AQUARIA

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

Thu 31 Jan

LA CHEETAH CLUB, FROM 23:00, TBC

ANDREW WASYLYK

THE GARDYNE THEATRE, FROM 19:30, £10 - £12

Also known as Andrew Mitchell, this Idlewilder multi-instrumentalist launches his new album, The Paralian.

A night of local metal.

Tue 01 Jan

THE VOODOO ROOMS, FROM 19:30, £9

BLOC+, FROM 21:00, FREE

Also known as Andrew Mitchell, this Idlewilder multi-instrumentalist launches his new album, The Paralian. SCOTTISH FICTION SHOWCASE (MT DOUBT + MITCHELL MUSEUM + WOJTEK THE BEAR) SNEAKY PETE’S, FROM 19:00, £8

Influential label Scottish Fiction showcases three of its notable acts. AARON WRIGHT

LEITH DEPOT, FROM 19:30, TBC

Alternative singer-songwriter with some new tunes to release as part of Independent Venue Week.

Thu 31 Jan

GIN ANNIE (STATEMENT)

BANNERMANS, FROM 20:00, £8 - £10

Melodic rock outfit return to play their first Bannermans headline date. RASCALTON + STRANGE BONES

SNEAKY PETE’S, FROM 19:00, £9

The most turbo band of Glasgow’s new wave, Rascalton are paired with their southern compatriots Strange Bones. AQUARIA

LA BELLE ANGELE, FROM 19:00, £20 - £35

Aquaria promises a meticulously crafted show, featuring explosive choreography, couture costuming and supported by her talented resident backing dancers. THE VAN T’S (APACHE DARLING)

THE MASH HOUSE, FROM 19:00, £8 - £10

Rapturous surf-pop with rock swagger balanced by sugar-pop harmonies. PAPER RIFLES

LEITH DEPOT, FROM 19:30, TBC

One of Scotland’s finest intelligent bands grace our stage for Independent Venue Week.

NEW YEAR’S DAY

The Handpicked Heavyweights will be supplying comedown classics, down-tempo dreamers and all that boom bap business this NYD at Bloc+. SPITEHOUSE TAKEOVER

NICE ‘N’ SLEAZY, FROM 22:00, FREE

Spitehouse takeover Sleazy’s on New Year’s Day. NYD: SPITE HOUSE DJS

NICE ‘N’ SLEAZY, FROM 22:00, FREE

Queer DJ vibes from DIY legends in the making, Spite House. MAXIMUM PRESSURE X NYD 2019

SWG3 GLASGOW, FROM 19:00, £35

Annual NYD party with an always mammoth line-up. #TAG TUESDAYS

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

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

SUB CLUB, FROM 23:00, £12 - £15

Kerri ‘Kaoz’ Chandler brings the party to Subbie on New Year’s Day. Expect house, soul and lots of love. I AM NYD 2019 (BIG MIZ + AUSTIN ATO)

THE BERKELEY SUITE, FROM 23:00, £8 - £10

THE LOVE AFFAIR (THE MEDINAS)

CLARKS ON LINDSAY STREET, FROM 19:00, £5

Rhythmic, harmony-based collective, seasoned with warmth, love and sprinkled with a fat guitar sound.

Sat 12 Jan DIRTBOX DISCO

BEAT GENERATOR LIVE!, FROM 20:00, £10

Alternative rock/garage/glam confusion of a thing, who claimed to have been formed from the malfunction of a terrible musical laboratory experiment.

Mon 21 Jan

AISTREAM FUTURES (MEAN CASEAR + WOOLEN) CONROY’S BASEMENT, FROM 19:30, £5

High-octane indie punk rockers, featuring members of Chicago punk legends The Methadones, The Bomb and All Eyes West.

Sat 26 Jan

After some absolutely mind melting performances by some stellar guests in 2018, MPC kick off 2019 in their cosy home of La Cheetah. FUNK YER RESOLUTIONS #02

THE BERKELEY SUITE, FROM 23:00, £3 - £5

Expect the warm and soothing sounds of soul, disco, funk, balaeric, Italo, afro and all in between from Lech & Mac as we ease away those New Year blues.

Sat 05 Jan GLITTERBANG

NICE ‘N’ SLEAZY, FROM 23:30, £3

Disco divas and Euro-pop anthems for those ready to sweat. CATHOUSE SATURDAYS

CATHOUSE, FROM 23:00, £5 - £6

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. I LOVE GARAGE

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

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. LEZURE

LA CHEETAH CLUB, FROM 23:00, £0 - £5

Lezure residents will be making full use of the rare chance to soundtrack the night from start to finish in an all night set. SUBCULTURE

SUB CLUB, FROM 23:00, TBC

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

Sun 06 Jan

Wed 02 Jan

Industrial goth rock disco.

NICE ‘N’ SLEAZY, FROM 23:30, FREE

CATHOUSE, FROM 23:00, TBC

IT’S NOT A PHASE, MOM!

Nu-metal, pop-punk, emo and early 00s tunes. CATHOUSE WEDNESDAYS

CATHOUSE, FROM 23:00, £4

DJ Jonny soundtracks your Wednesday with all the best poppunk, rock and hip-hop. GLITTERED! WEDNESDAYS

Fri 04 Jan

MISSING PERSONS CLUB

Start 2019 in style with one of Glasgow’s finest Big Miz and Drums of Death’s Austin Ato.

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

Dundee Music

FRESH BEAT

Aquaria promises a meticulously crafted show, featuring explosive choreography, couture costuming and supported by her talented resident backing dancers.

IMMORTAL OMEN (H8BALL) ANDREW WASYLYK

CATHOUSE FRIDAYS CATHOUSE, FROM 22:30, £5 - £6

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

Wed 30 Jan

BANNERMANS, FROM 20:00, £5

Glasgow Clubs

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

SUNNY SIDE UP (BOP GUN + LYLA)

LA CHEETAH CLUB, FROM 23:00, £3

A charity club night raising funds for sustainable energy in remote villages.

Thu 03 Jan CLUB KIDZ

NICE ‘N’ SLEAZY, FROM 23:30, FREE

THE GARAGE GLASGOW, FROM 23:00, TBC

FOUNDRY

LA CHEETAH CLUB, FROM 23:00, £5

After a year of great guests, the Foundry crew kick 2019 off with a residents night from Craigen and Kane.

Fri 04 Jan HARSH TUG

NICE ‘N’ SLEAZY, FROM 23:30, £3

SCIENCE FICTION

NICE ‘N’ SLEAZY, FROM 23:30, FREE

The Queens of the Glasgow disco scene, fka Drugstore Glamour. UNHOLY

CATHOUSE, FROM 23:00, £2 - £4

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

THE GARAGE GLASGOW, FROM 23:00, TBC

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

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

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

Mon 07 Jan BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

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

Tue 08 Jan CRATER COVE

NICE ‘N’ SLEAZY, FROM 23:30, FREE

#TAG TUESDAYS

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

Wed 09 Jan

THE INESSENTIAL MIX W/ FRANKIE ELYSE

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Frankie Elyse presents you with her inessential mix. CATHOUSE WEDNESDAYS

CATHOUSE, FROM 23:00, £4

DJ Jonny soundtracks your Wednesday with all the best poppunk, rock and hip-hop. GLITTERED! WEDNESDAYS

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

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

Fri 11 Jan SHAKA LOVES YOU

NICE ‘N’ SLEAZY, FROM 23:30, £3

Hip-hop and live percussion flanked by wicked visuals. CATHOUSE FRIDAYS

CATHOUSE, FROM 22:30, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off a week of stress in true punk style. FRESH BEAT

THE GARAGE GLASGOW, FROM 23:00, £3 - £6

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

LA CHEETAH CLUB, FROM 23:00, TBC

Lunacy throw their first party of the year and first party in La Cheetah. RETURN TO MONO: CLOUDS

SUB CLUB, FROM 23:00, £8 - £10

Monthly night from Soma Records taking in popular techno offerings of all hues, this edition joined by bedroom-produced techno scamps Clouds. A WEEKEND AT ART’S HOUSE WITH ARTWORK

THE BERKELEY SUITE, FROM 23:00, £5 - £9

ANNA & HOLLY’S DANCE PARTY

NICE ‘N’ SLEAZY, FROM 23:30, £3

Rock’n’roll, garage and soul. CATHOUSE SATURDAYS

CATHOUSE, FROM 23:00, £5 - £6

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. I LOVE GARAGE

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

LA CHEETAH CLUB, FROM 23:00, £5 - £7

Let’s Go Back return with an eclectic mix of acid, rave, disco, 80s and brand new stuff. SUBCULTURE

SUB CLUB, FROM 23:00, TBC

Long-running house night with residents Harri & Domenic, oft’ joined by a carousel of super fresh guests. A WEEKEND AT ART’S HOUSE WITH ARTWORK

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

Six decades of rock’n’roll under one roof, hosted by the ultimate DJ trivium.

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

Tue 15 Jan OBZRV MUSIC

NICE ‘N’ SLEAZY, FROM 23:30, FREE

All the electronic dance. #TAG TUESDAYS

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence. DON’T BE GUTTED

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Nefarious beats for dangerous times. CATHOUSE, FROM 23:00, £4

DJ Jonny soundtracks your Wednesday with all the best poppunk, rock and hip-hop. GLITTERED! WEDNESDAYS

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

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

SUBCULTURE

SUB CLUB, FROM 23:00, TBC

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

CELTIC CONNECTIONS FESTIVAL CLUB

THE ART SCHOOL, FROM 22:30, £10

Late night music at The Art School as part of Celtic Connections 2019. MILLION DOLLAR DISCO 2019

THE BERKELEY SUITE, FROM 23:00, TBC

As usual, Al Kent will be playing from start till end, treating your ears and feet to four hours of the most wonderful disco music at MDD’s annual party. SYMBIOSIS

AUDIO, FROM 23:00, FREE

NICE ‘N’ SLEAZY, FROM 23:30, FREE

All love songs + all bangers. UNHOLY

CATHOUSE, FROM 23:00, £2 - £4

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

THE GARAGE GLASGOW, FROM 23:00, TBC

The owls are not what they seem. CHEERS FOR THIRD SUNDAY

THE GARAGE GLASGOW, FROM 23:00, TBC

CAMELPHAT

Mysterious duo who make authentic, timeless house music, or so they say. CATHOUSE FRIDAYS

CATHOUSE, FROM 22:30, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off a week of stress in true punk style. FRESH BEAT

THE GARAGE GLASGOW, FROM 23:00, £3 - £6

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore. LT’s first party of 2019.

CELTIC CONNECTIONS FESTIVAL CLUB

THE ART SCHOOL, FROM 22:30, £10

Late night music at The Art School as part of Celtic Connections 2019.

LA CHEETAH CLUB, FROM 23:00, £0 - £5

LA CHEETAH CLUB, FROM 23:00, £5

Pala residents playing all night for their first party of the year.

Fri 18 Jan

THE LANCE VANCE DANCE

EZUP (NICKY + MARK + DEVLN)

Ezup kick start the new year with a residents only affair to rid those January blues.

CELTIC CONNECTIONS FESTIVAL CLUB

THE ART SCHOOL, FROM 22:30, £10

Exotic dreamy disco.

Late night music at The Art School as part of Celtic Connections 2019.

SWG3 GLASGOW, FROM 23:00, FREE

Mon 21 Jan

NICE ‘N’ SLEAZY, FROM 23:30, £3

52GIRLS

52GIRLS aims to bring together a space for women, femmes, nonbinary people and allies to bring empowerment to the foreground. PROJECT X

SWG3 GLASGOW, FROM 22:00, £8

All-new student night themed around the film of the same name, Project X. CATHOUSE FRIDAYS

CATHOUSE, FROM 22:30, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off a week of stress in true punk style. FRESH BEAT

THE GARAGE GLASGOW, FROM 23:00, £3 - £6

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

LA CHEETAH CLUB, FROM 23:00, TBC

Partial’s first party of the year. CELTIC CONNECTIONS FESTIVAL CLUB

THE ART SCHOOL, FROM 22:30, £10

Late night music at The Art School as part of Celtic Connections 2019. COURTESY & SILVER DOLLAR CLUB

THE BERKELEY SUITE, FROM 23:00, £8 - £9

NICE ‘N’ SLEAZY, FROM 23:30, £3

SINGLES NIGHT

Beans + Divine explore the hits on 7” vinyl.

