The Skinny November 2018 by The Skinny

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CULT U R A L

J O U R N A L I S M

November 2018 Scotland Issue 158

WINTER WONDERS WALK, CLIMB, SKI AND SKATE ACROSS SCOTLAND WITH OUR ADVENTURE GUIDE

MUSIC Hairband Kathleen Hanna and riot grrrl Sunflower Bean Baxter Dury Dream Nails Art Brut Michael Timmons

FILM Paul Dano David Mackenzie & Chris Pine Felipe Bustos Sierra Mamoru Hosoda French Film Festival BOOKS Chris McQueer

ART Collective Gallery Craft in Scotland Eastern Promise THEATRE Estonia Now Chrysalis Festival

COMEDY Robin Ince Jen Brister CLUBS VAJ.Power Gary Beck HAAi Cromby

P.58 Suspiria

P.70 Mischke Lingerie

November 2018

Issue 158, November 2018 © 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 Ben Venables 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 Keith Allan David Hammond

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

Photo: Ed Smith

P.34 Glenmore Lodge

Photo: Cat Thomson

Photo: James Barlow

P.32 Guide to Hillwalking

Contents Chat & Opinion: An introduction to 06 this month’s mag; Jock Mooney’s latest cartoon; our Shot of the Month; a precis of things to be found on the website; oh, and we’ve been on holiday – but where?!? Heads Up: n. – a picture-packed sum08 mary of key cultural events in Scotland in a given month. Example use: ‘Look guys, this Heads Up is full of really good and fun things.’

introductory guides to the worlds of hillwalking and climbing. Ice skating! Snow-bound music festivals! 34 CURLING! Here’s an adventure planner of all the things you can get up to this autumn and winter.

36 A showcase of some pretty spectacular outdoor photography courtesy of Adam Wilson.

FEATURES

LIFESTYLE

10 Lo-fi supergroup Hairband – featuring

39 Travel: Does travelling help or hinder

members of Kaputt, Spinning Coin, Lush Purr and Breakfast Muff – on Glasgow’s nurturing DIY scene and its role in their rise.

s Kathleen Hanna reaches her half-cenA tury, we look at the ways in which her riot grrrl legacy has endured through groups like Girls Rock School.

Sunflower Bean vocalist Julia Cumming on tackling Trump-era hostility on latest album Twentytwo in Blue.

14 Art Brut frontman Eddie Argos has

rebounded from some major life trauma to bring the art-punks back for Wham! Bang! Pow! Let’s Rock Out!, their first album in seven years.

15 Indie raconteur Baxter Dury in conversation as his new album with Étienne de Crécy and Delilah Holliday hits the streets.

16 A catch up with the ever-excellent Paul Dano as the character actor turns his talents to directing on Wildlife. 18 Mamoru Hosada talks us through new film Mirai, the first anime to premiere at Cannes. 19 Robert the Bruce gets the big/small

screen treatment in Netflix’s Outlaw King – we talk to director David Mackenzie and leading man Chris Pine.

20 Chilean director Felipe Bustos Sierra

on his ‘East Kilbride factory workers vs South American dictatorship’ documentary Nae Pasaran!

23 Collective Gallery throws open its

doors on Calton Hill this month; some of its key contributors discuss the gallery’s role in Edinburgh’s art scene.

27 Scotland’s weirdo laureate Chris

McQueer on the process behind his new collection of stories, the brilliantlytitled HWFG.

28 Comedian and author Robin Ince digs deep into his past for his new book.

mental health? One writer shares their experience of travelling with depression.

40 Intersections: The argument against

mandatory calorie counts; a look at Scotland’s lesbian clubbing scene and how it can improve; a columnist’s reflections on what it's like dating cis people as a trans woman.

43 Food & Drink: A look at how scran can

bring us all together despite some people’s best efforts; a collection of new places for you to check out; a guide to the month’s best food events and festivals.

REVIEW

45 Eastern Promise and the French Film

Festival return this month – here’s what you’ll find if you head on down to one/ either/both.

47 Lauryn Hill’s seminal Miseducation of…

hits its 20th anniversary this month, so we look back on its creation and legacy.

48 Music: Chats with Michael Timmons and

Dream Nails, a selection of gigs to pop in the diary, and a round-up of the records to listen to this month.

52 Clubs: Glasgow collective VAJ.POWER,

techno ace Gary Beck and Feel My Bicep signing Cromby in interview; a playlist of straight-up bangers from HAAi; our November clubbing highlights.

56 Books: A guide to the month’s literary hap-

penings, and a delightfully broad selection of book reviews (cyberpunk graphic novels, non-fiction about small things, etc).

57 Art: Reviews and Highlights. 58 Film & TV: The films to leave the house

for (at the cinema) and the films to keep you indoors (streaming/ DVD/ on the telly).

60 Theatre: Youth Theatre Arts Scotland’s Chrysalis festival returns to celebrate young people’s theatre; a selection of the month’s theatrical happenings.

29 Estonia Now celebrates 100 years of the

61 Comedy: We talk to Jen Brister as

ADVENTURE

62 Listings: All the stuff that’s on this month!

Balkan republic through a Glasgow-wide multi-arts programme.

Want to swish your way down hills of all 31 sizes this winter? Here’s what you need to know vis-à-vis skiing in Scotland.

32 Get high (but not in that sense) with November 2018

the stand-up reprises her fantastic Edinburgh Fringe show Meaningless. Well, most of it at least! In list form!

70 Local Heroes: Our design column re-

turns with the second part of a deep dive into craft, and all its artistic, political and societal implications.

Contents

Shot of the Month

IDLES, Queen Margaret Union, Glasgow, 20 Oct by Roosa Päivänsalo

Editorial A

digs. Essentially, they haven’t been ‘all Edinburgh about it’. In music we talk to Glasgow DIY supergroup Hairband, catch up with ‘punk witches’ Dream Nails ahead of their spot at Book Yer Ane Fest in Dundee at the end of the month, and Sunflower Bean chat about making music in Trump’s America. There’s also a look at the ever-growing legacy of Kathleen Hanna as the riot grrrl singer, writer and activist reaches the big five-oh (happy birthday Kathleen!) and a retrospective on The Miseducation of Lauryn Hill. Some of the office have tickets for her show at the Hydro, so Lauryn, if you’re reading, please try to start on time. In film we talk to David Mackenzie and Chris Pine about Outlaw King, their Robert the Bruce biopic for Netflix, and Paul Dano takes his expressive, extremely-character-actor face behind the camera for his fantastic directorial debut Wildlife. Also, Nae Pasaran! director Felipe Bustos Sierra talks about the documentary, which tells the story of how an organised boycott by factory workers in Scotland hobbled a violent fascist regime on the other side of the world. HMM, THAT SEEMS LIKE A TIMELY MESSAGE. Elsewhere, there’s the scoop on new books from a pair of funny fellas in Chris McQueer and Robin Ince, a second look at the world of Craft in Scotland, and previews of Platform’s Eastern Promise weekender and this year’s French Film Festival programme. Our top pick is Christophe Honoré’s new film Sorry Angel; catch his tender study of 1990s Paris at GFT on 12 Nov and DCA on 16 Nov. Speaking of ‘things we’ve picked’, you should join us at the Alternative Peers Ball at the Assembly Rooms in Edinburgh on 3 Nov. It’s a two-room selection of some of our favourite bands, including Kobi Onyame, Bossy Love and The Spook School as well as headliners Fatherson and The Xcerts. It will be a lovely evening, so you should come along. Go on, it’ll be fun. [Peter Simpson]

By Jock Mooney

t the time of writing, there’s a bit of a stink kicking up about Donald Trump’s former campaign boss Steve Bannon. Having crapped all over journalism through his work at Breitbart News, and set the wheels in motion to get an authoritarian shitbag into the White House, his next move is to try and tie together all of Europe’s right-wing populist movements into one big movement. Naturally, he’s called it The Movement, because that’s the right wing’s sense of artistry for you. Of course, the best thing to do with dangerous far-right folk is to legitimise them and give them a prominent platform, which I assume is the thinking behind Bannon’s invite to a media conference in Edinburgh this month. Organisers say he’s an important figure in current affairs; I say fuck this guy and the horse he rode in on. Bad shit is kicking off all over the world, and inviting the architects of that bad shit to sit in comfy chairs and explain why they’re so clever is not a good idea. He’s set to appear at the EICC on 14 November, where I expect his free speech to be met with other people’s free speech loudly describing how much of a wanker he is. Anyway, apologies for the rant; let’s get on with the show, beginning in the middle of the magazine with the snow-capped return of our Adventure guide. It hits all the key winter touchstones – skiing, walking up hills, sliding around on big bits of ice, climbing of various kinds – and hopefully it inspires you to get out there and do some ‘venturing. If nothing else, there are some lovely snow-capped vistas to look at, so everybody wins. Moving on to slightly lower ground, Collective Gallery throws its doors open once again this month in its new home on Calton Hill. The gallery’s a key part of Edinburgh’s art ecosystem, and the pleasing news from our chat with some of those most involved in the project is that they’re sticking to their mission to facilitate artistic expression rather than dictate to it, despite their swanky new

Chat

THE SKINNY

Online Only Lucy Dacus on Historian and boygenius The Virginia singer-songwriter runs us through her banner year, from her critically-adored sophomore record to her collaboration with Julien Baker and Phoebe Bridgers "I think it’s easier for a lot of people to listen to music that speaks to them than to engage with somebody in real life. That’s my not-necessarily-comforting view…” Read the full interview at theskinny.co.uk/music

Mental Health After the Fringe After this year’s Fringe ended, our theatre editor had a stress-related health scare; we look at the festival, the pressure that comes with it, and how artists can cope “I think there should be a lot more in the way of mental health, meditation, self-care on

offer,” says actor Annie Mackenzie. “I think there should be more on offer so the culture doesn’t solely revolve around getting shit faced and fucking each other. I think there’s a lot to be done, but it starts there.” Read the full piece at theskinny.co.uk/theatre

Dead Ink Books on the Eden Book Society We dive into the history of the horror novella subscription with a mysterious backstory “I think the broad concept of horror as a genre is perhaps the most powerful storytelling tool we have for processing difficult subjects,” says Nathan Connolly. “The old trope is that it is a safe imaginary space for us to explore our very real fears. I would say that it goes beyond that though.” Read more at theskinny.co.uk/books

Lucy Dacus

Photo: Dustin Condren

White Rabbit at Scottish Queer International Film Festival

Scottish Queer International Film Festival The essential film festival returns to Glasgow with a programme featuring queer East Asian and Arab cinema, an asexual reading of The Wizard of Oz and a chance to experience queer virtual reality. Get the full round-up at theskinny.co.uk/festivals Last chance to vote in The Skinny Food and Drink Survey This year’s poll of your favourite restaurants, bars,

cafes and ‘other’ closes on 19 Nov, so head over to theskinny.co.uk/food and cast your vote. Scottish Alternative Music Awards: The Winners This year’s SAMAs saw wins for Declan Welsh and the Decadent West, LYLO and Solareye among others – read the full list of winners over at theskinny.co.uk/music

Find more at theskinny.co.uk

The Skinny on Tour T

As well as eating our way around this city so good they named it twice, we checked out Rough Trade, which is just around the corner from where this photo was taken, and spent a day scouring the art and objects at Artists & Fleas. Start spreading the news, we’d leave to return here today and any other day.

Eros Dervishi Originally from Albania, Eros Dervishi is an illustrator and designer based in Brooklyn, New York. His work has featured in The New York Times, EATER, The Boston Globe, The Scientist and VICE. See more at erosdervishi.com

If you reckon you know where we’ve been this month, head over to theskinny.co.uk/competitions and you could be in with the chance of winning The Hoarder by Jess Kidd courtesy of our pals at Canongate.

Credit: Eros Dervishi

ypical! The Skinny travels 3000 miles to take a picture of the most famous city skyline in the world and the day turns out to be a right peasouper. No matter, we had a grand old time on our latest Skinny holiday. After taking this picture we devoured some massive fuck off beef short rib and some super tasty thai fried chicken at Smorgasburg to put us back in an Empire State of Mind – strangely, this hipster food market wasn’t selling any big apples.