Hip-hop and live percussion flanked by wicked visuals. CATHOUSE SATURDAYS

CATHOUSE, FROM 23:00, £5 - £6

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

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

PALA

SHAKA LOVES YOU

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

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

BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

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

I LOVE GARAGE

LA CHEETAH CLUB, FROM 23:00, TBC

IDA brings her Aberdeen-originating Acid Flash nights to Glasgow and brings along some pals too. SUBCULTURE

SUB CLUB, FROM 23:00, TBC

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

Wed 23 Jan FREAK LIKE ME

Tue 01 Jan HECTOR’S HOUSE

CABARET VOLTAIRE, FROM 23:00, £5 - £6

Since May 2012, Hector’s House (known affectionately to many as Hector’s) has become Edinburgh’s stalwart midweek shindig, drawing in capacity crowds each and every Tuesday. TRASH

THE HIVE, FROM 22:00, FREE

Alternative Tuesday anthems cherry-picked from genres of rock, indie, punk, retro and more. TASTE: NEW YEARS DAY PARTY

THE LIQUID ROOM, FROM 22:30, £6 - £11.25

Taste returns to The Liquid Room for its annual New Year’s Day Party, with resident DJs Fisher & Price, Miss Chris, Martin Valentine and Steven Wanless. SOUL JAM: DRINKING MUSIC

SNEAKY PETE’S, FROM 23:00, £1 - £3

Keep the Champagne flowing as Drinking Music take over the first Soul Jam of 2019. Expect a spread of disco-melters and three-pintdeep belters. PULSE NYD (RODHAD + REBEKAH + PERC + SHIFTED + NEIL LANDSTRUMM) LA BELLE ANGELE, FROM 21:00, £30

Wed 02 Jan

CELTIC CONNECTIONS FESTIVAL CLUB

CATHOUSE, FROM 23:00, TBC

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

CELTIC CONNECTIONS FESTIVAL CLUB

THE ART SCHOOL, FROM 22:30, £10

Late night music at The Art School as part of Celtic Connections 2019.

THE ART SCHOOL, FROM 22:30, £10

Late night music at The Art School as part of Celtic Connections 2019.

Sun 27 Jan

#TAG TUESDAYS

LA CHEETAH CLUB, FROM 23:00, £3 - £4

With an array of strong DJ mixes at blossom, Renegades Of Funk give London resident and high-class DJ Iona her Glasgow debut.

Pulse present their biggest techno line-up in ten years, with their New Year’s Day party taking place over two venues, at La Belle Angele and The Mash House.

NICE ‘N’ SLEAZY, FROM 23:30, FREE

House, disco, funk and soul.

RENEGADES OF FUNK (IONA + ALSHY + NOWICKI)

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

Tue 22 Jan ANWULI SOUND

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

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.

SESH

ELEMENT

LA CHEETAH CLUB, FROM 23:00, TBC

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

CATHOUSE, FROM 23:00, TBC

UNHOLY

CATHOUSE, FROM 23:00, £2 - £4

SWG3 GLASGOW, FROM 22:00, £24.50

NICE ‘N’ SLEAZY, FROM 23:30, £3

PRAY 4 LOVE

Hip-hop, bass and trap.

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

Thu 17 Jan

LYNCH

EXCELLENT WOMEN

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Bangers ripe and ready for your enjoyment.

NICE ‘N’ SLEAZY, FROM 23:30, £3

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Find full listings at theskinny.co.uk/whats-on

STEREO, FROM 23:00, TBC

Take a trip down memory lane with some of emo’s greatest hits.

EASY PEELERS

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Sun 20 Jan

Sat 19 Jan

January 2019

MAKE EMO GREAT AGAIN

Thu 31 Jan

SHAKE APPEAL

Attention Please begin their new monthly dates in La Cheetah.

Sun 13 Jan Twister, beer pong and DJ Ciar McKinley on the ones and twos, serving up chart and remixes through the night.

BLOC+, FROM 23:00, FREE

Sat 26 Jan

ATTENTION PLEASE (BUCCY ST)

LA CHEETAH CLUB, FROM 23:00, £3 - £5

Artwork drops in for a two-night residency at The Berkeley Suite. SESH

I LOVE GARAGE

Fri 25 Jan

Hypnotic Groove are all about the music, DJs and artists, from techno, house, drum’n’bass and hip-hop.

Glasgow’s longest running drum and bass club night.

Najaaraq Vestbirk, aka Courtesy, continues to showcase the visual and musical output of Denmark’s colorful club scene on a world stage.

THE BERKELEY SUITE, FROM 23:00, £5 - £9

OG Kush + hip-hop bangers with Notorious B.A.G.

U2 tribute show.

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

BARE MONDAYS

CATHOUSE WEDNESDAYS

BEAT GENERATOR LIVE!, FROM 20:00, £9

RATTLED AND HUMMIN’

Mon 14 Jan

LA CHEETAH CLUB, FROM 23:00, TBC

Afloat throw their first party of 2019.

EUTONY (HYPNOTIC GROOVE) LA CHEETAH CLUB, FROM 23:00, £5

Late night music at The Art School as part of Celtic Connections 2019.

Wed 16 Jan

AFLOAT

CELTIC CONNECTIONS FESTIVAL CLUB THE ART SCHOOL, FROM 22:30, £10

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.

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

Sat 12 Jan

CATHOUSE, FROM 23:00, £2 - £4

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

Thu 10 Jan

HELLBENT

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

ELEMENT

Arcade’s first event of the year is a disco special with local talent Rebecca Vasmant and Adler and Keo on the warm up.

Artwork drops in for a two-night residency at The Berkeley Suite.

NULL / VOID

Funk, disco, boogie and house.

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

LA CHEETAH CLUB, FROM 23:00, £4 - £5

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Flamboyant fashion disco feast with Ruby Waters. UNHOLY

ARCADE (REBECCA VASMANT + ADLER B2B KET)

CATHOUSE SATURDAYS CATHOUSE, FROM 23:00, £5 - £6

SLIDE IT IN

Classic rock through the ages from DJ Nicola Walker. SESH

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

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

CELTIC CONNECTIONS FESTIVAL CLUB

THE ART SCHOOL, FROM 22:30, £10

WILD ONES

THE HIVE, FROM 22:00, FREE

Perfect blend of modern club chart, and 90s and 00s guilty pleasures. HEATERS: FIRST BIRTHDAY (C-SHAMAN + PERCY MAIN + NICK FROM SNEAKS) SNEAKY PETE’S, FROM 23:00, £1 - £3

It’s a Heaters family affair to celebrate their 53rd week of midweek mischief at Sneaks.

Thu 03 Jan

UNDERGROUND SOCIETY

CABARET VOLTAIRE, FROM 23:00, £3 - £4

Soul, hip-hop and funk.

Late night music at The Art School as part of Celtic Connections 2019.

Weekly party every Thursday with residents Merlot and Dave Hill.

CATHOUSE, FROM 23:00, £4

Mon 28 Jan

THE HIVE, FROM 22:00, FREE

NICE ‘N’ SLEAZY, FROM 23:30, FREE

CATHOUSE WEDNESDAYS

DJ Jonny soundtracks your Wednesday with all the best poppunk, rock and hip-hop. GLITTERED! WEDNESDAYS

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

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

BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

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

Tue 29 Jan

HIVE TILL FIVE FINALE

Open until 5am guaranteed. Three bars, two dancefloors. SILK THURSDAYS

THE LIQUID ROOM, FROM 22:30, £0 - £5

Weekly Thursday chart, house, R’n’B and indie night with DJ Big Al. POPULAR MUSIC

SNEAKY PETE’S, FROM 23:00, £1 - £3

NICE ‘N’ SLEAZY, FROM 23:30, FREE

New wave of underground Glasgow DJ talent.

A new weekly night with a danceable mix of music made by bands, cutting across genre, age and nation.

UNHOLY

Wed 30 Jan

Fri 04 Jan

CATHOUSE, FROM 23:00, £4

CABARET VOLTAIRE, FROM 23:00, £5 - £7

Thu 24 Jan BREAKFAST CLUB

An 80s mega-mix party.

CATHOUSE, FROM 23:00, £2 - £4

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

THE GARAGE GLASGOW, FROM 23:00, TBC

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

ONLY THE SUBJECT

NICE ‘N’ SLEAZY, FROM 23:30, FREE

CATHOUSE WEDNESDAYS

DJ Jonny soundtracks your Wednesday with all the best poppunk, rock and hip-hop. GLITTERED! WEDNESDAYS

FLY

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent.

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

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

Listings

Edinburgh Clubs MIDNIGHT BASS

MIDNIGHT BASS

TEESH (DJ CHEERS + PAKO VEGA)

THE BONGO CLUB, FROM 23:00, £1 - £5

SNEAKY PETE’S, FROM 23:00, £5

Weekly Bongo night by Electrikal Sound System, dishing out drum and bass, jungle, bassline, grime and garage. FLIP

THE HIVE, FROM 22:00, £0 - £4

Weekly Bongo night by Electrikal Sound System, dishing out drum and bass, jungle, bassline, grime and garage. TRASH

THE HIVE, FROM 22:00, FREE

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

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

THE LIQUID ROOM, FROM 22:30, £4 - £5

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

PROPAGANDA

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. MISS WORLD

SNEAKY PETE’S, FROM 23:00, £5

A musical beauty pageant from Miss World Djs, bringing you everything from techno, disco, house, soul, funk, garage and everything in between. RIVIERA PARAISO (ANDREA MONTALTO + YVES)

PROJECT X (IAIN CAMPBELL)

All-new student night themed around the film of the same name, Project X.

Wed 09 Jan WILD ONES

THE HIVE, FROM 22:00, FREE

Perfect blend of modern club chart, and 90s and 00s guilty pleasures. HEATERS: JORJA VAET (C-SHAMAN)

SNEAKY PETE’S, FROM 23:00, £1 - £3

Join resident Montalto and guests as they explore avant-techno experiments.

Jorja Vaet jumps in for his Heaters debut, blending his passion for all things music with his extensive knowledge with technical prowess.

Sat 05 Jan

Thu 10 Jan

CABARET VOLTAIRE, FROM 23:00, £5 - £8

CABARET VOLTAIRE, FROM 23:00, £3 - £4

PARADISE PALMS, FROM 20:00, FREE

PLEASURE

Regular Saturday night at Cab Vol, with residents and occasional special guests. OVERGROUND: FOOTWORK RAVE (PROC FISKAL + WRISK + JD JD + FROST) THE BONGO CLUB, FROM 23:00, £2 - £6

DJs from Hyperdub, Just Jam and more will take over for this oneoff special at Overground. BUBBLEGUM

THE HIVE, FROM 21:00, £0 - £4

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

THE LIQUID ROOM, FROM 22:30, £5 - £6

Monthly party night celebrating the best in soul, disco, rock and pop with music from the 70s, 80s, 90s and current bangers. HECTOR’S HOUSE: GARETH SOMMERVILLE

SNEAKY PETE’S, FROM 23:00, TBC

Hector’s third annual January charity party at Sneakys. All money this year is being donated to Sarcoma UK.

UNDERGROUND SOCIETY

Weekly party every Thursday with residents Merlot and Dave Hill. TASTY

THE HIVE, FROM 22:00, FREE

Delicious start to the weekend with a chart, R’n’B and club anthem flavour. SILK THURSDAYS

A new weekly night with a danceable mix of music made by bands, cutting across genre, age and nation.

Fri 11 Jan FLY

CABARET VOLTAIRE, FROM 23:00, £5 - £7

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent. HEADSET

THE BONGO CLUB, FROM 23:00, TBC

FLIP

THE HIVE, FROM 22:00, £0 - £4

CONVOLVE

WEE RED BAR, FROM 23:00, £5

Dip your toe into the sounds of pleasure powerhouse Jacuzzi General.

Showcasing grime, club, wave, R’n’G flavours. Respect the vibe.

Sun 06 Jan

THE LIQUID ROOM, FROM 22:30, £4 - £5

THE HIVE, FROM 22:00, FREE

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

SNEAKY PETE’S, FROM 23:00, FREE

Believe presents the best in bass DJs from Edinburgh at his weekly Sunday communion. APPRAISE REWOUND

PARADISE PALMS, FROM 16:00, FREE

Jorja Vaet will be soundtracking your recovery Sunday, digging deeper into the artists, record labels, genres and periods featured on the eh-fm radio show Appraise.

PROPAGANDA

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. GO GET BUSY (CLOUDO B2B JD JD)

SNEAKY PETE’S, FROM 23:00, £5

A night of hardcore and rave from Cloudo and JD JD, with special guests TBA.

Sat 12 Jan PLEASURE

CABARET VOLTAIRE, FROM 23:00, £5 - £8

Regular Saturday night at Cab Vol, with residents and occasional special guests. SOULSVILLE: TWO GUYS

THE BONGO CLUB, FROM 23:00, £3 - £6

Mon 07 Jan

Two Guys join Soulsville residents for a main room special.

THE HIVE, FROM 22:00, FREE

THE HIVE, FROM 21:00, £0 - £4

MIXED UP

BUBBLEGUM

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room.

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

Tue 08 Jan

WEE RED BAR, FROM 23:00, £5

HECTOR’S HOUSE

CABARET VOLTAIRE, FROM 23:00, £5 - £6

Since May 2012, Hector’s House (known affectionately to many as Hector’s) has become Edinburgh’s stalwart midweek shindig, drawing in capacity crowds each and every Tuesday.

Listings

THE MASH HOUSE, FROM 23:00, £10

The Shapework trio kick off their 2019 by bringing long-time favourite Pearson Sound to the capital. BEST INTENT (CAMMY COCHRANE)

PARADISE PALMS, FROM 20:00, FREE

THE EGG – DAVID BOWIE SPECIAL

A salad of genres: sixties garage and soul plus 70s punk and new wave, peppered with psych and indie for good measure.

BRING IT ALL BACK PRESENTS HIGH SCHOOL MUSICAL

THE LIQUID ROOM, FROM 22:30, £5 - £8

Bring It All Back celebrate 13 years since the release of the Disney Channel hit musical, High School Musical.

Back by popular demand, dance music stalwart DJ Zinc drops by on his latest UK tour. POPULAR MUSIC

SNEAKY PETE’S, FROM 23:00, £1 - £3

A new weekly night with a danceable mix of music made by bands, cutting across genre, age and nation.

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent. ALLSORTS

THE BONGO CLUB, FROM 23:00, £3 - £5

THE BONGO CLUB, FROM 23:00, FREE

The ABBA club night.

SUNDAY CLUB

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

SNEAKY PETE’S, FROM 23:00, FREE

Believe presents the best in bass DJs from Edinburgh at his weekly Sunday communion.

Mon 14 Jan MIXED UP

THE HIVE, FROM 22:00, FREE

HWTS: SKATEBÅRD

Skatebård’s catalogue oscillates between emotional techno, neo-italo, electro from an alternative future and a Scando-cosmic reinterpretation of pure Detroitian house.

Tue 15 Jan HECTOR’S HOUSE

CABARET VOLTAIRE, FROM 23:00, £5 - £6

Since May 2012, Hector’s House (known affectionately to many as Hector’s) has become Edinburgh’s stalwart midweek shindig, drawing in capacity crowds each and every Tuesday. MIDNIGHT BASS

THE BONGO CLUB, FROM 23:00, £1 - £5

Weekly Bongo night by Electrikal Sound System, dishing out drum and bass, jungle, bassline, grime and garage. TRASH - REFRESHERS ROCKS

THE HIVE, FROM 22:00, FREE

Pop-punk and alt anthems for the new term. PROJECT X (IAIN CAMPBELL)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

All-new student night themed around the film of the same name, Project X.

Wed 16 Jan

WILD ONES - BACK 2 SKOOL

THE HIVE, FROM 22:00, FREE

Two rooms of chart and cheese with a school disco vibe.

HEATERS: MARNIE D + C-SHAMAN

SNEAKY PETE’S, FROM 23:00, £1 - £3

Marnie Davidson brings her honed taste and mixing capabilities back to Sneaky Pete’s, joining forces with C-Shaman.

ELEMNT PRESENTS: DJ HAZARD W/ ELECTRIKAL SOUND SYSTEM

LA BELLE ANGELE, FROM 23:00, £6 - £12

The powerhouse legend of Drum & Bass comes to Edinburgh.

Thu 17 Jan

UNDERGROUND SOCIETY

CABARET VOLTAIRE, FROM 23:00, £3 - £4

Weekly party every Thursday with residents Merlot and Dave Hill. TASTY

THE HIVE, FROM 22:00, FREE

Delicious start to the weekend with a chart, R’n’B and club anthem flavour. SILK THURSDAYS

THE LIQUID ROOM, FROM 22:30, £0 - £5

Weekly Thursday chart, house, R’n’B and indie night with DJ Big Al.

PMSC

PARADISE PALMS, FROM 20:00, FREE

Sun 20 Jan

FLY

Cake & Presents chart and mashups.

THE HIVE, FROM 22:00, FREE

Phase Club’s first dance exclusively at The Mash House, welcoming 2019 with heavy techno sounds and good vibrations all night long.

CABARET VOLTAIRE, FROM 23:00, £5 - £7

Sun 13 Jan Following their December party with Demuja, the Carouse crew return with a local label showcase.

THE MASH HOUSE, FROM 23:00, £4

Fri 18 Jan

A judgement-free party space with no specific genre policy.

CAROUSE

PHASE CLUB (OLLIEBONSALL + NANI + BOTANICS)

Percy Main flings wide the doors to his social club this evening with melters, belters, boogies, woogies, sweat and daiquiris.

Join Paradise Palms in-house resident Cammy for a night of genre-hopping selections, paying close attention to the dancefloor.

SNEAKY PETE’S, FROM 23:00, £8

POPULAR MUSIC

JACUZZI GENERAL

SUNDAY CLUB

SHAPEWORK: PEARSON SOUND

SNEAKY PETE’S, FROM 23:00, £1 - £3

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

PARADISE PALMS, FROM 20:00, FREE

SUMMERHALL, FROM 19:30, £13 - £15

Sing along with the Massaoke band to all your favourite songs from the musicals.

Weekly Thursday chart, house, R’n’B and indie night with DJ Big Al.

THE MASH HOUSE, FROM 23:00, £5 - £7

As always Samedia play music spanning Afrobeat, Latin, kuduru, dancehall, samba, soca, cumbia and beyond.

A MASSAOKE NIGHT AT THE MUSICALS

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room.

THE LIQUID ROOM, FROM 22:30, £0 - £5

Skillis and friends playing garage, techno, house and bass, with special guests often joining in.

SAMEDIA SHABEEN

DJ Cheers presents the all you can eat mind buffet.

CHURCH PRESENTS DJ ZINC THE LIQUID ROOM, FROM 10:30, £6 - £12

SUNDAY CLUB

PROPAGANDA

TELFORT’S GOOD PLACE

SNEAKY PETE’S, FROM 23:00, £5

Edinburgh DJ and producer Telfort introduces his own party night; expect mixes of ethereal house, leftfield hip-hop and techno thumpers. OVERGROUND

THE MASH HOUSE, FROM 23:00, £0 - £5

The Overground ‘Free Rave’ series has become a Mash House institution since it launched in October 2016, and it’s back with a unique blend of high energy music from countless genres. ERROR404: PSYTRANCE SPECIAL

THE MASH HOUSE, FROM 23:00, £0 - £4

Prepare to be taken into another dimension with hard-hitting intergalactic beats and heavy rhythms from the darkest depths of space. CAPRI COLLECTIVE

THE MASH HOUSE, FROM 23:00, £3 - £5

The Capri Collective take over the Mash House’s Loft for a tripped out Edinburgh escapade. THE PEOPLE’S FRONT (THE BURRELL CONNECTION + PARTS UNKNOWN + SLOAN) PARADISE PALMS, FROM 20:00, FREE

The trio behind The People’s Front let the music do the talking, a shared music ideology that draws the dots between disco, Italo and all the curveballs in between. REGGAE GOT SOUL

LEITH DEPOT, FROM 19:30, TBC

A night of reggae, dub, ska and soul.

Sat 19 Jan PLEASURE

CABARET VOLTAIRE, FROM 23:00, £5 - £8

Regular Saturday night at Cab Vol, with residents and occasional special guests. SHADOWPLAY (CHRIS FAST)

HENRY’S CELLAR BAR, FROM 23:00, TBC

A mix of classic goth, post-punk, new wave, dark wave, synth, deathrock and more. MESSENGER

THE BONGO CLUB, FROM 23:00, £5 - £7

Conscious roots and dub reggae rockin’ from the usual beefy Messenger Sound System. BUBBLEGUM

THE HIVE, FROM 21:00, £0 - £4

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

WEE RED BAR, FROM 23:00, £5

Launch party to celebrate Moon Thread’s new line of designs. DAN JUICE

SNEAKY PETE’S, FROM 23:00, £5

Dan Juice returns to Sneaks on a mission to raise money for Capability Scotland. A guaranteed class night of soul, house, hip-hop, techno and worldies.

WACK#4 (CAMERON BURDIS + BOLAM + VOLUMIZE + AIDAN SMITH )

THE MASH HOUSE, FROM 23:00, £4 - £6

WACK is a club night in Edinburgh looking to throw some of the best nights in town, now moving to The Mash House.

Playing the finest in Swedish indiepop, 60s, 70s and independent music from near and far. PROPAGANDA

THE LIQUID ROOM, FROM 10:30, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

COALITION

SNEAKY PETE’S, FROM 23:00, FREE

Mon 21 Jan

THE LIQUID ROOM, FROM 10:30, £4 - £5

WEE RED BAR, FROM 23:00, £4 - £5

Record label La Dune celebrate their first vinyl release with their first party at Sneaks.

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

MAMMA MIA!

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

MJÖLK

LA DUNE (JACQUES TORRANCE + DJ RN + NATIVE CRUISE)

THE HIVE, FROM 22:00, £0 - £4

WEE RED BAR, FROM 23:00, £5

A toast to the Baird. Scottishthemed night, with chart and mashups.

THE HIVE, FROM 22:00, FREE

Believe presents the best in bass DJs from Edinburgh at his weekly Sunday communion.

FLIP FRIDAY’S 3RD BIRTHDAY

FLIP FRIDAY - BURN’S NIGHT THE HIVE, FROM 22:00, £0 - £4

GET SMURF’D, IT’S BLUE MONDAY

THE HIVE, FROM 22:00, FREE

Cheer up on the saddest day of the year, with blue face painting, club and chart. SEVENTYSEVEN’S 1ST BIRTHDAY

SNEAKY PETE’S, FROM 23:00, £0 - £4

A residents all-nighter to celebrate a year of Seventyseven.

Tue 22 Jan HECTOR’S HOUSE

CABARET VOLTAIRE, FROM 23:00, £5 - £6

Since May 2012, Hector’s House (known affectionately to many as Hector’s) has become Edinburgh’s stalwart midweek shindig, drawing in capacity crowds each and every Tuesday. MIDNIGHT BASS

THE BONGO CLUB, FROM 23:00, £1 - £5

Weekly Bongo night by Electrikal Sound System, dishing out drum and bass, jungle, bassline, grime and garage. TRASH

THE HIVE, FROM 22:00, FREE

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

SNEAKY PETE’S, FROM 23:00, TBC

ACID BURNS (LET’S GO BACK)

LA BELLE ANGELE, FROM 23:00, £6 - £9

A massive Burns Night celebration with one of the top Ceilidh bands in the country, followed by an Acid House Party into the wee hours with Let’s Go Back DJs. NSA WITH A LOVE FROM OUTER SPACE (ANDREW WETHERALL + SEAN JOHNSTON)

THE MASH HOUSE, FROM 23:00, £15

Perfect blend of modern club chart, and 90s and 00s guilty pleasures. HEATERS: PALIDRONE (C-SHAMAN)

SNEAKY PETE’S, FROM 23:00, £1 - £3

Palidrone have torched the room every time they’ve played Heaters, with sets packed full of mind blowing selections from their roster of residents. GOOD COMPANY

THE MASH HOUSE, FROM 23:00, £3 - £5

ETC

THE MASH HOUSE, FROM 23:00, £3 - £5

Edinburgh Tekno Cartel celebrate their 7th birthday, returning to one of their favourite themes: video games. MANY ANIMALS (DAVIE MILLER + NEIL PARNEL)

PARADISE PALMS, FROM 20:00, FREE

PLEASURE

CABARET VOLTAIRE, FROM 23:00, £5 - £8

Regular Saturday night at Cab Vol, with residents and occasional special guests.

THE BONGO CLUB, FROM 23:00, £6 - £12

Disco, house and nu-disco. TASTY

THE HIVE, FROM 22:00, FREE

Delicious start to the weekend with a chart, R’n’B and club anthem flavour.

HEY QT

WEE RED BAR, FROM 23:00, £3 - £5

RIDE

Live fast die yung, Ride gals do it well. Teacha El and CheckyerStrides play 00s R’n’B and 90s hip-hop and put their lighters up. JUNGLE MAGIK (SERIAL KILLAZ + DJ KI + G-MAC + DJ TEZ + NAVIGATOR)

LA BELLE ANGELE, FROM 23:00, £8 - £10

100% jungle and drum & bass vibes. NIKNAK

PARADISE PALMS, FROM 20:00, FREE

THE LIQUID ROOM, FROM 10:30, £0 - £5

POPULAR MUSIC

THE HIVE, FROM 22:00, FREE

Weekly Thursday chart, house, R’n’B and indie night with DJ Big Al. SNEAKY PETE’S, FROM 23:00, £1 - £3

A new weekly night with a danceable mix of music made by bands, cutting across genre, age and nation. KINKY DISCO

THE MASH HOUSE, FROM 23:00, FREE

A night of old throwbacks; boogie to some soul, funk and disco.

Fri 25 Jan ELECTRIKAL: DJ GUV

THE BONGO CLUB, FROM 23:00, £8 - £10

Drum & bass special from Electrikal, with DJ Guv.

Perfect blend of modern club chart, and 90s and 00s guilty pleasures.

HEATERS: RAPHAËL TOP-SECRET (C-SHAMAN) SNEAKY PETE’S, FROM 23:00, £5

Boundary breaker, Raphaël TopSecret touches down at Heaters. Expect a seamless journey through anything and everything.