COVER ARTIST

November 2018

Chat

Sun 4 Nov

Mon 5 Nov

We all love a good beer and currywurst, don’t we? Well indulge yourself in plenty at the Halloween edition of Edinburgh Oktoberfest. The event will recreate the feel of genuine Oktoberfest celebrations, held in an 1,800 capacity tent, with waiters and waitresses dressed in Dirndl and Lederhosen. All that, and you don’t even need to brush up on your German beforehand. Prost. Murrayfield Stadium, Edinburgh, 12.30pm, £5-47

What more appropriate exhibition to go see on Bonfire Night then one entitled BANGER (no fireworks present though). For her first exhibition in Scotland, London-based artist Emma Hart has created a new series of work, which will be shown alongside her major 2017 work Mamma Mia! and accompanied by a new book. The Fruitmarket Gallery, Edinburgh, until 3 Feb, free

Parquet Courts

Tue 6 Nov

Edinburgh Oktoberfest

BANGER, Emma Hart

Sun 11 Nov

As part of this year’s NEoN Festival, the National Theatre of Scotland presents Citizen of Nowhere, a festival merging theatre and technology. Experience VR Theatre, co-curated by Limina Immersive and William Galinsky (Dundee Rep, Dundee, 3.30pm, £5) or witness two Macbooks acting in Annie Dorsen’s digital theatre piece Hello Hi There (Venue tbc, Dundee, 7.30pm, £5).

Karl Kraus’ 1918 play, The Last Days of Mankind is adapted especially for the Leith Theatre, transforming the venue into a café style setting, with an international cast and original songs by The Tiger Lillies. The play, set during WWI, offers a satirical view of the glory of the war and is considered one of Kraus’ most important works. Leith Theatre, Edinburgh, 6.30pm, £14-25

Midland

Photo: Jimmy Mould

Fri 9 Nov

Photo: W Silveri

Sat 10 Nov

Citizen of Nowhere

Baba Stiltz

Concluding his three-day residency at Sneaky’s tonight, Midland joins DJ Cheers at TEESH after two nights of going it alone. Having appeared at the club a couple of times over the last few years, like many before him, he obviously couldn’t resist coming back. If you haven’t heard his FabricLive 94, get on it now – you’re very welcome. Sneaky Pete's, Edinburgh, 11pm, £12

Brooklyn quartet Parquet Courts’ latest album Wide Awake! came third in our Albums of 2018 so far list back in July, after earning a five star review on its release. The band collaborated with Danger Mouse on the record, who has previously produced albums for Gorillaz and The Black Keys, and is also known for being one half of crazy boys Gnarls Barkley. SWG3, Glasgow, 7pm, £16

The Last Days of Mankind

Sat 17 Nov

This year’s Dundee Jazz Festival line-up features a range of performers, from jazz icons like Otis Taylor to up-and-coming artists like Georgia Cécile. Tonight, you can take your pick from the likes of Afrobeat purveyors Nubiyan Twist, doom-jazz trio AKU!, a screening of Renée Edwards’ One Note at a Time or Samedia Shebeen’s Tropical Club Night. Various venues, Dundee, times & prices vary

Four young theatre companies bring forward new works for this year’s Chrysalis festival at the Trav. Junges Ensemble Marabu debate and illustrate the refugee crisis in There is a Globe Stuck in my Throat, while Platform Young Company use movement, text and sound to delve into our current political and social climate in Shaking the Habitual. Traverse Theatre, Edinburgh, times vary, £8-30

Whatever your interests, Eastern Promise has something to suit; the multi-arts festival returns for its eighth year with a selection of live music, theatre and film screenings across two days. Today’s line-up includes a light and sound performance from Glasgow-based artist Sarah Glass entitled 13 +/-, live music from Apostille and a new cross-platform work from Ashanti Harris, Jumbies. Platform, Glasgow, 5pm, £7.50-15

Shaking the Habitual

Photo: Gudrun Soley Sigurdardottir and Eoin McKenzie

Fri 16 Nov

Photo: Blue Laybourne

Thu 15 Nov

Nubiyan Twist

Thu 22 Nov

Fri 23 Nov

You may as well set up shop in Sneaky’s for the night and enjoy a double whammy of gigging and clubbing fun. South East London hip-hop duo, 808INK get the party started (Sneaky Pete’s, Edinburgh, 7pm, £8). Hit the pub for a bev then head back for Project Pablo at Heaters, and let the Montreal DJ take you into the early hours (11pm, £5-10).

Kim Brandstrup teams up with London-based contemporary dance company Rambert once again, following his 2016 National Dance Award-winning contribution to Transfigured Night, which was awarded best modern choreography. This time around, Brandstrup and Rambert are taking on Pedro Calderón de la Barca’s 17th Century play, Life is a Dream. Festival Theatre, Edinburgh, 7.30pm, £16.50-30

It’s been 20 years since Lauryn Hill released her seminal album The Miseducation of Lauryn Hill and, believe it or not, it’s still the only solo album she has ever released. Tax dodging and persistent lateness aside, Hill is one of the most influential artists of her generation and you’d be a fool to miss this show. SSE Hydro, Glasgow, 6.30pm, £45-65

Chat

Life is a Dream

Photo: Johan Persson

Wed 21 Nov

808INK

Photo: Frederick Patterson

Bram Stoker's Dracula

Photo: Stuart Moulding

Braving a night out on actual All Hallow’s Eve? The FLY Halloween Spooktacular is the place to be, with sets from Skream, Mella Dee and Baba Stiltz (The Liquid Room, Edinburgh, 9pm, £15-25). In Glasgow, Burnt Church Film Club are screening the ultimate Halloween film Hocus Pocus, featuring incredible performances from Bette Midler and a very thirsty Sarah Jessica Parker. Flying Duck, Glasgow, 7pm, £5

Apostille

Lauryn Hill

THE SKINNY

Photo: Harrison Reid

Just before Christmas takes over all our lives and we’re all undoubtedly left penniless, exhausted and with absolutely no enthusiasm for the holiday season before it’s even begun, it’s November!

Shop aisles have been lined with costumes for months and pumpkins are fucking everywhere, but now’s the time to really embrace Halloween before it’s over for another year. The King’s will be staging a true spooky classic over the Halloween period, with a brand new multi-sensory adaptation of Bram Stoker's Dracula for you to sink your teeth into (ha-ha). King's Theatre, Edinburgh, 7.30pm, £21.50-31.50

Photo: Roosa Päivänsalo

Compiled by: Nadia Younes

Wed 31 Oct

Photo: Renato Ghiazza

Heads Up

Tue 30 Oct

Bearded drag queen Timberlina is the creation of performance artist Tim Redfern, who presents a new show, combining cabaret, theatre, music, drag and comedy, about leaving the city for the countryside. In FFS!!, Timberlina will discuss her new country lifestyle, gardening, foraging, freecycling and all, through a series of original songs and stories based on real life adventures. Assembly Roxy, Edinburgh, 8pm, £8-10

We’ve only gone and co-curated this year’s Alternative Peers Ball line-up, with help from broadcaster and journalist Vic Galloway, and we have to say we’re pretty happy with it. Kilmarnockformed trio Fatherson will headline the event, which will also see performances from Bossy Love, The Spook School, Martha Ffion, Kobi Onyame and many more. Assembly Rooms, Edinburgh, 5pm, £27.50

Connan Mockasin

FFS!!

Thu 8 Nov

Always a fan of pun-heavy show titles, Joe Lycett’s latest tour has the, quite simply, brilliant title of I'm About to Lose Control and I Think Joe Lycett. Seemingly out of parking tickets to protest, Lycett’s getting back on that stand-up horse and hitting the road again sharing many a funny tale in venues across the UK. The Edinburgh Playhouse, Edinburgh, 8pm, £24.15

There’s barely a field Grayson Perry hasn’t conquered; the Turner Prizewinning artist, BAFTAwinning TV presenter and bestselling author will continue to discuss and critique the topic of masculinity in Them & Us? Perry will take the tour all over the UK, with this being its only Scottish date, so make sure you get your tickets. Usher Hall, Edinburgh, 7.30pm, £15.75-31.50

Joe Lycett

Photo: Matt Crockett

Wed 7 Nov

The Spook School

Grayson Perry

Wed 14 Nov

We’ve partnered with the French Film Festival once again, and this year we’re sponsoring their screening of Christophe Honoré’s 1993-set film surrounding sexual exploration and liberation, Sorry Angel. The film follows 35-year-old HIV-positive writer Jacques and his relationship with 22-year-old student Arthur, as they each challenge the others ideas about life and love. Glasgow Film Theatre, Glasgow, 8.10pm, £7.50-10.50

Subbie’s regular Tuesday night party-starters I AM bring in two hot blonde babes to light up the dancefloor with a healthy dose of pounding techno. Daniel Avery and HAAi have been friends for years, having met on London’s club scene, and tonight they’re teaming up for what’s sure to be the best Tuesday night you’ve had in years. Sub Club, Glasgow, 11pm, £12

South London-born comedian Jen Brister’s latest stand-up show Meaningless earned a four star review from us during this year’s Edinburgh Fringe, so if you missed it then here’s another chance to catch it. In it, Brister contends with selfabsorbed parenting advice, the hypocrisy of gender roles and tries to find the meaning of life (kind of). The Stand, Edinburgh, 7.30pm, £8-10

HAAi

Mon 19 Nov

Tue 20 Nov

Put down your podcasts and press play on a new book instead, or something like that. Book Week Scotland is back with a programme of talks, workshops and events over, you guessed it, a week. Hear from authors and journalists, enjoy cheese and wine reading group gatherings, take part in a quiz, and much more. Various venues across Scotland, until 25 Nov, times & prices vary

Founded in 1983 by Anne Bean, Paul Burwell, Richard Wilson, the Bow Gamelan Ensemble utilise found objects, invented instruments and everyday sound to form their crossdisciplinary works. Great Noises That Fill the Air is the first retrospective dedicated to the collective and includes a symposium on 24 November, which will bring together artists of various disciplines in a live act. Cooper Gallery, Dundee, until 15 Dec, free

Jesse Jones’ world-renowned performance installation, encompassing sculpture, theatre and film, is shown alongside a group exhibition of artists campaigning to Repeal the 8th Amendment in Tremble Tremble / At the Gates. Both exhibitions tackle feminist themes in various manners, with the latter featuring works from Maja Bajevic, Georgia Horgan, Navine G. Khan-Dossos and more. Talbot Rice Gallery, Edinburgh, until 26 Jan, free

Christine and the Queens

Sat 24 Nov Héloïse Letissier threw down the gauntlet with one of the best albums of the year in September. Her second album as Christine and the Queens, Chris is an 80s indebted, funk-fuelled pop gem and should be celebrated endlessly. Letissier is a big fan of a dance routine or two, so some serious shapes are also sure to be cut. Usher Hall, Edinburgh, 7pm, £41.25-49.50

November 2018

Book Week Scotland

Photo: Martin Shields

Sun 18 Nov

Jen Brister

Bow Gamelan Ensemble

Sun 25 Nov

Mon 26 Nov

Visible Girls/Invisible Spaces teams up two photography collections, Visible Girls: Revisited and Invisible Spaces. The former features photographs taken by Anita Corbin in the 1980s of women from different cultural groups and subcultures, while the latter features photographs taken by young Scots aged 18-26, all of which tell stories of space and identity. Summerhall, Edinburgh, until 21 Dec, free

True crime TV series’ are basically millennial kryptonite, and the latest to add to your binge list is Netflix’s The Staircase, which follows the high-profile murder trial of American novelist Michael Peterson. Clearly milking his five minutes of fame, Peterson’s attorney David Rudolf is heading out on a tour where he’ll be in conversation, discussing details of the case and trial. O2 Academy, Glasgow, 7pm, £24.50

Visible Girls/Invisible Spaces

Photo: Anita Corbin

Jesse Jones, Tremble Tremble, 2017, production image

Photo: Courtesy of the artist

Sorry Angel

Photo: Rachel Maclean

Tue 13 Nov

Photo: Jean-Louis Fernandez

Mon 12 Nov

Photo: Cameron Brisbane

Back with his first solo album in five years and his first full band album ever, slow jam maestro Connan Mockasin released his new album Jassbusters in October. Accompanying the album, Mockasin will be releasing a five-part film project, the first of which he’ll be premiering on an international tour. Expect lots of smooth, funky jams. Royal Concert Hall, Glasgow, 7pm, £20