Thu 31 Jan

UNDERGROUND SOCIETY

CABARET VOLTAIRE, FROM 23:00, £3 - £4

TASTY

THE HIVE, FROM 22:00, FREE

Delicious start to the weekend with a chart, R’n’B and club anthem flavour. LA BELLE ANGELE, FROM 23:00, £7 - £12

We Do Disco bring you a night of serious house and disco bangers with none other than O’Flynn, the Musical Wizard himself.

Sun 27 Jan SUNDAY CLUB

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

SNEAKY PETE’S, FROM 23:00, FREE

Believe presents the best in bass DJs from Edinburgh at his weekly Sunday communion.

Mon 28 Jan MIXED UP

THE HIVE, FROM 22:00, FREE

Monday-brightening mix of hiphop, R’n’B and chart classics, with requests in the back room.

WAR HORSE

War Horse continues to tour the UK, telling the story of Albert and his beloved horse Joey, adapted from Michael Morpurgo’s novel. You may as well just start weeping now...

The King’s Theatre ALADDIN

2 JAN-6 JAN 19, TIMES VARY, £12 - £42.50

Elaine C Smith returns as Widow Twankey alongside Johnny Mac as Wishee Washee and Paul-James Corrigan as the Imperial Palace Guard in the magical pantomime adventure. GLASGOW GIRLS

15 JAN-26 JAN 19, TIMES VARY, PRICES VARY

Cora Bissett and David Greig’s lifeaffirming, song-filled drama based on the true story of seven feisty teenagers, whose lives change forever when their school friend is taken to be deported. ROCK OF AGES

22 JAN-26 JAN 19, TIMES VARY, £15 - £59.50

80s-themed musical out on tour after five years on Broadway, following three years of ovationinducing performances in London’s West End. CIRCUS OF HORRORS

9 JAN-9 JAN 19, 7:30PM, £13 - £31

Prepare thyself for a whirlwind of contortionists, flying aerialists, demon dwarfs, sword swallowers, and any other weird thing you can think of – yep, it could only be the Circus of Horrors. GIRLS NIGHT OOT!

11 JAN-12 JAN 19, 7:30PM, £13 - £30

PARADISE PALMS, FROM 20:00, FREE

Sequel to feel-good production I Will Survive, featuring songs from the 60s right through to modern hits. Frothy as it comes.

POPULAR MUSIC

20 JAN-20 JAN 19, 7:30PM, £25.90 - £27.90

SHOOT YOUR SHOT (BONZAI BONNER)

Discotheque provocateurs SYS take you higher with a programme of Italo and synthetic house Djs. SNEAKY PETE’S, FROM 23:00, £1 - £3

A new weekly night with a danceable mix of music made by bands, cutting across genre, age and nation.

Dundee Clubs Fri 11 Jan

BUBBLEGUM - AUSTRALIA DAY

Presenting you with the finest spread of oofties and heart melters, NikNak know how to bring the party.

SILK THURSDAYS

WILD ONES

THE HIVE, FROM 22:00, FREE

READING ROOMS, FROM 22:30, £5 - £10

THE HIVE, FROM 22:00, £0 - £4

Avago and get plonked at The Hive for ‘Straya Day. Chart, R’n’B and pop.

Thu 24 Jan

DISCO BISKIT (DAN SHAKE + AARON L)

Wed 30 Jan

The Disco don from Oban, who releases on Futureboogie and Phonica, takes on the Reading Rooms.

Funk, soul, beats and bumps from the Mumbo Jumbo gang and room two residents The GoGo.

SNEAKY PETE’S, FROM 23:00, £5

Weekly party every Thursday with residents Merlot and Dave Hill.

All-new student night themed around the film of the same name, Project X.

PHAZED PRESENTS AUSTIN ATO (TEDDY HANNAN + WALKER)

Sweaty dance disco for queer folk and their pals.

UNDERGROUND SOCIETY

PROJECT X (IAIN CAMPBELL)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

THE BONGO CLUB, FROM 23:00, £3 - £7

MUMBO JUMBO W/ THE GOGO

Funk, soul, disco and house with DJ Spudcannon, Iced Gem and Louis Ravens.

CABARET VOLTAIRE, FROM 23:00, £3 - £4

Since May 2012, Hector’s House (known affectionately to many as Hector’s) has become Edinburgh’s stalwart midweek shindig, drawing in capacity crowds each and every Tuesday.

WE DO DISCO LAUNCH W/ O’FLYNN (MAHDI BEN HAMOU)

SKOOP: BURNS NIGHT SPECIAL

THE BONGO CLUB, FROM 23:00, £8 - £12

WILD ONES

15 JAN-2 FEB 19, TIMES VARY, £14.20 - £69.25

THE MASH HOUSE, FROM 23:00, £5 - £6

Edinburgh’s own SKOOP collective are doing Burns Night in a big way, bringing together the finest MCs and producers from across the spectrum of Scottish rap and beyond.

Sat 26 Jan

THE HIVE, FROM 22:00, FREE

CABARET VOLTAIRE, FROM 23:00, £5 - £6

Weekly party every Thursday with residents Merlot and Dave Hill.

Wed 23 Jan

Distrikt return with drum & bass heavyweight Friction, alongside MC Linguistics.

SEC

HECTOR’S HOUSE

A Love From Outer Space has risen out of a smoky North London basement and onto the stages of the world’s most discerning festivals and underground dance floors.

Many Animals return for their monthy residency at Palms, known for booking legends such as Justin Robertson, Timothy ‘Heretic’ Clerkin and Jon Pleased Wimmin.

DISTRIKT X ELECTRIKAL: FRICTION + MC LINGUISTICS

Tue 29 Jan

Glasgow Theatre

THANK ABBA FOR THE MUSIC

A theatre spectacular that captures all of the magic and excitement of one of pop history’s most successful and entertaining live bands. THE ROLLING STONES STORY

10 JAN-10 JAN 19, 7:30PM, £13 - £28

A tribute show to The Rolling Stones. UK PINK FLOYD EXPERIENCE

13 JAN-13 JAN 19, 7:30PM, £13 - £27.50

Recreating the atmosphere of a Pink Floyd live performance, including impressive video projection on a large circular screen and a stunning light show.

The Pipe Factory SURINAME

23 JAN-26 JAN 19, 7:30PM, £5

Translated from its original Cypriot text, Stefanos Stavridis and Brief Palava present the English of this absurd existential comedy.

Theatre Royal

SCOTTISH BALLET CINDERELLA

4 JAN-12 JAN 19, TIMES VARY, PRICES VARY

CCA: Centre for Contemporary Art

Scottish Ballet perform their majestic take on the classic fairytale, telling the story of Cinders, her ugly stepsisters, wicked stepmother and a run-in with a dashing prince.

17 JAN-18 JAN 19, 7:00PM, £6

24 JAN-2 FEB 19, 7:15PM, PRICES VARY

TATRAUM PROJEKTE SCHMIDT

Performance from a temporary artistic collective from Glasgow and Düsseldorf, who are performatively investigating the political stresses that Europe finds itself under.

SCOTTISH OPERA: ANTHROPOCENE

This fourth collaboration between composer Stuart MacRae and librettist Louise Welsh promises a night of unrelenting dramatic tension and superb storytelling.

Oran Mor

Tramway

22 JAN-29 JAN 19, TIMES VARY, PRICES VARY

3 JAN-6 JAN 19, TIMES VARY, £9 - £12.50

THE GHOSTING OF RABBIE BURNS

Featuring the great songs and poems of Burns, this hilarious new comedy proves that love and relationships haven’t changed that much in 200 years after all.

A CHRISTMAS CAROL

The Christmas staple takes to the stage thanks to an adaptation by Citizens Theatre and director Dominic Hill, starring everyone from Scrooge to Tiny Tim. Bah humbug, etc.

Royal Tron Theatre Conservatoire of MAMMY GOOSE 2 JAN-6 JAN 19, TIMES VARY, £9 - £23 Scotland Mammy Goose’s life is a mess, until A MIDSUMMER NIGHT’S DREAM

23 JAN-26 JAN 19, TIMES VARY, £12.50 - £15

A Midsummer Night’s Dream is a story of illusion, mischief and transformation, celebrating the creative and often destructive power of love.

a mysterious stranger makes her an offer: the chance to be young again. All she has to do is trade in her pet goose.

THE SKINNY

Theatre

Comedy

Edinburgh Theatre

Mon 07 Jan

Festival Theatre LES MISERABLES

22 JAN-16 FEB 19, TIMES VARY, £23 - £65

After nearly a decade since the last sell-out UK tour, Cameron Mackintosh’s acclaimed Broadway production of Boublil and Schönberg’s musical Les Misérables comes to Edinburgh.

King’s Theatre Edinburgh BEAUTY AND THE BEAST

2 JAN-20 JAN 19, TIMES VARY, £17.50 - £35

Allan and Grant return in a beast of a Pantomime.

Whitehall Theatre SOUL LEGENDS

25 JAN-25 JAN 19, 7:30PM, £30

A night of classics from yesteryear, including songs by Aretha Franklin, James Brown, Sam and Dave, Tina Turner and others. CHILDREN OF EDEN JR

12 JAN-13 JAN 19, TIMES VARY, £13.50 - £15.50

Based on the story of Genesis, the age-old conflict of parents and children takes the stage in this epic, heartfelt Stephen Schwartz musical.

Glasgow Comedy

GLASGOW GIRLS

15 JAN-26 JAN 19, TIMES VARY, PRICES VARY

24 JAN-2 FEB 19, 7:15PM, PRICES VARY

This fourth collaboration between composer Stuart MacRae and librettist Louise Welsh promises a night of unrelenting dramatic tension and superb storytelling.

Royal Lyceum Theatre WENDY AND PETER PAN

2 JAN-5 JAN 19, TIMES VARY, £10 - £30

One of the world’s best loved stories about the boy who never grows up, from Scottish writer J.M. Barrie. TOUCHING THE VOID

24 JAN-9 FEB 19, TIMES VARY, £10 - £32

The Lyceum’s Artistic Director David Greig brings his award-winning writing skills to the first stage adaptation of Joe Simpson’s memoir.

The Basement Theatre

THE GHOSTING OF RABBIE BURNS

22 JAN-29 JAN 19, TIMES VARY, PRICES VARY

Featuring the great songs and poems of Burns, this hilarious new comedy proves that love and relationships haven’t changed that much in 200 years after all. RABBIE BURNS THE MUSICAL

23 JAN-24 JAN 19, 7:30PM, £10 - £12

Fresh from the Edinburgh Fringe, this new and energising take on the life of The Bard is a show not to be missed.

The Edinburgh Playhouse SHEN YUN

24 JAN-25 JAN 19, TIMES VARY, £62 - £115

Classic dance, a full orchestra, costumes and backdrops celebrate the history and heritage of China. KINKY BOOTS

2 JAN-5 JAN 19, TIMES VARY, £19.50 - £70

With songs by Grammy and Tony Award-winning pop icon Cyndi Lauper, Kinky Boots takes you from the factory floor to the glamorous catwalks of Milan. FASTLOVE

12 JAN-12 JAN 19, 7:30PM, £23.75 - £53.75

A tribute to George Michael.

Dundee Theatre Caird Hall

SOME GUYS HAVE ALL THE LUCK

19 JAN-19 JAN 19, 7:30PM, £23 - £24

Brand new theatrical production celebrating the career of one of rock’s greatest icons, Rod Stewart.

The Gardyne Theatre

THOMSON LENG MUSICAL SOCIETY PRESENTS BEAUTY AND THE BEAST

1 JAN-2 JAN 19, TIMES VARY, £14 - £16

The eighth pantomime season for Thomson-Leng delves into the ‘tale as old as time’.

January 2019

Wed 02 Jan

COMEDIAN RAP BATTLES (THE WEE MAN)

THE STAND GLASGOW, FROM 20:30, £4 - £6

Comedy and rap collide.

NEW MATERIAL COMEDY NIGHT

YESBAR, FROM 20:00, £3

MONDAY NIGHT IMPROV (BILLY KIRKWOOD + STU MURPHY + GARRY DOBSON)

THE STAND GLASGOW, FROM 20:30, £3

Fab comedian improv battle. KOMEDY

YESBAR, FROM 20:30, £0 - £3

Komedy is back with six of Scotland’s raddest alternative comedians all doing material on a brand new theme.

Tue 08 Jan

RED RAW (JAMIE DALGLEISH + DARREN CONNELL)

THE STAND GLASGOW, FROM 20:30, £3

Legendary new material night with up to ten acts.

Wed 09 Jan

NEW MATERIAL COMEDY NIGHT

YESBAR, FROM 20:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

Thu 10 Jan

THE THURSDAY SHOW (JARRED CHRISTMAS + MARY BOURKE + JAMIE DALGLEISH + LIAM WITHNAIL)

THE STAND GLASGOW, FROM 20:30, £7 - £10

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

Start the weekend early with five comedians.

Thu 03 Jan

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

THE THURSDAY SHOW (DAN NIGHTINGALE + DAMIAN CLARK + RADU ISAC + BILLY KIRKWOOD)

THE STAND GLASGOW, FROM 20:30, £7 - £10

Start the weekend early with five comedians. YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 04 Jan

THE FRIDAY SHOW (DAN NIGHTINGALE + DAMIAN CLARK + RADU ISAC + BILLY KIRKWOOD)

THE STAND GLASGOW, FROM 20:30, £10 - £12

The big weekend show with five comedians. THE LATE SHOW

YESBAR, FROM 22:15, £10

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit. THE EARLY SHOW

YESBAR, FROM 19:30, £10

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit.

Sat 05 Jan

THE SATURDAY SHOW (DAN NIGHTINGALE + DAMIAN CLARK + RADU ISAC + BILLY KIRKWOOD)

THE STAND GLASGOW, FROM 21:00, £17.50

YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Fri 11 Jan

THE FRIDAY SHOW (JARRED CHRISTMAS + MARY BOURKE + JAMIE DALGLEISH + LIAM WITHNAIL)

THE STAND GLASGOW, FROM 20:30, £10 - £12

The big weekend show with five comedians. THE LATE SHOW

YESBAR, FROM 22:15, £10

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit. THE EARLY SHOW

YESBAR, FROM 19:30, £10

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit.

Sat 12 Jan

THE SATURDAY SHOW (JARRED CHRISTMAS + MARY BOURKE + JAMIE DALGLEISH + LIAM WITHNAIL)

THE STAND GLASGOW, FROM 21:00, £17.50

The big weekend show with five comedians. THE LATE SHOW

YESBAR, FROM 22:15, £10

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit. THE EARLY SHOW

YESBAR, FROM 19:30, £10

The big weekend show with five comedians.

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit.

YESBAR, FROM 22:15, £10

Sun 13 Jan

THE LATE SHOW

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit. THE EARLY SHOW

YESBAR, FROM 19:30, £10

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit.

Sun 06 Jan

MICHAEL REDMOND’S SUNDAY SERVICE (RAYMOND MEARNS + BRYAN GHOSH)

THE STAND GLASGOW, FROM 20:30, £5 - £6

Chilled Sunday night laughs to see the weekend out. GLASGOW KIDS COMEDY CLUB (MR FIBBERS)

THE STAND GLASGOW, FROM 15:00, £4

The Stand Comedy Club presents a live stand-up show for younger fans every month, with three top comedians at every show.

YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

YESBAR, FROM 20:00, £3

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s Comedy Sunday School.

Thu 17 Jan

THE THURSDAY SHOW (IAN MOORE + JAMIE MACDONALD + JOE WELLS + YVONNE CARROLL)

THE STAND GLASGOW, FROM 20:30, £7 - £10

Start the weekend early with five comedians. YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland. FLO AND JOAN: ALIVE ON STAGE

THE STAND GLASGOW, FROM 18:00, £12

THE FRIDAY SHOW (IAN MOORE + JAMIE MACDONALD + JOE WELLS + YVONNE CARROLL)

THE EARLY SHOW

YESBAR, FROM 19:30, £10

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit.

Sat 19 Jan

THE SATURDAY SHOW (IAN MOORE + JAMIE MACDONALD + JOE WELLS + YVONNE CARROLL)

THE STAND GLASGOW, FROM 21:00, £17.50

The big weekend show with five comedians. THE LATE SHOW

YESBAR, FROM 22:15, £10

Sun 20 Jan

ANDREW DOYLE: FRIENDLY FIRE

THE STAND GLASGOW, FROM 20:30, £8 - £11

THE EARLY SHOW

Sat 05 Jan

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit. BURNS NIGHT SPECIAL (DAVID KAY)

THE STAND GLASGOW, FROM 20:30, £5 - £6

YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

YESBAR, FROM 20:00, £3

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s Comedy Sunday School. SOCCER FM EPISODE 100 LIVE (RAY BRADSHAW + STEVEN MILL)

THE STAND GLASGOW, FROM 16:00, £8

Join Stand up comedian Ray Bradshaw and Capital FM breakfast host Steven Mill as they host their 100th episode of the hit Scottish football podcast Soccer FM Live at The Stand.

Mon 28 Jan

THE STAND GLASGOW, FROM 20:30, £5 - £7

Tue 29 Jan

RED RAW (GARETH MUTCH + CHRISTOPHER MACARTHUR-BOYD)

THE STAND GLASGOW, FROM 20:30, £3

Legendary new material night with up to ten acts.

THE STAND GLASGOW, FROM 17:00, FREE

A brand new Harry Potter play from some of Edinburgh’s most top notch improv wizards.

FRED AT THE STAND: RADIO 4 RECORDINGS

Join Fred as he introduces a wide range of hand-picked stand-up comedians for the next series of Fred at The Stand.

Tue 22 Jan

RED RAW (GARETH MUTCH + CHRISTOPHER MACARTHUR-BOYD)

THE STAND GLASGOW, FROM 20:30, £3

Legendary new material night with up to ten acts. BURNS NIGHT SPECIAL

YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

Tue 15 Jan

Thu 24 Jan

Join Fred as he introduces a wide range of hand-picked stand-up comedians for the next series of Fred at The Stand.

THE COMEDY SHOW (CHRIS FORBES + RAY BRADSHAW + ZAHRA BARRI + MARK NELSON)

Andrew Doyle is one of the UK’s foremost political satirists. Friendly Fire is his seventh solo stand-up show.

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s Comedy Sunday School.

THE STAND GLASGOW, FROM 20:30, FREE

THE LATE SHOW

YESBAR, FROM 22:15, £10

The big weekend show with five comedians.

A fantastic night of comedy in support of Amnesty International’s vital work.

THE EARLY SHOW

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s Comedy Sunday School.

FRED AT THE STAND: RADIO 4 RECORDINGS

THE STAND EDINBURGH, FROM 20:30, £17.50

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

YESBAR, FROM 19:30, £10

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit.

YESBAR, FROM 20:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

MONKEY BARREL COMEDY’S BIG FRIDAY SHOW (RICK MOLLAND + PAUL CURRIE + HARRIET KEMSLEY)

BENEFIT IN AID OF AMNESTY INTERNATIONAL GLASGOW WEST (GARETH WAUGH + DONALD ALEXANDER + JAY LAFFERTY)

YESBAR, FROM 20:00, £3

THE STAND GLASGOW, FROM 21:00, £17.50

The big weekend show with five comedians.

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit.

Celebrate Burns night with an evening of top comedy.

NEW MATERIAL COMEDY NIGHT

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

Celebrate Burns night with an evening of top comedy.

Chilled Sunday night laughs to see the weekend out.

Wed 16 Jan

Sat 12 Jan

THE SATURDAY SHOW (ANDREW RYAN + JOM SMITH + ELLIOT STEEL + CHRIS FORBES)

THE LATE SHOW

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit.

THE THURSDAY SHOW (ANDREW RYAN + JOM SMITH + ELLIOT STEEL + CHRIS FORBES)

THE STAND GLASGOW, FROM 20:30, £7 - £10

Start the weekend early with five comedians. YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 25 Jan

THE FRIDAY SHOW (ANDREW RYAN + JOM SMITH + ELLIOT STEEL + CHRIS FORBES) THE STAND GLASGOW, FROM 20:30, £10 - £12

The big weekend show with five comedians.

Find full listings at theskinny.co.uk/whats-on

THE FRIDAY SHOW (KEIR MCALLISTER + ANGELA BARNES + DONALD ALEXANDER + LOUISE YOUNG)

The big weekend show with five comedians.

Sat 26 Jan

Sun 27 Jan

YESBAR, FROM 22:15, £10

THE BASEMENT THEATRE, FROM 20:00, £10 - £12

Fri 18 Jan

THE STAND EDINBURGH, FROM 20:30, £10 - £12

THE STAND GLASGOW, FROM 20:30, £10 - £12

The big weekend show with five comedians.

A brand new Harry Potter play from some of Edinburgh’s most top notch improv wizards.

THE COMEDY SHOW (CHRIS FORBES + CHRISTOPHER MACARTHUR-BOYD + SUSAN RIDDELL + ABIGOLIAH SCHAMAUN)

Weekly comedy show at the Basement every Friday and Saturday night, with a different line-up and headliner each week, combining up-and-coming talent with Fringe favourites.

YESBAR, FROM 19:30, £10

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit.

YESBAR, FROM 19:30, £10

THE STAND GLASGOW, FROM 20:30, £5 - £6

THE STAND GLASGOW, FROM 20:30, £3

THE EARLY SHOW

Fri 18 Jan

THE STAND GLASGOW, FROM 20:30, £5 - £6

Legendary new material night with up to ten acts.

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit.

Wed 23 Jan

RED RAW (RAYMOND MEARNS + CHRIS FORBES)

SPONTANEOUS POTTER MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

Musical comedy duo and sisters Flo and Joan travel the country with a new hour of their dark and witty songs.

MICHAEL REDMOND’S SUNDAY SERVICE

YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

THE LATE SHOW YESBAR, FROM 22:15, £10

Wed 30 Jan SPONTANEOUS POTTER

THE STAND GLASGOW, FROM 20:30, £5

Thu 31 Jan

Fri 04 Jan

THE FRIDAY SHOW (DAVE JOHNS + JOHN ROSS + LAUREN PATTISON + ROSS LESLIE + GUS LYMBURN)

THE STAND EDINBURGH, FROM 20:30, £10 - £12

Monkey Barrel’s flagship night of premier stand-up comedy. THE SATURDAY SHOW (DAVE JOHNS + JOHN ROSS + LAUREN PATTISON + ROSS LESLIE + GUS LYMBURN) THE STAND EDINBURGH, FROM 20:30, £17.50

The big weekend show with five comedians.

MONKEY BARREL COMEDY’S BIG SATURDAY SHOW (RICK MOLLAND + PAUL CURRIE + HARRIET KEMSLEY)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £14

Monkey Barrel’s flagship night of premier stand-up comedy.

Sun 06 Jan

THE SUNDAY NIGHT LAUGH-IN (VLADIMIR MCTAVISH + GARETH WAUGH) THE STAND EDINBURGH, FROM 20:30, £5 - £6

Chilled Sunday night comedy to see out the weekend. STU & GARRY’S FREE IMPROV SHOW

THE STAND EDINBURGH, FROM 13:30, FREE

Legendary free Sunday afternoon improv show. TBC IMPROV COMEDY

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

The To Be Continued crew return with more sketches, scenes and improvised antics. MONKEY BARREL COMEDY’S BIG SUNDAY SHOW

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £5

Laugh your way into a new week with a cracking stand-up bill of seasoned pros and hotly-tipped rising stars.

Mon 07 Jan RED RAW

THE STAND EDINBURGH, FROM 20:30, £3

Legendary new material night with up to ten acts.

Tue 08 Jan BONA FIDE

THE STAND EDINBURGH, FROM 20:30, £5 - £6

New material specially written for the night by some of the countries finest comedians.

THE THURSDAY SHOW (DAVE JOHNS + SILKY + JULIA SUTHERLAND + LIAM FARRELLY)

Wed 09 Jan

THE STAND GLASGOW, FROM 20:30, £7 - £10

THE STAND EDINBURGH, FROM 20:30, £5 - £6

Start the weekend early with five comedians.

MIDWEEK COMEDY CABARET (GARETH MUTCH + BRYAN GHOSH)

Midweek comedy showcase.

TOP BANANA (LIAM WITHNAIL + GARETH WAUGH)

Edinburgh Comedy Tue 01 Jan

HOOTFEST! (DAVE FULTON + LIAM WITHNAIL + JAY LAFFERTY + GARETH MUTCH + STU MURPHY)

THE STAND EDINBURGH, FROM 20:30, £15

Laugh your way into the new year at Scotland’s favourite comedy club. JOJO SUTHERLAND AND SUSAN MORRISON: FANNY’S AHOY!

THE STAND EDINBURGH, FROM 17:00, £4 - £5

Set sail with the award-winning grand dames of Scottish comedy.

Wed 02 Jan VIVA LA SHAMBLES

THE STAND EDINBURGH, FROM 20:30, £4 - £5

Anarchic comedy mayhem from Scotland’s finest young acts.

Thu 03 Jan

THE THURSDAY SHOW (DAVE JOHNS + JOHN ROSS + LAUREN PATTISON + ROSS LESLIE + GUS LYMBURN) THE STAND EDINBURGH, FROM 20:30, £7 - £10

Start the weekend early with five comedians.

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Monkey Barrel’s comedy competition for new folk on the scene.

Thu 10 Jan

THE THURSDAY SHOW (DAVID KAY + ANDY FURY + NIAMH MARRON + FRED MACAULAY) THE STAND EDINBURGH, FROM 20:30, £7 - £10

Start the weekend early with five comedians. SPONTANEOUS SHERLOCK

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

An entirely improvised Sherlock Holmes comedy play from Scotland’s hottest improv troupe.