Photo: Richard Ansett

Sat 3 Nov

Photo: Idil Sukan

Fri 2 Nov

Photo: Alexander Bell

Thu 1 Nov

David Rudolf

Chat

Photo: Alice Smith

Supersonic Youth We catch up with Glasgow supergroup Hairband following the release of their self-titled debut EP and a pretty successful year

airband aren’t your typical supergroup. Featuring members of Glasgow bands Spinning Coin, Breakfast Muff, Lush Purr and Kaputt, the five-piece are all regulars on the city’s DIY music scene, but not all of them had actually played music before the band’s formation. Hairband grew out of a conversation between bassist Sephi Lock, who had never played in a band before, and drummer Emma Smith, one quarter of fuzz-pop group Lush Purr, about their desire to start a band together and to collaborate with other women. Once the plan was in motion, the pair quickly roped in the band’s remaining members: Rowan Wright, Rachel Taylor (Spinning Coin/Rocky Lorelei) and Simone Wilson (Breakfast Muff/Kaputt), to join them. “I felt so lucky because I had just moved to Glasgow and I met Sephi through friends. It was maybe the third time I had met her at a gig… she invited me to come and I felt really shy about it because I hadn’t really collaborated with a number of other women at once before,” says Taylor. “I wanted to be in a band that was a lot more chilled out, because my other bands are quite chaotic... just being with all women I guess, it does really chill you out,” adds Wilson. Wright continues: “We’re all quite, I think, in touch with each other and it makes it so nice; it’s more than just playing music.” Despite not all knowing each other initially, the band quickly formed a close bond and their musical chemistry was almost instant. Each contributing to the songwriting process, every Hairband song is a strictly collaborative affair, with sessions largely taking place in their practice space in Bridgeton. “When we try to write a song together, it just kind of happens on its own and I’ve never experienced that in any other context with people; it’s just the songs kind of write themselves,” says Taylor. “As a band, we’re just so excited to play together that we’re not really very uptight about any elements of the music, like perfecting things, we just enjoy it genuinely,” continues Taylor. “What’s nice about Hairband is there’s a lot of

Feature

Interview: Nadia Younes

freedom to tweak something,” adds Lock. “It means that you’re not stuck in a strain… and then there’s not pressure to perfect a song straight away.” On their self-titled debut EP, Hairband’s enthusiasm is evident. There’s a playfulness spread across the EP and it’s hugely infectious, in the jam-style riff-offs on Bubble Sword and the slick vocal harmonies on Sassy Moon. Taylor’s sweet, endearing vocals on Flying add an extra dose of youthful energy, and you’ll struggle not to get swept away by it. Released by Glasgow’s Monorail Music last month on vinyl, the band brought even more friends along for the ride when it came to putting the EP together, with their friend Audrey Bizouerne photographing them for the artwork. “[Monorail] just kind of approached us and it’s only like their second release ever, so it was nice for them to kind of take a chance on the music, and they gave us full rein on artwork and all of that, which was really special,” says Lock. Wilson continues: “And to have creative control. This is the first band where I’ve had complete creative control over every single aspect and Mono just let us do that.” Recorded in Glasgow’s coveted Green Door Studios, the band were able to land free recording time, as a result of Wright’s participation in one of the studio’s Sonic Youths courses – a free 12-week music production workshop series for young musicians, aged 16-25, not in employment, education or training. At the end of the course, participants are given a full day recording session and a half day mixing session; Wright chose to use her allotted recording time with Hairband to record their debut EP. “Without those courses this EP probably wouldn’t have happened, or at least not for a substantial length of time after it has… So many bands in Glasgow have flourished from Green Door courses,” says Wright. Smith adds: “They kind of encourage young people to start bands. That’s basically the whole thing, just like to encourage them to blossom.”

The course is just one of many the studio runs, which have assisted in the rise of bands such as Free Love and Golden Teacher, among many others, attempting to engage and support young musicians in and around Glasgow. Their Supergroups scheme, open to unsigned bands and musicians aged 16-25, gives each band five days in the studio to rehearse, record and mix a four to five song EP, while their Electronic Music Club, open to young people aged 12-25, takes place twice a week, providing introductory workshops on making electronic music.

“ We’re all quite, I think, in touch with each other and it makes it so nice; it’s more than just playing music” Rowan Wright

But much of Hairband’s success can also be indebted to the openness of Glasgow’s DIY music scene, without which many of them probably wouldn’t have even met. “Just the whole music community kind of serves as a stepping stone, because you just get to meet so many nice people and everyone’s so enthusiastic,” says Lock. “Across genres, the DIY scene is really important… When we started out, we kind of got offered shows before people even knew what we sounded like. I think we only had four songs at our first show,” says Wright.

Music

That first show was at Glasgow’s The Old Hairdressers for annual festival Freakender – the brainchild of Ian Crawford of El Rancho, Holly Calder of Eyes Wide Open and Ross Keppie of Fuzzkill Records. With only a handful of songs to their name at that point, Keppie invited the group to play at Freakender 2017, and allowed them to play an almost unheard of four-song set. But juggling so many different bands is no easy feat for Hairband, and trying to arrange time together can prove to be a struggle when you’re attempting to fit in with the schedules of more than five different bands. “It’s just really annoying,” says Smith. “I think we’re all pretty respectful of each other’s schedules and we try and be patient with each other, but yeah, it’s quite a challenge.” Wilson continues: “It means we have to say no a lot and that’s the only thing, that each band has to say no a lot to other things… it’s frustrating, there’s no other way to put it. It’s just frustrating, but we make it work.” While they try and manage this delicate balancing act, finding time to work on new material and schedule touring plans with Hairband is near impossible. Not ones to give up on a good thing though, the band are always trying to make things work. “I think at the moment the album’s probably slightly more likely to happen before [a tour] I guess, because we have the material and we can do that in Glasgow,” says Wright. “I think especially because it’s been a year and a half since we recorded the EP, it would be really nice to go in and do that again... but I don’t know if it’s something that will come out any time soon.” In the space of just over a year, Hairband have gone from cosy four-song sets at The Old Hairdressers to performances at the Scottish Album of the Year Award ceremony in September to a massive support slot for Sleaford Mods at the Barrowlands just last month. Climbing heights at such a rapid pace, who knows how much further the band will continue to stretch. Hairband is out now via Monorail Records facebook.com/hairbanddd

THE SKINNY

Rebel Girls As riot grrrl pioneer Kathleen Hanna turns 50 this month, we look back on her career and the legacy she’s left to a new generation of music-making women

rom the gut-busting smacks of the snare to the militant chugging-riff building headfirst into Kathleen Hanna’s caustic cry, Bikini Kill’s Rebel Girl was an ode to female friendship. Nearly 30 years on, and as the punk singer turns 50 this month, it’s time to look back on the iconoclastic career of the original riot grrrl and the legacy she’s left to a new generation of music-making women. Allison Wolfe has just got back from an afternoon rehearsing with new project, Scorpio Scorpio – a pop trio alongside 70s archivist and activist Alice Bag, and Hunx and His Punx vocalist Seth Bogart. Over the crackle of the phone wires, she’s casting her mind back to the first time she met Kathleen Hanna back home in Olympia, Washington. “I remember seeing her around. She had a shaved head and looked like Tank Girl or something,” Wolfe remembers with a laugh. “She always sort of terrified me, I would think ‘Oh, here comes that tough girl.’” And it’s true. For some, the foul-mouthed, red-faced anger of the lightning rod lead singer may have seemed confrontational but for Wolfe, frontwoman of fellow riot grrrl frontrunners Bratmobile, this was the first wave of a monumental sea change. She remembers stumbling into what she thinks was a Bikini Kill rehearsal walking past Olympia’s indie art gallery, Reko Muse. “If it was a show then there weren’t many people there... maybe a handful,” she jokes.

“ Things seemed to change really quickly and Bikini Kill were definitely at the epicentre of that. They really galvanised people” Allison Wolfe

The group brought together Hanna on vocals, Tobi Vail (founder of feminist zine Jigsaw) on drums, guitarist Billy Karren and bassist Kathi Wilcox who would stick with Hanna right through to recent musical carnation, The Julie Ruin. Armed with a mission to carve a space for women in a world that saw them as groupies rather than musicians, Bikini Kill’s ideology still speaks to countless women creatives today. “In the first week of the guitar and bass classes, we ask the women and girls which musician they’ve been most inspired by and the most common answer is Kathleen Hanna,” explains Caro Kemp, Co-chair of Girls Rock School Edinburgh. Much like the band’s ‘Revolution Girl Style Now’ ethos to create a safe space for women and girls at music concerts – particularly punk shows dominated by violent mosh pits – Girls Rock School Edinburgh’s inception was inspired by the US Rock Camp for Girls, building women and girl’s self-esteem through music creation and performance. “There’s a ridiculous and outdated system which tries to make women feel like they’re not

November 2018

supposed to do certain things,” Kemp tells us, “and not just young women, but also older women, transgender people, ethnic minorities and people who are differently abled.” Away from the brash gig politics and masculine punk culture, there was a more sensitive side to Bikini Kill’s shows that unified those who felt outcast and alone. Hanna’s influence can be felt within everything from best-selling book Good Night Stories for Rebel Girls to the pockets of socially awkward teens in isolated communities across the globe. As Hanna herself told The Guardian in 2014 ahead of The Julie Ruin’s return to the UK: “There are certain Bikini Kill records that have become part of the lexicon of highschool girls who are weirdos.” Not just “high-school girls” though. Gareth David, vocalist of seven-strong indie-pop outfit Los Campesinos!, hugely identifies with the punk singer who provided a welcome disruption to an otherwise samey scene. “Growing up in a small town in Somerset, and being wilfully alternative but without an older sibling or mentor to guide me through my early teens, my exposure to music was primarily just through white males with guitars,” David tells us. Given Hanna’s own disruptive childhood – her family never stayed long in one place due to her father’s job constantly uprooting them – it makes sense that she’s given fellow teens a sense of belonging, even in the smallest of rural towns. This collectivity continued with the ‘girls to the front’ ideology that Hanna championed so vehemently. Its ethos has been instrumental in reshaping how women are perceived within the music industry; be that as keen front row fans or fret-heavy guitarists. For David, it sparked a conscious decision towards female representation. “We have a policy that we will not choose support bands which are made up solely of males. We’re aware that as a band that is six-sevenths male, we have a duty to hold ourselves to account.” It’s this sort of accountability that’s so needed in a post #MeToo era where far too often men’s views and opinions are lionised. Hanna herself once said, “You’re still going to get criticised, so you might as well do whatever the fuck you want,” and it seems this new generation are rallying around this idea. Jude Stewart, Chair of Girls Rock Glasgow, explains how their rock camps provide spaces that address this. “[The woman and girls attending] can be free to express their frustrations and be goofy – experiment without being scrutinised and judged according to some ‘industry vision’ of what female success is. They can enjoy sisterhood and not be eaten up by competition.” It’s similar to something that Wolfe also believes Hanna kickstarted back during the birth of her first band nearly 30 years ago. “It was really new for women coming together, not competing against one another, and I don’t think that had happened before,” she admits emphatically. “Things seemed to change really quickly and Bikini Kill were definitely at the epicentre of that. They really galvanised people.” It seems over three decades on, Hanna’s role as the flagship riot grrrl is still as relevant as ever, particularly when it comes to accessibility. Something of a leftover from their fore-sisters in the 70s, riot grrrl proved that you can explore music even if you can’t afford the after-school

Interview: Cheri Amour Illustration: Jacky Sheridan

hours tutelage. Bratakus – sisters Onnagh (bass/ vocals) and Breagha Cuinn (guitar/vocals) – are the poster pair to come out of Girls Rock Glasgow and since picking up their instruments through the camp have volunteered for the not-for-profit for the last four years. “One of the best parts about what the riot grrrl movement did was let girls know they didn’t have to be a grade eight musician to form an amazing band,” Breagha explains. “Girls felt they could just get up and try stuff out, and that was a really important thing to happen.” Wolfe agrees and similarly puts a lot of that on the Girls Rock camps as well as her and her riot grrrl alumni: “These days a lot of women and girls don’t consider it weird or whatever to start a band. A lot of that is to do with the Girls Rock camps. They’re really bringing up this new generation of musicians who aren’t going to think twice about starting a band.” Kathleen Hanna was more than just a punk singer. For so many of us, she was a therapist, a

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mentor, a crutch to lean on when things got tough. But she was also a changemaker transforming the attitudes and assumptions around what women stood for. For bands like Bratakus, they’re taking that mantle and running with it: “We get people saying all the time, ‘I didn’t expect such loud aggressive music from two little girls like you.’” Hanna reasoned in a recent article that she doesn’t say ‘girls to the front’ anymore because “they’re already there” and with initiatives like Girls Rock Glasgow and Edinburgh carving out a safe space for girls and women to stand up and make noise, you can’t help but feel there’s more on the way: revolution girl style now. Girls Rock Edinburgh’s Kemp has the last word on that: “We’re not gonna be the cute girl playing keyboards in the indie rock boy band anymore, and we’re not sorry.” girlsrockschool.com girlsrockglasgow.com

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Hope, Strength and Power Faced with the imminent wreckage of Trump’s presidency, Sunflower Bean re-drew American youth in their own image with Twentytwo in Blue. Julia Cumming explains how

Interview: Joe Goggins

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“ If you can channel your activism into the life you already live, then you’ll find it a lot easier to fight the good fight” Julia Cumming