Fri 11 Jan

THE SATURDAY SHOW (DAVID KAY + ANDY FURY + NIAMH MARRON + FRED MACAULAY)

MONKEY BARREL COMEDY’S BIG SATURDAY SHOW (RICK MOLLAND + PAUL CURRIE + HARRIET KEMSLEY)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £14

Monkey Barrel’s flagship night of premier stand-up comedy.

THE COMEDY SHOW (CHRIS FORBES + CHRISTOPHER MACARTHUR-BOYD + SUSAN RIDDELL + ABIGOLIAH SCHAMAUN) THE BASEMENT THEATRE, FROM 20:00, £10 - £12

Weekly comedy show at the Basement every Friday and Saturday night, with a different line-up and headliner each week, combining up-and-coming talent with Fringe favourites.

Sun 13 Jan

THE SUNDAY NIGHT LAUGH-IN

THE STAND EDINBURGH, FROM 20:30, £5 - £6

Weekly comedy show at the Basement every Friday and Saturday night, with a different line-up and headliner each week, combining up-and-coming talent with Fringe favourites.

Sat 19 Jan

THE SATURDAY SHOW (KEIR MCALLISTER + ANGELA BARNES + DONALD ALEXANDER + LOUISE YOUNG) THE STAND EDINBURGH, FROM 20:30, £17.50

The big weekend show with five comedians.

MONKEY BARREL COMEDY’S BIG SATURDAY SHOW (RICK MOLLAND + PAUL CURRIE + HARRIET KEMSLEY)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £14

Monkey Barrel’s flagship night of premier stand-up comedy.

THE BASEMENT THEATRE, FROM 20:00, £10 - £12

STU & GARRY’S FREE IMPROV SHOW

MONKEY BARREL COMEDY’S BIG SUNDAY SHOW

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £5

Laugh your way into a new week with a cracking stand-up bill of seasoned pros and hotly-tipped rising stars.

Mon 14 Jan

RED RAW (MEGAN SHANDLEY)

Weekly comedy show at the Basement every Friday and Saturday night, with a different line-up and headliner each week, combining up-and-coming talent with Fringe favourites. FLO AND JOAN: ALIVE ON STAGE

THE STAND EDINBURGH, FROM 17:00, £12

Musical comedy duo and sisters Flo and Joan travel the country with a new hour of their dark and witty songs.

THE STAND EDINBURGH, FROM 20:30, £3

Sun 20 Jan

PETER PANCAKES’ COMEDY EXTRAVAGANZA

THE STAND EDINBURGH, FROM 20:30, £5 - £6

Legendary new material night with up to ten acts. MONKEY BARREL COMEDY CLUB, FROM 19:00, FREE

Phil O’Shea brings a handpicked selection of riotous lols to Monkey Barrel.

Wed 16 Jan GRASSROOTS COMEDY

THE PLEASANCE, FROM 19:30, £1

Come and see the freshest comedy Edinburgh has to offer, watch acts grow and perform brand new material. TOP BANANA (LIAM WITHNAIL + MARC JENNINGS)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Monkey Barrel’s comedy competition for new folk on the scene. LOUD COMEDY (GARETH MUTCH)

THE BASEMENT THEATRE, FROM 20:00, £6

Bringing you the best and brightest of the comedy scene, showcasing brand new work alongside tried and tested material. THE END OF THE WORLD SHOW (STU MURPHY + VLADIMIR MCTAVISH + KEIR MCALLISTER)

THE STAND EDINBURGH, FROM 20:30, £5 - £7

Armageddon is not so much nigh as teabagging the world in the face. So now that we’ve bought the tickets to Hell in a handcart and this really is the end of civilisation, surely we can still find the time to trivialise it?

Thu 17 Jan

THE STAND EDINBURGH, FROM 20:30, £7 - £10

Monkey Barrel’s flagship night of premier stand-up comedy.

THE BASEMENT THEATRE, FROM 20:00, £10 - £12

THE STAND EDINBURGH, FROM 13:30, FREE

Legendary free Sunday afternoon improv show.

THE STAND EDINBURGH, FROM 20:30, £10 - £12

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

Monkey Barrel’s flagship night of premier stand-up comedy.

THE COMEDY SHOW (CHRIS FORBES + RAY BRADSHAW + ZAHRA BARRI + MARK NELSON)

THE THURSDAY SHOW (KEIR MCALLISTER + ANGELA BARNES + DONALD ALEXANDER + LOUISE YOUNG)

MONKEY BARREL COMEDY’S BIG FRIDAY SHOW (RICK MOLLAND + PAUL CURRIE + HARRIET KEMSLEY)

Chilled Sunday night comedy to see out the weekend.

THE FRIDAY SHOW (DAVID KAY + ANDY FURY + NIAMH MARRON + FRED MACAULAY)

The big weekend show with five comedians.

Start the weekend early with five comedians. SPONTANEOUS POTTER

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

A brand new Harry Potter play from some of Edinburgh’s most top notch improv wizards.

THE SUNDAY NIGHT LAUGH-IN (LIAM FARRELLY)

Chilled Sunday night comedy to see out the weekend. STU & GARRY’S FREE IMPROV SHOW

THE STAND EDINBURGH, FROM 13:30, FREE

Legendary free Sunday afternoon improv show.

RAY BRADSHAW: DEAF COMEDY FAM

THE BASEMENT THEATRE, FROM 19:30, £9 - £10

Full of hilarious, eye-opening tales about growing up with deaf parents, Deaf Comedy Fam is a first for comedy as it’s performed by Ray simultaneously in both spoken English and BSL. MONKEY BARREL COMEDY’S BIG SUNDAY SHOW

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £5

Laugh your way into a new week with a cracking stand-up bill of seasoned pros and hotly-tipped rising stars.

Mon 21 Jan

RED RAW (ASHELY STORRIE)

THE STAND EDINBURGH, FROM 20:30, £3

Legendary new material night with up to ten acts. CABARET FROM ELSEWHERE

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

Elsewhere is a troupe of artists, musicians and circus performers. Find them staging shows, telling stories or playing music and games anywhere people gather in celebration.

Tue 22 Jan EDINBURGH REVUE

MONKEY BARREL COMEDY CLUB, FROM 19:00, TBC

The University of Edinburgh’s standup and sketch comedy show. ANDREW DOYLE: FRIENDLY FIRE

THE STAND EDINBURGH, FROM 20:30, £8 - £11

Andrew Doyle is one of the UK’s foremost political satirists. Friendly Fire is his seventh solo stand-up show.

Listings

Wed 23 Jan

BURNS NIGHT SPECIAL (DAVID KAY)

THE STAND EDINBURGH, FROM 20:30, £5 - £6

Celebrate Burns night with an evening of top comedy.

TOP BANANA (LIAM WITHNAIL + MARC JENNINGS)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Monkey Barrel’s comedy competition for new folk on the scene.

Thu 24 Jan

THE THURSDAY SHOW (GARY LITTLE + ADAM HESS + JO MCNALLY + JOE MCTERNAN + JO CAULFIELD) THE STAND EDINBURGH, FROM 20:30, £7 - £10

Start the weekend early with five comedians. SPONTANEOUS SHERLOCK

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

RUSSELL KANE: WORK IN PROGRESS ASSEMBLY ROXY, FROM 20:00, £10

See Russell Kane as he warms up ahead of his brand new tour.

Tue 29 Jan

RUSSELL KANE: WORK IN PROGRESS

ASSEMBLY ROXY, FROM 20:00, £10

See Russell Kane as he warms up ahead of his brand new tour. LLOYD GRIFFITH: ALL-ROUNDER

THE STAND EDINBURGH, FROM 20:30, £5 - £10

After the success of his sold out 2017/18 UK tour, comedian, choirboy and host of Soccer AM, Lloyd Griffith is back on the road with his hilarious new stand-up show.

Wed 30 Jan

TOP BANANA (LIAM WITHNAIL + MARC JENNINGS)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

An entirely improvised Sherlock Holmes comedy play from Scotland’s hottest improv troupe.

Monkey Barrel’s comedy competition for new folk on the scene.

Fri 25 Jan

See Russell Kane as he warms up ahead of his brand new tour.

THE FRIDAY SHOW (GARY LITTLE + ADAM HESS + JO MCNALLY + JOE MCTERNAN + JO CAULFIELD) THE STAND EDINBURGH, FROM 20:30, £10 - £12

The big weekend show with five comedians.

MONKEY BARREL COMEDY’S BIG FRIDAY SHOW (RICK MOLLAND + PAUL CURRIE + HARRIET KEMSLEY)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

Monkey Barrel’s flagship night of premier stand-up comedy.

THE BURNS NIGHT COMEDY SHOW (BILLY KIRKWOOD + SUSAN RIDDELL + GRANT BUSE + THE KAGOOLS) THE BASEMENT THEATRE, FROM 20:00, £10 - £12

Alternative comedy line-up show in Edinburgh.

Sat 26 Jan

THE SATURDAY SHOW (GARY LITTLE + ADAM HESS + JO MCNALLY + JOE MCTERNAN + JO CAULFIELD) THE STAND EDINBURGH, FROM 20:30, £17.50

The big weekend show with five comedians.

MONKEY BARREL COMEDY’S BIG SATURDAY SHOW (RICK MOLLAND + PAUL CURRIE + HARRIET KEMSLEY)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £14

Monkey Barrel’s flagship night of premier stand-up comedy.

THE BURNS NIGHT COMEDY SHOW (BILLY KIRKWOOD + SUSAN RIDDELL + GRANT BUSE + THE KAGOOLS) THE BASEMENT THEATRE, FROM 20:00, £10 - £12

Alternative weekly comedy line-up show in Edinburgh.

Sun 27 Jan

BURNS NIGHT SPECIAL (KEIR MCALLISTER)

THE STAND EDINBURGH, FROM 20:30, £5 - £6

Celebrate Burns night with an evening of top comedy.

STU & GARRY’S FREE IMPROV SHOW

THE STAND EDINBURGH, FROM 13:30, FREE

Legendary free Sunday afternoon improv show. JOJO SUTHERLAND AND SUSAN MORRISON: FANNY’S AHOY!

THE STAND EDINBURGH, FROM 17:30, £4 - £5

Set sail with the award-winning grand dames of Scottish comedy. MONKEY BARREL COMEDY’S BIG SUNDAY SHOW

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £5

Laugh your way into a new week with a cracking stand-up bill of seasoned pros and hotly-tipped rising stars. SANDI TOKSVIG LIVE! NATIONAL TREVOR

KING’S THEATRE EDINBURGH, FROM 19:30, £27 - £30

Sandi Toksvig is bringing her brand new, one-woman comedy show to Edinburgh.

RUSSELL KANE: WORK IN PROGRESS

ASSEMBLY ROXY, FROM 20:00, £10

See Russell Kane as he warms up ahead of his brand new tour.

Mon 28 Jan

RED RAW (JAMIE MACDONALD)

THE STAND EDINBURGH, FROM 20:30, £3

RUSSELL KANE: WORK IN PROGRESS

ASSEMBLY ROXY, FROM 20:00, £10

Thu 31 Jan

THE THURSDAY SHOW (TOM WRIGGLESWORTH + DAMIAN CLARK + KAI HUMPHRIES + YVONNE CAROLL)

THE STAND EDINBURGH, FROM 20:30, £7 - £10

Start the weekend early with five comedians. SPONTANEOUS POTTER

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

A brand new Harry Potter play from some of Edinburgh’s most top notch improv wizards.

RUSSELL KANE: WORK IN PROGRESS

ASSEMBLY ROXY, FROM 20:00, £10

See Russell Kane as he warms up ahead of his brand new tour. BESOMS

THE BASEMENT THEATRE, FROM 20:00, £6

Glasgow Print Studio ACADEMICIANS V

1 JAN-27 JAN 19, TIMES VARY, FREE

Glasgow Print Studio is pleased to present the fifth in the series of exhibitions bringing together the outstanding work of wellrespected Royal and Royal Scottish Academicians.

Glasgow School of Art THE ARBITARY RITUAL

1 JAN-20 JAN 19, TIMES VARY, FREE

Claire Paterson is a contemporary painter and graduate of The Glasgow School of Art. The Arbitrary Ritual showcases work inspired by collaborations she undertook while on the 2016-17 Steven Campbell New York Scholarship.

GoMA

JACK KNOX: CONCRETE BLOCK

1 JAN-13 JAN 19, TIMES VARY, FREE

One of Scotland’s most influential artists of the 20th century, Jack Knox presents an exhibition looking at a ten-year period of work, from the late 1960s onwards.

Mary Mary

AMANDA ROSS-HO: HURTS WORST

1 JAN-19 JAN 19, TIMES VARY, FREE

Dundee Comedy Fri 25 Jan

AIDAN GOATLEY: HAPPY BRITAIN

DUNDEE REP, FROM 19:30, £10

Is Britain happy? Aidan Goatley is on a mission to find out by touring to all 105 counties in the UK and asking, ‘What makes you happy?’