The group are set to return to the UK this month, where they’ll be presented with the paradox of a country that has inspired them so readily (they’ve taken plenty of cues from The Cure, amongst others) heading into a black hole of near-fascistic misery. Not that that’s the be-all and end-all. “I’m glad that, when it comes to what I love about Britain musically now, it’s become less about the bands I listened to growing up,” relates drummer Jacob Faber. “People here are just game to go to a rock show any night of the week, especially in England, and that attitude is something I wish that we had a lot more of in the States.” Records this keenly observed might traditionally have been called precocious, but that would be to miss the point entirely; Sunflower Bean are one voice amongst an ever-more-savvy generation forced to grow up quicker then their predecessors by the rolling tumult of the world’s social fabric in 2018 – #MeToo, gun violence, the

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Photo: Hollie Fernando

e’ve been speaking to a lot of people after shows who have literally turned 22 just as we have, who keep telling us that they’ve been going through the same things. It’s humbling.” Back in March, Sunflower Bean made a statement with their sophomore album, Twentytwo in Blue. It was a pretty quickfire follow-up to 2016’s Human Ceremony, but feels like a profound step forward in practice; after all, that two-year gap was hardly uneventful in matters both local and national. Barely out of their teens when their debut LP was released, the New York trio quickly found themselves touring the world extensively, selling out their own shows as well as opening for indie rock touchstones like DIIV, The Vaccines and Wolf Alice. This year, meanwhile, they’ve spent time on the road with Interpol. Plus, the United States has become a considerably less certain place since Human Ceremony. It’s a much less hospitable environment for young people, for a start – particularly young women, like singer and bassist Julia Cumming. It’s also become near-impossible for any creative person of a progressive political bent to prevent the darkness of the Trump administration’s reshaping of America from seeping into their work. Sunflower Bean are no exception, and rather than retreat into the escapism that the brash and irresistibly fun stylings of their first album might have offered them, they’ve embraced the outrage of the present climate, and taken a high road paved with empathy and compassion on Twentytwo in Blue.

laser-intense focus on the further marginalisation of minorities. Twentytwo in Blue is a coming-of-age record, but one handmade for today; the themes are familiar, but the atmosphere is uniquely febrile. “I think one of the things that we were trying to summarise was the entirety of the experience of that moment when you really step into adulthood,” explains Cumming. “There’s a lot of hope, strength and power, and then offsetting that is a lot of melancholy, anxiety and fear. It’s about early-20s confusion in the modern age. We were smart enough not to have any unrealistic expectations about what this point in our lives might be like, so it’s hard to know, seven months after the album came out, whether or not those have been met. What I can say is that this project has always been reactive, and written around our surroundings. We wanted to start understanding our own motivations as artists; it’s easy to rock out and headbang, but it’s sometimes difficult to listen to yourself and figure out your feelings.” Few facets of the early-20s experience are overlooked on Twentytwo in Blue. There’s break-up songs that are all the more poignant for their maturity and perspective – Puppet Strings, for instance, or I Was a Fool, a stinging back-andforth on vocals between Cumming and guitarist Nick Kivlen. The almost-title-track Twentytwo is a startlingly level-headed and coolly-executed deconstruction of the deep-seated misogyny of society’s view of a woman’s worth relative to her

age. The slow death of love and memory runs through the core of the record, but crops up most prevalently on opener Burn It, as well as Memoria. It’s strange that such an inherently political album, which Twentytwo in Blue is simply by virtue of its reflection of what it is to be young in America in 2018, feature just one song that could be considered pointedly so – the rambunctious, defiant Crisis Fest, already embedded as a firm fan favourite. It’s also proved incredibly prescient; the song is preoccupied with the idea of the country’s youth taking back control, something crystallised by the response of the Never Again movement to the Parkland shooting in Florida just weeks ahead of the album’s release. “I’m really glad that song ended up the way it did,” says Cumming. “I mean, it casts the rest of the album in a certain kind of shade, in an interesting way. The way that we’ve experienced political feelings over the last couple of years, in terms of all of the rage and pain and excitement that goes with that, has not necessarily been something that fit comfortably with the rest of our personalities. It was never going to suit us to make a big protest record, but we did also want to show what it’s really like to try to deal with those feelings, and Crisis Fest is that one moment of release on the album. The most important thing about that song is that, at the heart of it, there’s the realisation that we, as young people, have the power to change the things we don’t like.”

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That’s precisely what Cumming’s been up to in extracurricular terms, too. In the downtime between Human Ceremony and Twentytwo in Blue, she formed her own activist collective, Anger Can Be Power, naming it after a lyric from The Clash’s Clampdown and involving artists who have tangible political heft; she gave an early interview about the project to Lena Dunham’s Lenny Letter, and has since presided over events that have included left-wing Democrat Alexandria Ocasio-Cortez and the prominent Muslim activist Hebh Jamal. “It’s definitely a personal project,” explains Cumming, “and the whole point of it is to think about what it is that I might have to offer in the way of activism, in terms of what we’re facing at the minute. That goes for anybody else who’s involved, too. The way I look at it is that your greatest strength is being able to use what you know, which in my case is being involved with many years of live shows and events. I just feel like it’s easier if you try to figure out what you can contribute to the cause relative to your skillset, and then bring that to some creative spaces. If you can channel your activism into the life you already live, then you’ll find it a lot easier to fight the good fight. That’s what we as a band have found, anyway.” Twentytwo in Blue is out now via Lucky Number Sunflower Bean play The Art School, Glasgow, 26 Nov sunflowerbean.net

THE SKINNY

November 2018

Born Again We catch up with cult hero Eddie Argos at home in Germany as he plans and schemes a way forward for the maximum rock‘n’roll of much-cherished pop-punk band Art Brut

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what makes it a compelling listen. From watching hipsters eat falafel on the vital VU-stroll of Good Morning Berlin, to the harmony-drenched rock of Schwarzfahrer, and on to the, well, Art Brut of the title track. Wham! Bang! Pow! Let’s Rock Out! is what can only be described in a cliché: a return to form. “I think it’s fun to be in Art Brut, so why would I stop?” asks Argos. It’s a good question, but one that the answer to was almost taken out of his own hands recently. “It wasn’t fun being ill, I almost died, but coming out the other side has made this record different.” Recording with folk hero Jim Moray made a difference too, as the producer has found a way to let Art Brut rock without losing their pop chops. “Jim’s a friend and it was great to work with him,” says Argos. “He was a hands-on producer and always had the songs’ best interests at heart… I think we’ve made some of our best music with Jim.” You can hear Moray’s contribution in the attention to detail paid to the Mick Ronson-like electric arpeggios and glistening acoustic guitars of Veronica Falls as well as on the short, sharp and clipped shocks of the angular Awkward Breakfast. It’s not just the music that Art Brut fans will flock to with Wham! Bang! Pow! Let’s Rock Out!, however, the frontman’s startling sprechgesang is back and still taking on all comers. “I don’t want to be the band that writes the sort of songs like, ‘I don’t like touring, touring is really boring,’” Argos says about the observational art rock and X-ray style of his wry lyrical couplets. “I think speaking is a more honest way of getting what I want across. And, anyway, I can’t sing.” Yeah, like Lou Reed or Shaun Ryder can’t sing. Lyrics such as ‘He’s gonna join the straight

edge scene’ (Hospital!), ‘I’m not bitter and I don’t want her back / There’ll be no Rumours or Blood On the Tracks’ (the brilliant album opener, Hooray) and ‘A record collection split in two and you took all the band songs away with you’ (the biting Britpop broadside of I Hope You’re Very Happy Together) are revealed best in the simple spit and polish of Argos’ extended vowels and usually captured in “one or two takes”. The singer’s delivery reveals something else, too, and that is that Wham! Bang! Pow! Let’s Rock Out! is no break-up album. These songs are lived-in and have come out the other side.

“ I always thought being in a band would fix everything in my life. It’s quite addictive” Eddie Argos

“Yeah, my relationship broke up – but I also wrote a comic, a memoir, a musical and had a one man show since the last album came out.” It’s true that Argos has, as he says, “lived a life,” before returning with Art Brut and that also involved the putting together of a new band to help bring his vivid tales to life. Founding members Argos, Ian Catskilkin and Freddy Feedback are all present and correct, but the band that will

tour the new record in early 2019 will also consist of Graham Coxon alumni Toby Macfarlaine and The Wedding Present drummer, Charlie Layton. “Toby and Charlie both rock the fuck out, which is what I like,” says Argos of the indie royalty now driving his band. “I’ve known Charlie forever and we’ve always wanted to be in a group together since we were kids. Toby plays bass for Graham Coxon, but he’s in the band because he’s an amazing guitar player... and when I looked at his Twitter feed he had posted A Day in the Life of Vivian Stanshall, from the Bonzo Dog Doo-Dah Band, and that was perfect for us. It was like, ‘he’s in.’” Art Brut’s return comes at a time when the sort of obsessional, observational rock’n’roll they make has never been more out of fashion. Then again, it’s always been more about talking about the passion with Argos’ rockers. “I always thought being in a band would fix everything in my life,” he says. “It’s quite addictive, really… I can’t imagine ever leaving Art Brut.” That’s what it boils down to with Eddie Argos: he’s in love with music. A sound. A song. Two guitars, bass and drums. He might have fallen in love with simple chords, but the stories he sets to them are anything but simple: they’re the stuff of life. “We’re not ironic or anything,” he says. “There’s real heart in what we do and we’re a fun band when we play live. Maybe that’s why we can’t stop?” Wham! Bang! Pow! Let’s Rock Out! is released on 23 Nov via Alcopop! Records Art Brut play Sneaky Pete’s, Edinburgh, 20 Feb 2019; Stereo, Glasgow, 21 Feb 2019 artbrut.org.uk

Photo: Perdro Hernandez

e were going for a Motown vibe!” Eddie Argos, keeper of the Art Brut flame, is getting excited as he describes the poppy post-punk sound of his band’s first album in seven years. Wham! Bang! Pow! Let’s Rock Out! is the sound of a band returning to what they do best and feeling no shame. Electric guitars form a twin attack on a bed of throbbing bass and bouncing drums, as the frontman bellows out those brilliant observations he’s become beloved for (sample: ‘It’s not a game over / I got an extra life / I was born again / In a pure white light’). “It’s sort of the record I was trying to make after the first album,” Argos reveals. “We didn’t quite succeed on It’s a Bit Complicated, but I’m more confident now and know what I want.” You can tell. Wham! Bang! Pow! Let’s Rock Out! is the revitalised sound of a rock‘n’roll band reinvigorated and ready to play. Sure, the distinctive aural assault that turned heads from Camden to Cologne back in 2005 is present and correct, but Art Brut version 2.0 sounds like a juggernaut that will take some stopping. “I’m really proud of this record,” Argos says. “It’s poppy punk and that’s what I set out to do.” It’s more than that, though. First shot across the bow, Hospital! sounds like a Stranglers-esque saunter through three chords upon first listen, but go again and all is revealed: Eddie Argos nearly died before the making of the new album. “I moved to Berlin and then I nearly died with peritonitis. I was in hospital for a bit,” he reveals in his trademark matter-of-fact style. “I also had a son and a relationship that broke up.” These are the massive life events, the things that happen to everyone, that inform the tale being told on Art Brut’s fifth studio album and

Interview: Alan O’Hare

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THE SKINNY

Off the Cuff Ahead of his outing in Glasgow this month, we chat to Baxter Dury about Prince of Tears and his new project, B.E.D with Étienne de Crécy and Delilah Holliday

Interview: Claire Francis

November 2018

the time we made this album. But yeah, it was another tier, another stage of complication.” He continues: “I think that’s why maybe things like that album work, because there’s a real person opening themselves up. Only when you put a bit of yourself in there does it feel like it means anything. And I think that’s across the board with all music, even genres that I wouldn’t appreciate. Ed Sheeran. That’s not for me, but he probably means it, you know what I mean?” The more you converse with Baxter Dury, the more obviously removed he seems from the Prince of Tears character. Did he ever consider using a stage name, in part to discourage comparisons to his father, the late Ian Dury of The Blockheads fame? He chuckles. “You know what, when I signed to Rough Trade, quite a long time ago, I remember when they signed me I went ‘Yeah, I’ve had a brilliant idea, I want to call myself BAXTA,’” he says, drawing out the ‘A’. “BAXTA with an A, like a sort of rapper. I was quickly told that was fucking ridiculous,” he laughs.