Glasgow Art CCA: Centre for Contemporary Art

A WEAKNESS FOR RAISINS: FILMS & ARCHIVE OF ESTER KRUMBACHOVÁ

1 JAN-27 JAN 19, TIMES VARY, FREE

Ester Krumbachová was a key figure in Czech New Wave cinema in the 1960s. This exhibition is based on the only film directed by Krumbachová, The Murder of Mr. Devil, displaying key elements of her archive within a much broader context. LEONTIOS TOUMPOURIS: OF PARTICULAR IMAGES

19 JAN-10 FEB 19, TIMES VARY, FREE

Leontios Toumpouris draws from 16th and 17th-century emblems to produce a new series of works that act as self-referential indications of everything physical outside of themselves.

Compass Gallery NEW GENERATION CHRISTMAS EXHIBITION

1 JAN-31 JAN 19, TIMES VARY, FREE

Renowned for selecting and supporting each New Generation artist for almost 50 years, this year’s Compass Christmas Show focuses on their works which includes paintings, drawings, prints, sculpture and ceramics.

1 JAN-31 JAN 19, TIMES VARY, FREE

Listings

An exciting opportunity to exhibit a wide variety of paintings, prints, drawings and sculptures specially selected for this seasonal exhibition.

Platform

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

1 JAN-31 JAN 19, TIMES VARY, FREE

Amanda Ross-Ho’s first solo exhibition at Mary Mary, featuring a suite of new large scale textile assemblages and a group of small text-based paintings.

Cyril Gerber Fine Art

A monthly round-up featuring sketch, character, musical and stand-up comedy all from the minds of Joe McTernan, Megan Shandley and Jojo Sutherland.

CYRIL GERBER FINE ART’S WINTER EXHIBITION 2018

A monthly night bringing you the best from across comedy’s glorious communities, hosted by self confessed cheeky besom Jay Lafferty.

Legendary new material night with up to ten acts. MONKEY NUT LIVE

Art

THE WINTER EXHIBITION 2018

Specially selected exhibition of works by Eardley, Scottish Colourists, Modern Scottish Masters & Contemporaries and many others.

HENRY COOMBES AND MARCELLA MCINTOSH: AYES IN YOUR HEAD

1 JAN-19 JAN 19, TIMES VARY, FREE

An exhibition bringing together drawings and paintings by awardwinning filmmaker and visual artist, Henry Coombes and collaborator, Marcella McIntosh.

RGI Kelly Gallery

ALASDAIR GRAY AND JOHN BYRNE: TWO GREAT GLASGOW POLYMATHS

1 JAN-1 JAN 19, TIMES VARY, FREE

In the wake of the catastrophic fire that has reduced the Glasgow School of Art to ashes, RGI Kelly Gallery remember Charles Rennie Mackintosh as an architect, furniture designer, painter and visionary.

Street Level Photoworks

JILL TODD PHOTOGRAPHIC AWARD 2018 1 JAN-27 JAN 19, TIMES VARY, FREE

The Jill Todd Photographic Award is an annual award providing an invaluable opportunity for emerging photographers based in Scotland and Ireland to showcase their work and benefit from the exposure of a gallery exhibition.

The Briggait THE WIND IN MY SOUL

1 JAN-25 JAN 19, TIMES VARY, FREE

Wasps Studios are delighted to present The Wind in My Soul, a solo exhibition by Aberdeen-based artist Bibo Keeley following her residency at the Wasps’ Admirals House on the Isle of Skye.

The Lighthouse VISAURIHELIX

1 JAN-1 JAN 19, TIMES VARY, FREE

Celebrating the 150th anniversary of Charles Rennie Mackintosh’s birth, sound and audiovisual artist Louise Harris takes inspiration from the many geometric forms found in his architecture to transform the Tower of The Lighthouse.

INTERNATIONAL POSTER EXHIBITION 1 JAN-6 JAN 19, TIMES VARY, FREE

The 134 chosen posters for this exhibition, as part of the Graphic Design Festival Scotland 2018, are diverse in their strategy and outcome, providing a comprehensive snapshot of the past year’s impact on the world of graphic design. STILL LIFE

1 JAN-31 MAR 19, TIMES VARY, FREE

Over the course of their sixmonth residency in Gallery 2a, Aaron Ziggy and Will Jenkinson will investigate plastics, its potential uses and shortcomings. WEAR CRM

1 JAN-27 JAN 19, TIMES VARY, FREE

Following the two-day interactive workshops, Marie O’Connor will have an exhibition that will continue with images taken during those days and objects on display in the Mackintosh Interpretation Centre. YOUNG & POWERFUL

1 JAN-6 JAN 19, TIMES VARY, FREE

This exhibition highlights 80 posters from the International Poster Exhibition competition, which tackle key issues affecting young people today. SUZHOU UTOPIAS

1 JAN-13 JAN 19, TIMES VARY, FREE

The exhibition compares Chinese and Western identities, as a preamble to a book on utopias, draws future vectors with the purpose to (re)define Asian modernity. MORE THAN JUST BOOKS: PRINTING IN GLASGOW

1 JAN-6 JAN 19, TIMES VARY, FREE

In the 19th and 20th century’s newspapers, periodical production and printing for business were major enterprises, operating large printing offices in the city and employing many people. BEST USE OF TIMBER AWARDS 2018

7 JAN-24 MAR 19, TIMES VARY, FREE

The Best Use of Timber Awards 2018 exhibition showcases the winner and shortlisted entries to the annual RIAS Awards scheme. POPPY NASH: CARE

21 JAN-17 MAR 19, TIMES VARY, FREE

Poppy Nash presents textiles telling stories of free labour and the economy of care.

The Modern Institute

SUE TOMPKINS: ALL THE TIME

1 JAN-19 JAN 19, TIMES VARY, FREE

A new collection of works from GSA grad Sue Tompkins.

The Modern Institute @ Airds Lane MICHAEL WILKINSON

3 JAN-19 JAN 19, 12:00PM – 5:00PM, FREE

A new work from the Glasgowbased artist.

The Old Hairdressers

DAVID HASLAM: ENCOUNTERING PLACE

14 JAN-16 JAN 19, 6:00PM – 12:00AM, FREE

A photographic and audio installation which presents a physical site as a case study subject upon which to consider the relationship between our experiences and concepts of the things we know.

Tramway

LUCY BEECH: REPRODUCTIVE EXILE

1 JAN-10 FEB 19, TIMES VARY, FREE

A documentary fiction on the theme of transnational assisted conception, focusing on the movement of bodies and bio-genetic substances across borders in what has come to be known as ‘reproductive exile’. CÉCILE B. EVANS: AMOS’ WORLD

1 JAN-17 MAR 19, TIMES VARY, FREE

This exhibition represents Cécile B. Evans most ambitious installation to date and constitutes the culmination of a three-part installation and video work titled AMOS’ WORLD (2017-ongoing).

Edinburgh Art City Art Centre

IN FOCUS: SCOTTISH PHOTOGRAPHY

1 JAN-12 MAY 19, TIMES VARY, FREE

In Focus: Scottish Photography showcases the City Art Centre’s photographic collections, charting the development of fine art photography in Scotland from the 19th century to present day.

EDWIN G. LUCAS: AN INDIVIDUAL EYE

1 JAN-10 FEB 19, TIMES VARY, FREE

The first major exhibition to focus on this unusual and enigmatic artist and one of the most unique Scottish painters of the 20th century, featuring over 60 artworks from public and private collections. ROBERT BLOMFIELD: EDINBURGH STREET PHOTOGRAPHY

1 JAN-17 MAR 19, TIMES VARY, FREE

The exhibition displays a selection of Robert Blomfield’s stunning private archive, documenting the dramatic shifts taking place in Scotland’s urban landscape during the 1960s. ANOTHER COUNTRY

1 JAN-17 MAR 19, TIMES VARY, FREE

Another Country examines contemporary immigration to Scotland, exploring themes of integration, nationality and identity.

Collective Gallery

DINEO SESHEE BOPAPE [WHEN SPIRITUALITY WAS A BABY]

1 JAN-10 FEB 19, 10:00AM – 4:00PM, FREE

Dineo Seshee Bopape’s expansive multi-media practice explores memory, narration, and representation as contingent forms.

JAMES N HUTCHINSON: RUMOURS OF A NEW PLANET

1 JAN-31 MAR 19, 10:00AM – 4:00PM, FREE

For his research project Rumours of a New Planet, Glasgow-based artist James N Hutchinson has investigated the life, work and travels of historical figures connected to Calton Hill. KLAUS WEBER: THE NONUMENT

1 JAN-20 JAN 19, 10:00AM – 4:00PM, FREE

For the opening of Collective, Klaus Weber has created a new work inspired by the rich history of realised and failed monuments on Calton Hill.

Dovecot Studios LIBERTY ART FABRICS & FASHION

1 JAN-12 JAN 19, 10:30AM – 5:30PM, £4.50

Dovecot Gallery brings to Scotland a major retrospective celebrating the innovative retailer and design studio Liberty London. Featuring over 100 garments and fabrics spanning 140 years, this exhibition explores how textiles bring art into everyday life.

Embassy Gallery

ARTIST IN RESIDENCE: DANIEL TWIST

3 JAN-18 JAN 19, 12:00PM – 6:00PM, FREE

EMBASSY has invited Daniel Twist to contribute toward their discussion and application of ideas through a residency-style project.

Museum of Edinburgh

100 YEARS OF SCOTTISH POTTERY 1740-1840 1 JAN-24 FEB 19, 10:00AM – 5:00PM, FREE

Featuring examples of 18th and early 19th century Scottish East Coast pottery from Scotland’s foremost private collection.

National Museum of Scotland

NEW TO THE NATIONAL COLLECTION

1 JAN-24 FEB 19, 10:00AM – 5:00PM, FREE

Exhibition highlighting some of National Museums Scotland’s recent acquisitions, several of which will be on display for the first time.

Royal Scottish Academy RSA AVIARY

19 JAN-17 FEB 19, TIMES VARY, FREE

An exhibition of Royal Scottish Academicians reflecting on the significance of birds as a motif in contemporary Scottish art.

SOCIETY OF SCOTTISH ARTISTS 121ST ANNUAL EXHIBITION 1 JAN-17 JAN 19, TIMES VARY, £2

Installation, video and performance art are set alongside a strong core of painting, printmaking, and sculpture resulting in a dynamic, forward-thinking, courageous exhibition featuring established and new artists based in Scotland and internationally.

Scottish National Gallery TURNER IN JANUARY

1 JAN-31 JAN 19, TIMES VARY, FREE

Annual January showcase of watercolour works by JMW Turner, from his early topographical wash drawings to his sketches of continental Europe from the 1830s and 40s. PIN-UPS: TOULOUSE-LAUTREC AND THE ART OF CELEBRITY

1 JAN-20 JAN 19, TIMES VARY, £8 - £10

Pin-Ups: Toulouse-Lautrec and the Art of Celebrity will be the first exhibition held at the National Galleries of Scotland devoted to the art of Henri de Toulouse-Lautrec (1864-1901). The exhibition will focus on Toulouse-Lautrec’s lithographic posters, portfolio prints and illustrations which made stars of Montmartre’s venues and their entertainers - personalities such as Yvette Guilbert, Jane Avril and Aristide Bruant.

Scottish National Gallery of Modern Art

NOW: MONSTER CHETWYND, MOYNA FLANNIGAN, HENRY COOMBES, BETYE SAAR, WAEL SHAWKY

1 JAN-28 APR 19, 10:00AM – 5:00PM, FREE

At the centre of the fourth instalment of the NOW series of contemporary art exhibitions at Modern One is a major survey of work by the Turner Prize nominated artist Monster Chetwynd.

ANDY WARHOL AND EDUARDO PAOLOZZI: I WANT TO BE A MACHINE

1 JAN-2 JUN 19, 10:00AM – 5:00PM, FREE

Taking its theme from a muchquoted remark by Andy Warhol, this exhibition examines Warhol’s and Paolozzi’s work, showing how they captured images from photography and advertisements.

Scottish National Portrait Gallery SCOTS IN ITALY

1 JAN-5 MAR 19, TIMES VARY, FREE

A showcase of the Scottish experience of Italy in the eighteenth century, a time when artistic, entrepreneurial and aristocratic fascination with the country was reaching boiling point. THE MODERN PORTRAIT

PLANES, TRAINS AND AUTOMOBILES: TRANSPORTATION PHOTOGRAPHS FROM NATIONAL GALLERIES OF SCOTLAND 1 JAN-13 JAN 19, TIMES VARY, FREE

Planes, Trains & Automobiles is the third in a series of thematic exhibitions exploring the exceptional permanent collection of photography at the National Galleries of Scotland. THE REMAKING OF SCOTLAND | NATION, MIGRATION, GLOBALISATION 1760-1860

1 JAN-21 JUN 20, TIMES VARY, FREE

An exhibition exploring the lives and careers of the Scots behind the period of dramatic change between 1760 and 1860, when Scotland rapidly attained a central role in European cultural life and in Britain’s industrial and imperial expansion. It documents the material and artistic benefits of their achievements, while also confronting the darker shadows they cast. BP PORTRAIT AWARD 2018

1 JAN-10 MAR 19, TIMES VARY, FREE

The most prestigious portrait painting competition in the world, representing the very best in contemporary portrait painting. Over the years, this has attracted over 40,000 entries from more than 100 countries.