Photo: Hollie Fernando

he Baxter Dury we’re perhaps most familiar with is that of Prince of Tears fame: the surly, cocksure character who inhabits his breakthrough album of last year. Equally funny, revolting and pitiable, it sees Dury enacting a monstrous middle-aged geezer who, on the superb opening track Miami, informs us ‘I don’t think you realise how successful I am’. He goes on to declare himself as, among other things, ‘the sausage man’, ‘Mister Maserati’, ‘the urban goose’ and ‘a shipping tycoon / Full of promise and cum’? By contrast, the Baxter Dury who greets us on the phone from his flat in London seems far removed from the midlife crisis mindset of his Prince of Tears alter-ego. It’s early evening and he’s just finished cooking – “I made my son dinner, but he looks very disappointed by it,” he says in his distinctive timbre. Released this time last year, Prince of Tears was Dury’s fifth studio album and the one that found him mainstream success; he has spent the better part of this year on tour. “I’m alright now, because I’m back home,” he responds when we ask him about life on the road. “There is a point where I’m like, ‘Thank god for that.’ I like touring some of the time. Most of the time. Strange enough, considering I can’t cook, I find the culinary aspects of travelling quite difficult,” he laughs. Dury is funny – the wry, sharp humour that permeates Prince of Tears also comes naturally in conversation. “You know, I want someone to sort of deliver some Parma ham on silk,” he continues, “and everyone else is willing to accept a much lower level. I try to put it on the rider but it’s been ignored. Rose water, Parma ham… but to answer your question simply, yeah I’m happy that I’m home actually. It’s autumn and I’m readjusting, I’ve got lots of things to do.” One of these things – which ostensibly is the reason why we have Dury on the phone – is promoting his new project, B.E.D. A collaboration between Dury, French electronic pioneer Étienne de Crécy and Delilah Holliday of London punk outfit Skinny Girl Diet, the self-titled B.E.D record melds vintage electronica with Dury’s trademark sing-speak and Holliday’s nonchalant, husky vocals. “It was pretty much straight after I wrote the last album,” he explains. “I was orbiting around, I was in Paris a bit and we just sort of teamed up without much of an agenda. He’s got a studio there, Étienne, and we just sort of piffled around really. “We kind of made a plan based on not much happening. A sort of plan about making music without a lot in it, and without a lot of effort put into it. In a way it becomes a kind of innocent thing if you don’t try and overcomplicate it. It was a bit of a non-unionised experience,” he says dryly. “We didn’t have to worry about the people, and the things, or the ramifications. I didn’t even know if it was ever going to come out or not, really. It seems to have found its legs, you know.” Though Dury downplays the work that went into the new album, he is vocal about the challenges that arose from the collaborative process. “It was good doing the album. I’m quite bossy, but whether I really compromised that much I’m not sure. “It’s been a little bit tense afterwards, because everyone has an agenda and a perspective. That was quite strange. There were different views of what was going on, I think that’s probably what’s destabilised bands for centuries, and I’ve never known that experience because I’ve always been on my own and had the final say. So it was quite interesting really, having to be responsible

for other people. I wouldn’t say it was easy, actually. It made me think twice about doing it again.” Previously, Dury’s solo albums have made him more famous in France than he was in the UK. The opening track on B.E.D, Tais Toi means ‘shut up’ in French. On the song Eurostars, Dury ruminates on a maudlin morning-after. The press release describes the record as “a concept album about a short and bittersweet affair in Paris.” Despite not speaking the language (“Not a thing. Stone cold ignorant. But I quite like it, it makes it more fun,” Dury chuckles) his laconic vocal delivery and generally mysterious air have drawn comparisons to Serge Gainsbourg, with some even labelling him the ‘English Serge’. Dury seems sceptical of such flattery. “I made [Prince of Tears] without knowing how successful the album would be. Especially with my own albums, you know, quality control is always there… maybe there’s an attention on me now, so… I think you should always make good things. Maybe you just progressively do until you’re bad again! I think it comes in cycles, doesn’t it? “You think you’re on top of your game, then you start wearing bad clothes and making terrible choices. I don’t think I’m quite there, but I’m probably quite close. You have to have enough success to alleviate your perspective, that’s what happens, doesn’t it? When you start wearing white plim-

soles, your perspective’s been robbed somehow… it happens to every single one of them.” He pauses. “Not so much with Bowie or someone… although it did happen to him, I mean he was pretty massive and did an enormous amount of coke. I’m not surprised. He definitely came back! With a control of what sounds good. That’s such a rarity.” One of Dury’s hallmarks is his language (both the poetic and the profane). When asked whether he spends time crafting his lyrics, or whether he delivers them off the cuff, he says: “I write a lot of off-the-cuff stuff, Burroughs stream of consciousness style stuff. It’s quite a painful process. The process of writing lyrics is very quick, but the edit ing takes a long time. And I have to have a sort of narrative thread that’s justified to me, so that’s quite hard. The art of it is only brilliantly achieved when you don’t have to think about it so much. Like most things, whether you’re a potter or a golfer, or whatever.” Along with Dury’s distinctive turn of phrase, another similarity between Prince of Tears and B.E.D is the emotive undercurrent, a mood of slight melancholy and dissatisfaction. “I think I literally just print my mood as I’m experiencing it without any real filter,” Dury muses. “When I made Prince of Tears, I was in total meltdown. Absolute pain. And I was a bit more… ‘skippy’ by

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“ You think you’re on top of your game, then you start wearing bad clothes... When you start wearing white plimsoles, your perspective’s been robbed somehow” Baxter Dury

On Prince of Tears, and again – though perhaps to a lesser extent – on B.E.D, Dury crafts a character who is at once both funny and fragile, weighed down by bravado and broken dreams. Does he ever worry that the line between his self and stage persona will become too blurred? “Oh totally, and I get confused by them as well. Some of these things are created to launder what you feel anyway, some extreme character, you know, and these things are vehicles that say angry or bitter or unacceptable things – it all gets confused, definitely. “I’m not trying to head a movement. I’ve only done it because it’s the nearest thing that kind of stimulates my interest. I’m a bloke who found himself on his own, and I was never really on my own that much, so that’s really why I was drawn to this subject matter. There’s a sort of egocentric vaccuum about it. I’m protective of not being some arsehole, I don’t want to be that, but I also want to talk about the fact that, you know, all men are.” B.E.D is out now via Heavenly Recordings Baxter Dury plays SWG3 TV Studio, Glasgow, 7 Nov baxterdury.net

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Wild Wild Life Long one of American indie cinema’s most interesting actors, Paul Dano breaks out as a director with his compelling debut feature Wildlife, a deeply compassionate study of a fractured family at the dawn of the 60s

ust because actors spend many an idle hour on movie sets, it doesn’t necessarily mean they pick up the skills of where to place a camera or how to compose a shot. No one would confuse the workmanlike films of George Clooney, Angelina Jolie or Ben Affleck – to name three stars who’ve used their Hollywood muscle to move into the director’s chair – as great works of cinema, but some actors do seem to learn a trick or two from their time on set. One example appears to be Paul Dano, who hardly puts a foot wrong in his evocative directorial debut Wildlife, a deliciously melancholic family drama set at the dawn of the 60s. Since his breakout role in 2001, aged 15, in the troubling L.I.E., Dano has work with many master filmmakers from whom he’d have been wise to take inspiration. Try compiling a list of the finest directors working today, and odds are Dano has a connection to most of them. Paul Thomas Anderson (There Will Be Blood), Kelly Reichardt (Meek’s Cutoff), Steve McQueen (12 Years a Slave), Denis Villeneuve (Prisoners), Bong Joon-ho (Okja) and Richard Linklater (Fast Food Nation) are just a few of the auteurs for whom he’s acted. When we meet Dano in a Soho hotel ahead of Wildlife’s premiere at the London Film Festival, he’s quick to point out that he was too busy on those sets to pick the brains of those filmmakers directly. “Usually, if it’s a good part in something, you’re pretty much a horse with blinders on, you know, there for that character.” This isn’t to say he didn’t learn anything from the likes of Anderson and Reichardt. “But you certainly pick up stuff through osmosis for sure,” says the 34-year-old New Yorker. “What I do notice is that a lot of the great filmmakers, when you step on their sets, there’s just sort of a temperature that people are working at, and as an actor, knowing that feeling when the crew is totally engaged in the film is wonderful.” The incisive Wildlife suggests he got the temperature on his own set just right. Based on Richard Ford’s novel of the same name, it centres on the Brinsons, a family of three who’ve recently

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moved to a sleepy town in Montana. There’s stay-at-home mother Jeanette (Carey Mulligan), her feckless husband Jerry (Jake Gyllenhaal) and their watchful 14-year-old Joe (Ed Oxenbould), through whose eyes Dano shoots this fracturing of a family.

“ For me, the film ultimately is a coming-of-age of not just the kid, but a mother, a father and a son” Paul Dano

Dano says that he thought that if he ever made a film, it would be about the family unit. “That was my hunch,” he says. “First of all, I’m very close with my own family. When I was young in Manhattan, we were all in a one-bedroom apartment, my sister and I were in bunk beds and my mom and dad in a bed next to us. So we’re close – too close! – and it’s always just been something that has spoken to me, whether it’s in an Ozu movie or a Eugene O’Neill play or whatever. It feels like a good place to start [as a filmmaker], probably because it’s also a place where you can be personal and universal.” The team of collaborators on Wildlife is similarly tight-knit. First there’s Zoe Kazan, Dano’s partner, who co-wrote the script. “Initially, I actually thought about just hiring a writer, but once I thought of the ending and the final image, I thought, ‘Well, I think I can write this’, in a sort of a low stakes, experimental way. But then it turned out I started to kind of get into it and think, ‘OK, yeah,

this will work, I can write this!’” His bubble burst slightly when he passed his effort to Kazan, who wrote the inventive romantic fantasy Ruby Sparks in 2012, in which she and Dano both starred. “I gave it to Zoe and she kind of just tore it apart,” he recalls. “And so I was like, ‘fuck, OK.’” Dano says he took her criticism on the chin: “I mean, I was lucky. She said, ‘Why don’t you let me do a pass because I see what you’re trying to do?’ And I was like, ‘Great!’ She’s a proper writer, and I probably wrote more for the image and sort of the emotional guts of the film, and she helped bring a really great sense of structure and I’m just kind of grateful she helped me pull it together.” Dano is similarly close to his cast. “I’ve known Carey for a long time,” he explains. “Her and Zoe did a play together about a decade ago, shared a dressing room, and we’ve been friends ever since. And I’ve always just thought, ‘I would love to see her get the chance to be more messy’. Carey’s so composed in life and in her film roles, and I just wanted to know what that other part of her is like, you know, that really messy part of her. And luckily she felt the same way.” As for Gyllenhaal, Dano appeared with him in Bong Joon-ho’s wild fantasy Okja, but their friendship goes back much further. “We all knew each other and I knew Jake and Carey wanted to work together, plus the idea of seeing Jake do something that was really classically American felt good to me, and luckily he responded to the character and the family in the sense of this guy who’s having a crisis of masculinity.” Wildlife is set in 1960 and Ford wrote the novel in 1990, but it’s particularly interesting to view the story through the lens of 2018. Early on, Jerry, a golf pro at a local course, is given his marching orders for repeatedly gambling with his customers, and this sends him into such a tailspin of self-pity that he abandons his family indefinitely to go off and fight a forest fire that’s heading to town. But the flame his departure sparks in Jeanette, who up until this moment has been wearing the mask of meek housewife, is just as ferocious.

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Interview: Jamie Dunn

In one respect, the film is about a woman seizing a life of her own after putting up with her husband’s bullshit for far too long. “Jeanette is such a fascinating character. I think that [feminist aspect] is certainly part of Zoe. She’s really smart and she has a real voice, you know, and I learned a lot from her while writing this.” Dano describes being bowled over by the book when he first picked it up. “The first paragraph remains one of my favorite book openings ever. So immediately I was like, ‘OK, I gotta read this’. I was drunk on the book. I ended up reading it many times and daydreamed about it.” You can feel this intoxication in the movie too. In some ways, it’s a mystery film, as the 14-year-old protagonist tries to understand his parents. “I was fascinated by the idea of being thrust into adulthood via your parents,” says Dano, “learning they have a past life, suddenly learning they have struggles.” Wildlife, then, is that most archetypal of American movies: the coming-of-age film. But there’s a twist. “For me, the film ultimately is a coming-of-age of not just the kid, but a mother, a father and a son. It’s a coming-of-age of a family.” Both parents make reckless, selfish decisions. In the film’s most excruciating scene, Jeanette takes Joe along with her to have dinner with a much older man she’s trying to seduce, with the boy paralysed with horror when his mother’s intentions become abundantly clear. “Oh, that scene is deliciously horrible,” is how Dano describes it. What marks Wildlife apart from other tales of the crumbling American family, though – say Sam Mendes’ American Beauty or Noah Baumbach’s Squid and the Whale or George Clooney’s recent Suburbicon – is that Wildlife brims over with compassion in spite of its characters’ flaws. “It wasn’t about condemning anybody, it’s more like presenting a sort of warts-and-all honesty of people losing their way or a marriage breaking, not judging it. The film is harsh in some ways, but I also wanted there to be love too.” Wildlife is released 9 Nov by Icon

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November 2018

The Mother We Share Mamoru Hosoda’s animations beautifully explore childhood and family. His latest, Mirai, is also a game changer in being the first anime to premiere at Cannes. He tells us about being inspired by his kids and his dislike of Disney’s live-action remakes

Interview: Josh Slater-Williams

n conversation with Japanese writer-director Mamoru Hosoda, he cites childhood and how young people change as a recurring theme that unites all of his original stories. As such, it seems strangely appropriate that we end up introduced to his own children during our interview. Having just told us that his latest animation, Mirai, is inspired by his kids, we ask him if any of the film’s characters were directly informed by his own brood, which leads to us being shown a family portrait on his phone. “Do you want to see my kids’ pictures?” he asks. “They even look similar.” Sure enough, a lot of the people pictured in the photo resemble the character designs in the film. “The father is different,” he concedes. “Obviously, I’m not that good looking.”

“ I think when I became a parent, I thought I’d be the one teaching my kids things, but I learn a lot from them” Mamoru Hosoda

Although staged on a comparatively smaller scale to other Hosoda films like Summer Wars and The Boy and the Beast, Mirai still has an element of fantasy informing its portrait of family relations. It’s closer in spirit to his excellent drama Wolf Children, which spanned several years in the lives of a pair of lycanthropic children and the human mother struggling to raise them. Mirai also features troublesome children, though its exploration of time comes through the unique hook of a magical garden enabling a young boy to encounter his relatives from different eras, with a future older version of his younger sister Mirai acting as his guide. Despite the fantastical scenarios in which they’re set, Hosoda’s films regularly contain some of the most realistic depictions of children’s behav-

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iour and thinking in contemporary cinema, be it animation or live action. Mirai is no exception. “I think when I became a parent,” he says, “I thought I’d be the one teaching my kids things, but I learn a lot from them. The four-year-old boy character is my son, but at the same time, he’s me. And I felt like I was directing the film as a four-year-old myself. So, I think that’s probably why it looks sort of realistic. Although, I was quite a disciplined four-year-old-boy while making this movie.” Thanks to the efforts of distributors like Anime Limited and Manga Entertainment in collaboration with National Amusements, as well as the annual Scotland Loves Anime festival, it’s the best time it’s ever been for British animation fans to see anime features on the big screen with regularity. We wonder what sort of state Hosoda finds Japan’s theatrical industry for anime in right now. “I think we’re doing pretty well with box office hits,” he says. “We’ve got really good amount of animation movies, not just in feature films, but television. We’ve got quite a lot of animation going on. I think we are in a better position than ever before. I think everybody’s really trying to

keep animation movies in the mainstream. I think animation can be just one of the techniques, methods for movies. I do believe in possibilities in animation and also animation’s widening potential for filmmaking. I think we’re in a very interesting time.” Speaking of widening potential, Mirai has the status of being the first anime feature to ever premiere at Cannes, which happened this past May. “It was totally unexpected,” Hosoda says of that experience. “I never thought that was going to happen, it was such an honour. But I think it’s a good trend. There’s no barrier between animation and live action. I mean, Annecy [International] Animated Film Festival derived from Cannes, so I thought Cannes wouldn’t deal with animations, but we got invited and we were there, so I think it’s a big shift in trend and I’m really pleased. I think the whole film industry is changing, so animation isn’t a category anymore. They look more at the stories of animation movies, rather than the fact it’s made in animation. I think that animation is one method for filmmaking, it’s not a genre or category. I think the general public’s perception of animation is changing, as well.” Animation directors often get asked who their influences are among fellow animators, but we wonder if any live action filmmakers have had a major influence on Hosoda. Instead of a writer or director’s name, his nomination is just one film. “To choose one,” he answers, “I’d say [Víctor Erice’s] The Spirit of the Beehive. I saw it when I was at art college and I was totally shocked and I wanted to make a movie like that. I wanted to become a filmmaker after seeing that movie and I wanted to make it my job. It’s been 30 years since I first saw it, but I’m still trying to learn from it. I’m sure pretty much all of my films are influenced by that film.” One of Hosoda’s films, The Girl Who Leapt Through Time, which was based on a novel, has also received a live-action adaptation. We wonder if he feels the stories of Mirai and Wolf Children, for example, could only work in animation. “As an animation director,” he says, “I choose stories

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that would suit animation the best. I have gotten asked if I want to turn any of my films into live action, but I simply think that’s just meaningless. Actually, somebody asked me to direct a live action version of one of my animations, but I really just don’t see the point... I consciously choose animation because for that particular work, animation works the best.” As he continues, we realise we might have broached a touchy subject, but Hosoda remains jovial while expressing dismay about a certain trend related to the connection between liveaction films and animated ones: “I actually do get frustrated about live-action versions of animation because the general concept, probably, is that live-action films are superior to animations. So by making a live-action version, they think that they are trying to improve the animated movie. No, that’s not true. Or people may think live action may be better for being accepted by a general audience. I don’t think that’s true. It’s all about good stories, good movies. It just happens to be through animation, it’s not better or worse because of that. I think we should be given artistic freedom to express or tell our stories, be it animation, be it live-action. It could be a musical, it could be paintings, music, whatever. I chose animation because I want to tell my stories in animation, but definitely making it in live action wouldn’t improve anything at all. I feel really strongly about that.” We suggest that we can think of one big American studio that should probably stop remaking all its beloved animations into liveaction films. “I love Beauty and the Beast, Snow White,” says Hosoda. “The Disney animations were fantastic. Why do you want to make a live-action version of it? And what annoys me the most is they don’t respect us. When they turn them into live-action movies, sometimes they don’t respect the original and think, okay, live-action, we could make more money out of it. No, it’s not the case. At least they should respect the original.” Mirai is released 2 Nov by Anime Limited and National Amusements

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Bruce Almighty Chris Pine and David Mackenzie reunite to tell the story of Robert the Bruce’s rise from servile nobleman to king of Scots in epic action film Outlaw King. We speak to both about bringing this complex character to the screen

eroes are easy. Real characters, people who are flawed and complex and full of contradictions, they can be tricky; but they’re so much more interesting. That’s the gist behind David Mackenzie’s obsession with telling the story of Robert the Bruce. For over a decade, the talented Scottish director of Young Adam, Hallam Foe and Starred Up has been trying to put a film together about the King of Scots – and not simply because he’s a national hero. Mackenzie walks into a hotel suite in London wearing a long mane of hair and elaborate beard that wouldn’t look out of place among the hirsute ensemble cast of Outlaw King, the Robert the Bruce epic he eventually made in Scotland with considerable financial backing from Netflix. He’s accompanied by Hollywood star Chris Pine – who plays Robert – who’s dressed all in white like he’s come from the set of a Backstreet Boys video. While Pine, gregarious and confident, fiddles with the suite’s Nespresso machine, the more mildmannered Mackenzie sits down and fills us in on his obsession with this historical figure. “It’s the story of somebody who went right down to the bottom and then pulled himself up, unified his divided country, gathered some strength and threw out a tyrannical occupation,” says the 52-year-old filmmaker. “That’s a strong story, and one that’s strangely not been told.” Robert the Bruce has featured on screen before, however. As played by Angus Macfadyen, you’ll find him lurking in the considerable shadow of Mel Gibson’s William Wallace in Braveheart, hovering between sides until the film’s epilogue in which he leads the Scots to victory against the English at Bannockburn. Mackenzie reckons that story deserved more than the footnote it got in Gibson’s Oscar winner. “The romantic, glorious failure of William Wallace has somehow or other managed to eclipse the true strategic brilliance of Robert the Bruce,” says Mackenzie, “and so part of the reason we want to tell the story is to right the wrong of that imbalance.” Pine, espresso now in hand, joins us. “William Wallace was presented as such a perfect moral hero,” says the 38-year-old actor. “[Robert the Bruce] is not that; he’s the anti-William Wallace. Is he machiavellian? Is he biding his time? Is he a super strategist? Is he weak? Is he strong? He’s all of these things. He’s very, very human.” This conflict is clear from Outlaw King’s extraordinary opening scene, an unbroken eight-minute steadicam shot that introduces us to the major players and murky politics of early 14th century Scotland. As well as including a less-than-friendly sword duel between Robert and the Prince of Wales (Billy Howle) and the unnecessary firebombing of Stirling Castle (they’d already surrendered, but the English had spent three days building the catapult), we also see Robert submitting to King Edward, played here by Stephen Dillane. Pine says he was knocked out by the opening. “To start a film where the guy could not get any lower, I mean he could be laying down. To start the hero journey that way, that’s strong stuff.” Although it’s clear Pine is still trying to work through why Robert did acquiesce so readily to Edward. “I talked to this wonderful historian who wrote his thesis on Robert the Bruce, and I said, ‘Why did he kiss the ring?’ and he was like, ‘I don’t know why’.” “Because he was forced to, all [of the Scottish lords] were,” interrupts Mackenzie, and you get the sense they’ve had this debate several times before.

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“David, I’m not saying he was a pussy. I would have probably done the same thing. These are all complex questions about a complex man that I thought were very interesting. I wasn’t judging the man, just like I don’t judge William Wallace. Yeah, Wallace was super brave, but he also died really young and he didn’t accomplish all that much. So what’s better or worse, I don’t know?”

“ The romantic, glorious failure of William Wallace has somehow eclipsed the true strategic brilliance of Robert the Bruce. We wanted to right the wrong of that imbalance” David Mackenzie

It’s rare to see a director and actor be so candid with each other in an interview context, and this speaks to Mackenzie and Pine’s special relationship. They worked together previously on the splendid, soulful Texas crime thriller Hell or High Water, with both men doing some of their finest work to date. The picture was Oscar-nominated; Pine and Mackenzie should have been. Every actor worth his/her salt needs that great filmmaker for

whom they can explore their craft more deeply. Michelle Williams has Kelly Reichardt, Leonardo Dicaprio has Martin Scorsese, Michael Fassbender has Steve McQueen and it seems Pine might have found his chief collaborator in Mackenzie. “I feel like we’re true partners,” says Pine when we ask about him working with Mackenzie for the second time. “David’s an astronaut and also a spelunker, you know: he likes to just dive down and figure some shit out. As I’ve said before, David is like the greatest jazz artist of all time and I’d never worked with a real jazz artist filmmaker. To play with this kind of money with this kind of artist is really exciting. I knew I was taking a big risk because it’s a lot of money and David is the kind of filmmaker that you have to be brave if you’re a company going into bed with him, because David wants to get weird. That’s what makes David great. He’s an explorer. He says, ‘I don’t know, what is it about?’ Working with him is a blast.” “And it’s fantastic to build on a relationship,” adds Mackenzie. “And to take things that you’ve learned and some of the shorthand you have with each other and explore it and be more adventurous and give each other permission to take each other further. That was the really good thing and I’m very happy about the results.” In films like Star Trek and Wonder Woman, Pine’s goofy grin, casual charisma and piercing blue eyes are enough to make him an engaging presence, but there’s a sense that he’s truly pushing himself in his work with Mackenzie, and in particular with Outlaw King. First off, there’s the high wire act of performing in a (rather solid) Scottish accent. There’s a slight defensiveness from Pine when we bring up his Scottish brogue – “I’m an actor, man. That’s what I do, play other people” – but he does admit to some reservations. “I mean, I’ve done accents before and been absolutely crucified for them. But, you know, the great thing about having been crucified before about that is that it can’t get any worse. So I figured I’d go for it. Plus I knew it was important to

Interview: Jamie Dunn

David, so he’d be honest with me when it wasn’t working – and he was!” Pine doesn’t just expose himself to criticism by doing an accent, he literally exposes himself in a full-frontal skinny dipping scene that got many Hollywood critics hot and bothered when the film premiered at Toronto Film Festival. Pine clearly doesn’t see what all the fuss is about though. “We're all grown adults getting excited about something that’s separated by very little clothing, and yet there are movies with people sawing heads off and you can show that to a 13-year-old in my country and it’s not a problem. But you show people having sex, it’s NC-17 and your mother’s going to hide you from it. So if you distill that down, there’s something about showing intimacy which is verboten, but showing violence it’s thumbs up.” With Mackenzie, intimacy and violence often interwine. His films can be broken into three categories. The ones about love and sex (Hallam Foe, Spread, Perfect Sense), those about violence and masculinity (Starred Up, Hell or High Water) and the films about both (Young Adam, Asylum). Outlaw King belongs in the third camp: it’s both a brutal war film and a tender love story, with Robert’s bloody uprising interrupted by the passion that sparks between him and his new wife Elizabeth de Burgh (played by Florence Pugh), a marriage arranged by King Edward. Mackenzie, who’s clearly a romantic, relished that combination: “The history of Robert and Elizabeth, of an arranged marriage that could’ve just been of convenience, it turns into a real connection and then, you know, they’re separated and she’s captured and they’re apart for many, many years. Then for Elizabeth to choose to come back and rejoin her husband and start a family, that gives us a fairytale ending, which is history that really happened. And it’s great to be able to have that within this kind of down-to-earth, bloody, muddy story about power.” Outlaw King is released on 9 Nov via Netflix, with additional theatrical screenings in selected cities