Scottish Storytelling Centre

NOW YOU SEE IT, NOW YOU DON’T

1 JAN-26 JAN 19, 10:00AM – 6:00PM, FREE

The exhibition recreates a series of the most famous optical illusions, staged all over Edinburgh, with 30 young carers aged between five and 17 involved in the planning team and as models.

Stills

ANDRES SERRANO: TORTURE

1 JAN-3 MAR 19, 11:00AM – 6:00PM, FREE

A curated exhibition of work by controversial artist Andres Serrano, featuring a selection of recent photographs from Serrano’s Torture series, commissioned by socio-political arts organization a/ political in 2015.

Summerhall

AILEEN KEITH: HEAD AND HAND

1 JAN-4 JAN 19, 11:00AM – 6:00PM, FREE

RSA Summerhall Exhibition Prize 2017 winner Aileen Keith presents a collection showcasing her interest in the process of remembering and forgetting, combined with the process of drawing, explored through an eclectic range of materials and methods.

Talbot Rice Gallery

TREMBLE TREMBLE / AT THE GATES

1 JAN-27 OCT 19, TIMES VARY, FREE

1 JAN-26 JAN 19, TIMES VARY, FREE

REFORMATION TO REVOLUTION

The Fruitmarket Gallery

A display collating paintings, sculptures and works from the Portrait Gallery’s 20th-century collection, feat. a variety of well-known faces, from Ramsay Macdonald to Alan Cumming, Tilda Swinton to Danny McGrain. 1 JAN-1 APR 19, TIMES VARY, FREE

An exhibition examining the cultural consequences of the national religion becoming Protestantism in 16th century Scotland. HEROES AND HEROINES

1 JAN-31 MAY 19, TIMES VARY, FREE

A reexamination of major Scottish figures which questions our habit of framing history around individuals and idols. ART AND ANALYSIS: TWO NETHERLANDISH PAINTERS WORKING IN JACOBEAN SCOTLAND

Group exhibition At the Gates, which brings together artists whose voices have amplified the global struggle towards female self-empowerment, is shown alongside Jesse Jones’ performance installation Tremble Tremble.

DCA: Dundee Contemporary Arts MARGARET SALMON: HOLE

1 JAN-24 FEB 19, TIMES VARY, FREE

Glasgow-based American artist and filmmaker, Margaret Salmon will present a new moving image work and installation commissioned specifically for Gallery 1 at DCA. LORNA MACINTYRE: PIECES OF YOU ARE HERE

1 JAN-24 FEB 19, TIMES VARY, FREE

Scottish artist Lorna Macintyre’s first solo exhibition in a major UK institution will debut a new body of work commissioned specifically for Gallery 2 at DCA.

The McManus

ARTIST ROOMS: LAWRENCE WEINER

1 JAN-17 FEB 19, TIMES VARY, FREE

This exhibition will bring together a cycle of wall texts from ARTIST ROOMS with a later wall piece and a selection of posters, drawings, artist books and ephemera from the Tate and The University of Dundee. LINKS WITH THE PAST

3 JAN-31 MAR 19, TIMES VARY, FREE

A partnership project between The McManus and the University of Edinburgh’s Unit for Forensic Anthropology Research has uncovered new details about a Pictish man’s life and death, which are revealed in a new display.

V&A Dundee MAEVE REDMOND

1 JAN-15 SEP 20, 10:00AM – 5:00PM, FREE

A compelling piece of graphic design that unpacks the wider context around a 19th century trade catalogue by cast iron manufacturers Walter MacFarlane & Co. CIARA PHILLIPS

1 JAN-15 SEP 20, 10:00AM – 5:00PM, FREE

A new commission, championing the often-unseen process of making by evoking a moment suspended in time where vital decisions about materials and their composition are made. SCOTTISH DESIGN RELAY

1 JAN-15 JAN 19, 10:00AM – 5:00PM, FREE

This exhibition charts the hurdles and lightbulb-moments of the design process through the research, sketches and prototypes made by the teams who took part in the Scottish Design Relay. SCOTTISH DESIGN GALLERIES

1 JAN-15 SEP 20, 10:00AM – 5:00PM, FREE

Explore the everyday relevance of design and how it improves our lives, experience the processes that underpin it and discover little-known stories of Scottish design with international impact. OCEAN LINERS: SPEED AND STYLE

1 JAN-24 FEB 19, 10:00AM – 5:00PM, £6 - £12

Discover how ocean liners became one of the most powerful and admired symbols of 20th century modernity.

EMMA HART: BANGER

1 JAN-3 FEB 19, TIMES VARY, FREE

A major solo exhibition of the work of Emma Hart, and her first in Scotland. The exhibition will include the recent installation Mamma Mia!, made as part of the Max Mara Art Prize for Women which Hart won in 2016, and a major series of new work commissioned by and for the Fruitmarket.

1 JAN-26 JAN 20, TIMES VARY, FREE

A small exhibition focusing on two 17th century artists, Adrian Vanson and Adam de Colone, showcasing a group of paintings which have been examined by paintings conservator Dr Caroline Rae, along with the findings from her research. IN FOCUS: THE EXECUTION OF CHARLES I

1 JAN-26 JAN 20, TIMES VARY, FREE

An exhibition centred around a painting of the execution of Charles I – based on eye-witness accounts and contemporary engravings – by an unknown Dutch artist.

Dundee Art Cooper Gallery PHIL COLLINS: CEREMONY

18 JAN-16 FEB 19, 11:00AM – 5:00PM, FREE

Reflecting on the work and legacy of Friedrich Engels, co-author of the Communist Manifesto with Karl Marx, Ceremony is a nuanced and timely exploration of Engels’ ideas within the context of the social conditions in contemporary Britain.

THE SKINNY

Bold as Brass Steve Mason is known for speaking his mind on the big issues of the day. But as the mercurial songwriter from Fife prepares to release his tenth studio album, he tells The Skinny why he’s stopped worrying about the big picture

nce seen, never forgotten. The blackened ruin of Grenfell Tower in London has become the UK’s most unwanted landmark. Until its eventual demolition, whenever legal enquiries are concluded, the building stands as a grim reminder of 72 lost lives, and the many more survivors left to deal with losing their homes. The fire that swept through the tower in June 2017 was one of those rare moments that seemed to stop society in its tracks. Steve Mason was driving along the Westway three days after the event when he first saw the tower. He’d just come off tour with his band and was heading home to Brighton. People react to seeing Grenfell in different ways. Being a musician, Mason channelled his feelings into a song that opens his latest solo album, About the Light. “The tower looked like this huge rotten tooth – a monument to capitalism at its very worst,” Mason recalls. “Capitalism at its worst is gruesome, painful, and frightening. All this because of the type of cladding that was fitted. We all know about the horrors of capitalism, but when you see it like that, you know?” The song in question is called America Is Your Boyfriend. It’s a typically Mason title – provocative and pithy, with a dash of dark humour. It expands on the issues he wrote about on Monkey Minds in the Devil’s Time, his 2013 album and most overtly political work to date. The so-called special relationship between the UK and US governments is a subject he has spoken out against regularly. “It is going over themes from Monkey Minds,” he confirms. “But unfortunately they are no less relevant.” It would be wrong to call About the Light a political album. Its opening song is more a straightener – a stiff drink that sets you up for what’s to come. This album is an upbeat collection of soulful songs that Mason believes is his best to date. It reflects both a change in personal circumstances and his determined new mindset. The songwriter is now married and father to a young daughter. He’s happily based on England’s south coast but still travels back to his native Fife when he can. If Mason, no stranger to the pages of The Skinny, sounds content then it’s reflected in some glorious pop music. Stars Around My Heart, one of two singles released in late 2018 to promote the album, ranks among his best songs. It also reflects a new way of working. “I wanted to get my band involved in the writing more,” he explains. “The record’s energy has come from spending quite a bit of time on the songs – getting them sounding like the band had played them for a year. When I listen to this record it just sounds head and shoulders above anything else I’ve ever done. It’s partly the energy, but it’s also the fact the brass players we brought in were top quality, and the backing singers, they were just fantastic.” About the Light was also helped to life by Stephen Street, the producer who famously helped both The Smiths and Blur find their sound. “Stephen is the first producer I’ve ever worked with [where] I own records that he’s previously worked on,” says Mason. “I think I avoided world class producers in the past, as I was maybe worried they would overwhelm my ideas and what I wanted to do. But I felt ready this time. It’s about having the confidence to work with someone like Stephen – to feel like what I had written was strong enough to take to him.” With a young family to consider, Mason wanted to work with a producer who could take

January 2019

control of the recording: “I really needed someone who would allow me to concentrate on the performances and not think too much about the sonics and all of that. I knew what I wanted and Stephen got it. It was a process of capturing the band, getting the right brass players and creating that sound. Without the brass and the backing singers, it’s kind of a guitar album, but once you put in those two other elements, it really makes it something different – it adds a depth and soul that is often missing from guitar records.”

“I spent 20 years worrying about the big picture, the massive picture, and it drives you mad” Steve Mason

This is a stand-out release for Mason in other ways. When you include LPs by King Biscuit Time, Black Affair and The Beta Band, this is his tenth studio album. He even briefly considered naming it 10 as a result. But as an artist that’s always looking forward, not back, he believes it’s more a sign of even better things to come as a solo performer. “I don’t consider it a landmark,” he stresses. “It almost feels like my first proper solo album. I can’t wait to see what comes next. When I was younger, I really wanted to be in a

band, and being in a band was really great for a long time, but eventually you want to move on. I don’t think I could go back to it. It’s like when you’re younger, you live with your mates in a flat or whatever, but the older you get you want your own space – so you can pick your toenails.” It was by no means guaranteed Mason would successfully carve himself out a niche as a solo artist. There was never any denying his abilities as a songwriter, but The Beta Band’s implosion in 2004 came at a time when the music industry was looking to aggressively cut costs as the internet smashed its business model to pieces. Plenty of Mason’s contemporaries in the rich alternative scene of the early 2000s fell by the wayside. While labels have been saved in part by digital streaming, he scoffs at the suggestion things have improved for artists. “From a practical point of view, it would be really fucking hard for me to start out now,” he explains. “Let’s say me and you started a band today: you’re on bass, I’m on guitar and someone else is on drums. We need time to rehearse, but there’s not really a dole anymore so we need jobs, so we’re rehearsing in the evenings. Then you’re trying to get a gig – really you’re going to have to pay to play. You’ll be on sometime between Monday and Thursday as the venues all book some tribute act – The Complete Stone Roses or whatever – at the weekend. So you’re not making any money and you’re playing to three or four people as no one really goes out to see new bands anymore. It’s really fucking hard.” He sighs. “If you do that for three or four years you’ll probably give up. The music industry is full of very wealthy people looking to legitimise themselves. It’s fake; it’s just posing for entertainment. Where are we artistically in this country? Where is society being reflected back in art?” As a further example, he mentions The

Girobabies. The hip-hop-inspired punk group have been a regular fixture at small venues in and around Glasgow for several years, led by their mercurial frontman Mark McG. Mason is a longterm fan – he’s adamant this is the kind of artist that London labels should be taking a chance on. “I tried to get three or four people down here to listen to them, but they wouldn’t really do anything and I couldn’t understand why,” he reveals. “I think it’s so much easier for record labels, even indie labels, to sign kids from money as they’ll need less support. I think The Girobabies are the real thing. Mark is so full of energy. It’s rare to find people who really will get off their arse and do things.” Mason has watched the music industry change beyond recognition since The Beta Band released their first EP, the legendary Champion Versions, back in July 1997. He’s spoken out on human rights and society throughout his career, but his new record is intended as a positive statement at a time when the UK is convulsed by Brexit and a grim sense of foreboding. “I spent 20 years worrying about the big picture, the massive picture, and it drives you mad,” he admits. “I don’t want to feel like that anymore, so everything needs to be localised for me. And that comes down to about within three feet of yourself – how can you be positive around people? I wanted this to be a positive record as it is all doom and gloom at the moment, and quite rightly so – but I don’t want to be overwhelmed by it. Because as soon as you are overwhelmed by it, you stop thinking critically, you start getting angry and despondent, and they’ve won. And I don’t want them to win.” About the Light is released on 18 Jan via Domino Steve Mason plays SWG3, Glasgow, 31 Jan stevemasontheartist.com

Photo: Gavin Watson

Interview: Chris McCall

MUSIC

Last Word

The Skinny January 2019

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Pride and Joy: The Twilight Sad