David Mackenzie on the set of Outlaw King

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Ground Work Chilean filmmaker Felipe Bustos Sierra on his documentary about a group of Scottish factory workers who defied Chile’s fascist dictator Augusto Pinochet

Interview: Gianni Marini

uring the closing film of this year’s Glasgow Film Festival back in March – the world premiere of Nae Pasaran! – members of the audience burst into spontaneous applause. There’s nothing out of the ordinary about clapping at a festival gala screening, but what makes this applause worth mentioning is that it happened mid-movie. The scene that prompted this reaction showed a medal ceremony at Glasgow City Chambers, in which three men who led East Kilbride’s RollsRoyce factory boycott against repairing jet engines, owned by General Pinochet’s junta, receive commendations from Chile’s ambassador. The response came as quite the surprise to the documentary’s subjects, who were watching in the audience. The film’s director and producer, Felipe Bustos Sierra, tells us: “I don’t think the guys go to films that often. I was just having a chat with one of them and he asked, ‘Do people do that now, just react to the screening?’ and I said ‘No, not in Scotland’.” Nae Pasaran! tells the amazing story of how a group of trade union workers in East Kilbride grounded the Chilean military junta’s Hawker Hunter jets, and introduces you to a turbulent period that changed Chile’s identity.

“ It was important that everybody in the film, who had carried their own history for so long without an outlet, would be treated as a personal expert on what they’d lived through” Felipe Bustos Sierra

Sierra’s film opens with a flurry of archival footage documenting Pinochet’s brutal overthrow of President Salvador Allende’s progressive socialist government on 11 September 1973. The Edinburgh-based Chilean filmmaker describes this opening as ‘Cliff Notes on Chile’. “We’re aware that at 96 minutes we’re pushing it,” he says. “But we have so much context, so much history. I describe the film as so much broccoli, which you know is good for you and it’s nutritious but it’s not necessarily the kind of stuff you want [to hear], but it needs to be there before you get to the ice cream at the end.” This sweet payoff Sierra describes is not just for the audience but also for Bob Fulton, Robert Somerville, Stuart Barrie and John Keenan, the men who led the boycott. “I think the guys thought I’d carry a bias,” says the director. “You know, my father was a Chilean exile, I’ve got my own stake in this: I was hoping to find a good ending, but only if there was one. “I think the guys were wondering, when I was

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Scottish workers in the Rolls-Royce factory, East Kilbride, 1974

telling them about the impact of their boycott, if I was basically making myself happy.” To remedy this, Sierra went to Chile, conducted interviews, spent five months editing and then brought the results back to show the men in East Kilbride. “It felt like a good idea to start cutting the film from the Chilean side of the story and present that to them to not only act as a refresher before their next interviews but also so they could hear from Chileans of their own generation – people who were there. “It was important that everybody in the film, who had carried their own history for so long without an outlet, would be treated as a personal expert on what they’d lived through. They’ve had to deal with so much archive destruction in Chile, they must rely more than they should on the memories of people.” As a kid, Sierra would attend Chile Solidarity fundraisers and it is there that he first heard of the boycott in East Kilbride. “It stayed with me because it dealt directly with the Hawker Hunters on the day of the coup and, when I was a kid, that for me was Pinochet’s might; it was irreversible, it was this ugly image and nothing could ever change that.” In Chile, Sierra went searching for the other side of the story. “If we didn’t find anybody from the Chilean Air Force, I would have to frame the film in a different way because I didn’t want their story to be presented as-is. It has been 40 years, there should be a different perspective on their actions and especially because I’m so close to it I felt that there should be another point of view in the film that was different from the guys in East

Kilbride, from the solidarity workers and from me. “I did a lot of research and in Chile it is very different. In Britain, the National Archives in London are beautifully kept and when something is missing they tell you that it’s missing. In Chile, they had this law when Pinochet left, that anything that was too sensitive could be destroyed. It’s like doing a 2000-piece puzzle with 200 pieces.” Sierra managed to organise an interview with the Air Force Pilot who planned this operation, General Fernando Rojas Vender, who rumour has it was one of the pilots dropping bombs on the Presidential Palace during the coup. “If you look up his name, even back then, he comes up as allegedly – and it’s really important you put allegedly in there – as the second pilot to bomb the Presidential Palace. The fact that he wanted to talk to me was a bit baffling. I did a lot of research; I talked to a lot of journalists who were helping and they were all surprised that he said yes. “We showed up and I was there with the Chilean crew. We talked about the operation and halfway through he just switched and started talking about the coup and that was a bit chilling. It was chilling because when he describes the coup he’s looking down, he’s not looking up at the planes flying over. He seems to be describing it from a pilot’s perspective. Obviously, they are on completely different ends of the conflict but I was surprised by how little he could empathise with Bob and the other guys. “I have no love for Hawker Hunters and those engines. I understand they are an absolute feat of engineering but I was born with these things being

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instruments of death. What the boycott did was to basically change the identity of these engines: they were no longer war plane engines, they were a symbol of solidarity, then they reverted. They were stolen back to Chile and then we find them rusting in a yard. They were just lying there and I’d spent so long in the Chilean archives seeing how much had been destroyed, how much doesn’t exist, this felt like tangible evidence. I felt a bit of responsibility that we should get the engine and bring it back to be a symbol of solidarity in Scotland, not just with Chile but for internationalism and trade-unionism. It’s one way of reclaiming history; one way of having tangible evidence that is absolutely missing from the story.” Fellow Chilean director Sebastián Lelio’s A Fantastic Woman, the story of a transgender woman being subject to scorn and discrimination after the sudden death of her older boyfriend, won the prize for best foreign film at the Academy Awards earlier this year. Despite the obvious surface differences, Sierra sees some parallels between his and Lelio’s film. “[A Fantastic Woman] is being marketed as an LGBT film but everything that happens to that woman in the film is what happened to dissidents during dictatorship,” says Sierra. “Lelio’s creating a parallel: people being snatched on the street, being told they shouldn’t be who they are. What we are saying is still being disseminated through other stories. I think if you’re not in control of your story, what power do you have? You can’t think of it in a different way.” Nae Pasaran! is released on 2 Nov by Cosmic Cat naepasaran.com

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November 2018

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Collective Consciousness After years of planning and development, Collective’s ambitious refitting of the Observatory on Calton Hill will be revealed this month – we talk to some of those involved

Interview: Colm Guo-Lin Peare

“ We’ve aimed to find mutuality between artist practice and people who live and work within our locality”

Collective City Observatory

Dineo Seshee Bopape, sa ____ ke lerole, (sa lerole ke ___), 2016, Mixed Media Sculpture

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Photo: Courtesy of the artist and Art in General, New York

Photo: Tom Nolan

Kate Gray

bservation is a habit of attending towards; an exertion of the will to register significance, even when this registration requires a maintenance of attention. Looking is just one manifestation of observation and, when applied so, carries with it this reluctance of peremptory subjectivity. This aversion does not have to mean that it is an act that tends towards the accomplishment of any sort of illusory objectivity. Rather, what it calls for is a concurrence; a reception of communal understanding, of tradition, whether this be newly founded or historical. In light of this, Collective is aptly named and aptly positioned to ask – what can an observatory be and what can be its use? Following a major five-year restoration project, Collective is ready to reopen atop Calton Hill on Saturday 24 November. The gallery’s new site includes the City Observatory, restored to the original designs made by William Playfair in 1818, and a new purpose-built exhibition space. There will also be an educational space for visiting schools and groups in the Transit House, also newly restored. After a £4.5m combination of public and private money, raised in partnership between the City of Edinburgh Council and Collective, the challenge that faces Collective is the continuation of their programme, and so the specific activation of their ethics, as they move from within the thick of the city in Cockburn Street to the more physically prominent perch on the hill. Established in 1984, Collective has long held the definition of art to be a tool for society and a place in which novel research frameworks focused on intersubjective experience and decanonised histories can be formulated and disseminated. A recent project of note would be Nothing About Us Without Us, a work produced by SCOT-PEP in collaboration with Petra Bauer, in which a necessary redressing of the social stigma surrounding sex workers was enacted through a long-term collaborative research project that asked, among other questions, “How do you act politically when stigma prevents you from being public? What is regarded as work and who has the right to work?” Collective is characterised by its continued endeavour to facilitate rather than dictate and the effort taken to continue a programme in the midst of moving (the SCOT-PEP collaboration was

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initiated in 2016, and one of the project’s main events took place the day before ground-breaking on the Calton Hill site) has meaningfully influenced the preparation of the new space. When speaking to Kate Gray, the Director of Collective, she mentioned how the shift had taken place gradually over time and had thus given the necessary space for reflection on what sort of observatory Collective wanted to be: “Going forward, the project is just an extension of what we have always done. “Right back from the beginning, we’ve aimed to find mutuality between artist practice and people who live and work within our locality... we’ve been doing a lot of work over the last three years to put artists in the position to meet and work with different members of our local communities to make projects which are in collaboration with them, or really co-authored with them.” There are preconceptions about the sort of organisation that would traditionally be housed in a neo-classical building. Gray speaks about how Collective’s new location presents new expectations and new responsibilities to the audiences they serve. One of the recurring questions was whether Collective were to have a collection of works housed and exhibited on the site. This was never a mission for the organisation but was a notion that Gray was keen to play with, and so started a “dematerialised collection” of Observer’s Walks, in which the essential muddle of the site’s histories could be differently untangled, recast and surveyed. These are available to download for free and each audio piece takes the listener through an artist’s singular reflection of the locale. It is a move towards a sort of deterritorialization, or perhaps multiple reterritorializations, of a space so mapped by a particular history, a cartography insisted on by a certain type of person. James N Hutchinson, who has worked with Collective over a number of years and is a mentor on their Satellites Programme which facilitates practitioners at an emergent point in their career, speaks about how the organisation’s focus on the site’s leakage between different forms of knowledge and different cartographies of understanding is characteristic of Collective’s programming. “The work of the hill has always been

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“ This has always been a place to be looked at and to look from, and up and down”

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Klaus Weber, Fountain - Loma Dr / W 6th St, Los Angeles, 2002, Installation consisting of a fire hydrant, 2 police officers, a late model car and a side walk

extrapolate the directionality that Collective wishes to embark on within the City Observatory, and as a new centre of the arts in Edinburgh. Collective’s history of earnestly undertaking the ‘social turn’ far before we had such a marketable definition of it, and even further before it gained the cynical trappings that it now holds, suggests that the organisation will continue to work on developing a methodology that is true to the nature of interdependency that is woven into any social fabric. What must remain paramount, however, is that this methodology holds accountable the differential relations of power that come with this newly acquired geographical and cultural position. With an increasingly persistent push towards private donors and the unpredictable future (as well as the sometimes presently perplexing justification) of public arts funding, it seems pertinent to ask for this mode of thinking to be dynamic enough to encompass all; a task that stretches from the co-authoring of the space with local communities to the necessary decolonisation of the building itself. This article is testament to Collective’s fundamental aim to reveal the enmeshment of bodies, communities and histories but, particularly within the specificity of this site, a direct and continued engagement in this history seems necessary to justify such a space so saturated in imperialisms and with such debts to colonisation. The maintained sustenance of an ethics is an onerous task but, on the eve of their opening,

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it seems that there is a thoughtfully laid-out foundation for the coming future. The first commissioned project in the City Dome is to be by Dineo Seshee Bopape, whose work has often recomposed history by stripping it of its ideological restraints. In this instance, Bopape will work to reveal the inter-structural relations of cosmology, astrology and astronomy. With this exhibit occupying the centre of the complex, alongside the deeply considered practices of Hutchinson and Lynch, as well as those of Alexandra Laudo, Catherine Payton and Klaus Weber, it appears that Affinity and Allusion will be a manifesto of sorts, or at least a signal attestation of things to come. To refer back, observation is a cousin of obedience, and so it looks as if Collective will intimately embody their new site; there is an inherent messiness to the apparently resident and latent collective histories here, but the continued enactment of a duty of care to each of the constituent parts so implicated in that tangle will work to ensure the futurity of this observatory. Collective Gallery reopens on Sat 24 Nov collectivegallery.net

Klaus Weber, Sandfountain 2012, Prefabricated concrete fountain, sand, 250 x 400 x 400 cm

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Photo: Andy Keate, courtesy of Herald St, London

two-fold,” Hutchinson says. “The two-faced ‘Politician’s Clock’ would be used by sailors in the Port of Leith to set their chronometers to the time accurately measured from celestial observations, while at the same time the world’s first panoramic painting was completed there. It has always been a place to be looked at and to look from, and up and down. The site-specificity of the hill gives an opportunity to constellate various different types of communities and histories. This is what Collective’s Constellation Programme is all about.” Another long-term research endeavour, Hutchinson will be presenting the culmination of his Constellation project – Rumours of a New Planet – at the opening exhibition, Affinity and Allusion. Working with the Royal National Institute of the Blind, the project looks to expand what we mean by sightedness by identifying the connections between historical figures related to the site. It could be described as another example of the ‘speculative excavation’ that is ongoing at the City Observatory under Collective. Hutchinson uses the phrase in an attempt to sufficiently explain the organisation’s active relationship to the site; at once a suggestion of quantified empiricism and cultural conjecture. It is a typified sort of description that fits neatly into the increasingly popularised discourse that argues art provides a space in which ‘research’ can be untied from the false preconception that the natural and the cultural are inherently bipartite. How we approach viewing and how we approach viewing technological advancement, social history or domestic politics are tightly entwined and the idea continues to resonate in the other works presented in Affinity and Allusion. For instance, the work Tessa Lynch (another long-time Collective collaborator) is undertaking to produce communal seating for the grounds takes its origins from the bottom-up politics of a group of mothers who lived in Craigmillar in the 1970s. In reaction to a governmental refusal to give their children extra-curricular music activities, on the grounds of the area being too socially deprived, these mothers created a festival to fill the hole the state would not: “As part of this festival they made these amazing concrete play sculptures, which are now no more, but there are these amazing photographs of the kids totally owning these sculptures. “There’s something really appealing about having agency within the city like this... It showed the political situation they were in and at its height the woman who instigated it, a mother called Helen Crummy, employed over six hundred people and actually got funding from the European Community at the time. She wanted to use this money to help get people out of poverty themselves, instead of it being a trickle-down sort of situation. It just made me think of community arts and, actually, the beginning of Collective in the 80s as an artist-led organisation and how, now, they’ve sort of transcended on to the hill but at its heart it’s still about all these different communities and the people they work with. It’s about trying to keep that essence up on the hill.” The specific choices that have been made both by the artists – who all show a great fondness of Collective and also give off a somewhat piercing show of respect of the organisation – and the institution itself in curating Affinity and Allusion provides a useful source from which to

Photo: Courtesy of the artist, Herald St, London and Andrew Kreps, New York

James N Hutchinson

November 2018

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Visible Girls, Invisible Spaces

here are few things in life more intrinsic to being human than a sense of ‘identity’. It’s not often that we get to sit back and reflect on what that means to us, what that has meant to us in the past, and what that could potentially mean for us in the future. One of the most palpably intriguing aspects of Visible Girls, Invisible Spaces – the paired exhibition heading into Summerhall in November – is its ability to make us look into ourselves and our own identity, through exploring the identity of others first. Anita Corbin is behind one half of this exhibition, while Historic Environment Scotland have created another complementary exhibition that has been inspired by Corbin’s impressive photographic series. Corbin’s exhibition portrays pairs of young women in the early 1980s from a variety of backgrounds, but all of whom belong to identifiable ‘tribes’: punks, mods, skinheads, soul girls, Rastas and a few New Romantics are all photographed. As a 22-year-old photographer in the early 1980s, Corbin was driven to ensure that a generation of young women were represented in a photographic genre that was almost entirely dominated by men. As the powerful photographs highlight, young women everywhere were defying the mainstream, flying the flag of their individuality in clearly defined groupings characterised by music, fashion,

geography and sexual orientation. Corbin clearly wanted to capture the spirit of these women, and the significance of their unity, in a portrait series depicting pairs of friends, sisters and lovers in subcultures. As a viewer experiencing these photographs for the first time the sheer force of many of these women’s gazes, their clear sense of ‘this is me’, is overwhelming. It’s impossible to look at these astounding images and not think about your own identity, your own place in the world and what ‘tribe’ you, the viewer, belong to. The photographs toured across the UK in the 1980s and made a reappearance in mainstream media in 2014, just at the time when Corbin herself was wondering what had happened to the young pairs of women she had photographed, whether their tribes still existed and even if they were still in contact. As a result of this intrigue, Corbin started to reach out and re-connect with the women she had snapped 33 years previously, which went on to form Visible Girls: Revisited. Many of the pairs of women began to be photographed together again, but this time the photographs came with a story – the story of the lives of British women, their hopes, their experiences and their relationships. The trajectory of every one of them is a means for us all to consider our own identity and what it means to be a woman in the 21st century.

Red Ladies, The Blitz Covent Garden, January-1981

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Photo: Anita Corbin

Charmaine and Janice, the Orchard Youth Club Slough, March 1981

Interestingly, one of the women photographed states “you become invisible as you age” – and that is a haunting reminder to the viewer that, if these images of middle-aged women were hung without their younger counterparts, would anyone be interested? This idea of invisibility connects interestingly alongside the work of many of the young people in the sister exhibition, Invisible Spaces. Inspired by Corbin’s ability to delve into themes such as identity and belonging through photography, Historic Environment Scotland took on the task of developing a partner exhibition which runs concurrently with Visible Girls: Revisted. Curated by young people aged 18-26, the exhibition expands its trajectory to highlight ideas surrounding youth, friendships and belonging – all of which are rich undercurrents within Corbin’s photographs and stories – as well as ideas of culture and heritage. In contrast to the first exhibition, the young participants have not created portraits; instead they have documented the spaces, places and environments which matter to them. The works re-imagine identity as being able to exist outwith a human form. Unlike Corbin’s original portraits in the 1980s, the work of these young people provides multi-layered portraits despite often lacking the presence of any human figures. These portraits without faces represent the often unrecognised realm of identity, the spaces which are often hard to articulate as shaping, or having been shaped by, a ‘tribe’. It is for these reasons that their exhibition is titled Invisible Spaces. The parallels between the spaces in which Corbin photographed the young women over 30 years ago and the spaces documented by the young people within this exhibition are undeniable: could it be suggested that young people’s tribes are not that different from those in the 1980s? Spaces such as bars, nightclubs and street corners are all similar to Corbin’s original scenes. However, unlike the images in Visible Girls: Revisited, the spaces explored here are often very unique, subversive, and with powerful undertones: underwater archaeological sites, hairdressers, urban dereliction and a women’sonly meeting space are just some of the more intriguing sites. Some participants have wanted to document "safe spaces", while some wanted to explore

Photo: Anita Corbin

Work by Kris Whyte from Invisible Spaces

Photo: Kris Whyte

A pair of new exhibitions in Edinburgh combine iconic images from the 1980s with an exploration of young people’s environment in the modern day

their bedrooms as perceived safe spaces and as a springboard for investigating the theme of young people and mental health: an issue that was very much taboo in the 1980s, but that can now be explored through artistic practices. Similarly, themes such as the pervasiveness of social media, the rise in homelessness, the importance of community and elder relatives, and a critique of public sculpture have all come about through the creation of this exhibition. The participants have used a variety of methods to convey their chosen spaces including photography, video, audio, painting, and objects, as well as other forms of interpretation. Interestingly, when viewing the two exhibitions side-by-side it becomes clear that the subcultures which used to exist in the 1980s have transformed, evolved, or changed somehow. They don’t necessarily express their identities through visible means such as fashion and music, but are expressed in the overlooked and secret spaces that young people inhabit: within their bedrooms, the streets heading towards their neighbourhood, or perhaps a phone box they use to call home. Identity seems to have evolved past stunning and over-the-top expressions of individualism, to a more complicated and almost hidden secret. Or perhaps it is simply that, unlike the young women being photographed in the 1980s, these young people are showing us the multi-dimensional layering of identification, of having a 'tribe': that there may be more going on than what is seen on the surface. Unlike Corbin’s photographs in the 1980s, and her efforts to reunite the pairs of women with their pasts, the work by the young people will be easily connected with its history as Historic Environment Scotland will be digitising these artefacts and ensuring they have a place within their national archive – meaning that in 30 years we will easily be able to look back and explore the potential transformation of identities within these young people, and have a better understanding of what it means to be young in the 21st century. Visible Girls: Revisited & Invisible Spaces, Summerhall (Basement Galleries), Edinburgh, 10 Nov - 21 Dec, free entry visiblegirls.com/ historicenvironment.scot/

THE SKINNY

Still Running Chris McQueer on his second collection of short stories, his writing process and who he’d like to leather most

Interview: Beth Cochrane

hris McQueer, widely known as ‘That Guy Oan Twitter Who Writes Short Stories’, published his debut book Hings last year. Since then McQueer’s work, which has been described as ‘hilariously surreal snapshots of working class Scotland’ and ‘Limmy meets Irvine Welsh’ by Ewan Denny of Scottish comedy duo Link & Lorne, has won a Saboteur Award for Best Short Story Collection, and been published in all sorts of places, including The National newspaper and this very magazine. Amidst all these things and plenty more, McQueer has also penned a second short story collection HWFG, which is out this month. We meet Chris in his hometown of Glasgow to talk about the new collection, and what might be next in his literary career. So, Here We Fucking Go (get it?) “The thing with Hings is,” McQueer says, “I was still a bit worried that people thought I was weird, so I held back a bit. But with this book [HWFG] everyone knows I’m a weirdo, so who cares? I just went for it. I like being weird.” There’s no discomfort in this: just a shrug and casual acceptance of his confirmed status as Scotland’s much-loved literary weirdo. Having thoroughly enjoyed both Hings and HWFG, we’re pretty pleased to hear this answer. The two collections have similar themes, and some returning characters (for those of you who were Big Angie fans – prepare to be delighted), but there are some distinct differences in the writing. When we ask Chris about this, he’s immediately more animated. “When I started off writing HWFG I was thinking to myself: it needs to be like Hings, cause that’s what people like,” he says, “so I need to give them a bit of the same. But the first half a dozen stories I wrote were utter shite. They were like parodies of the stories in Hings. I felt I was trying too hard to be funny. Punchlines were just falling flat. I was just demented. Like, what’s going on here?” Every writer goes through something similar at some point, but it’s how the writer pushes through (or doesn’t) that separates those that make it and those that don’t. “Then I just went ‘Right, try and move away from comedy, maybe that’s the issue’. So I went away and I wrote a story called Afterlife, and I thought, ‘Right: let’s get weird with that, make it a wee bit darker’. And I just had great fun writing it. Just wrote through that pressure of writing to punchlines and stuff. It felt brilliant.” “So I just thought: ‘Aye this is it, this is how I want this new book to feel’. And I just went for it – all the stories just kind of came after that. But I still threw a couple of wee daft ones in there.” Afterlife is a surprising story from start to finish, straddling the social politics of East End Glasgow and exploring a theologically unique perspective of heaven. It’s also really, really funny. And it makes sense that this story was the turning point; it’s more abstract than many stories in Hings (maybe the most abstract in the collection), but the McQueer brand of humour is still very much present. McQueer is animated throughout our conversation, and seems to enjoy talking about the writing process of HWFG. We ask what he did with all the pieces that he wrote before Afterlife and, without a flicker of frustration, he says everything written before the story was “just chucked.” But how many stories is that? We’re curious to know how many weeks or months he’d spent drafting through ideas before hitting on the one that

November 2018

Photo: Sinead Grainger

inspired HWFG. “Like, at least six or seven. Each one was taking me three or four weeks to write, which was just like ages and ages and ages, and they were just nonsense that really annoyed me.” That’s, minimum, four and a half months of writing which he decided wasn’t going to be useful anymore. Maybe up to seven months of work – gone. This is a writer who doesn’t shy away from pushing himself and his writing. “Then I wrote Afterlife,” McQueer says, “and it all came out in like a week. I was like ‘Aw I’ve done it, this is me back on track.’” This is the moment every writer strives for, and the relief is palpable in Chris’s expression, even months later. He had mentioned writing to punchlines earlier, and we’ve always wondered this about Chris’s work; creating stories like this really worked in Hings, but we’ve often thought how great they would be as comedy sketches. Is this something he’d be interested in doing? “I’d like to, aye. I studied up at the City of Glasgow College once Hings came out. It was script writing and stuff, for the radio and for the telly. Aye, I’d love to have a go at that. “I’ve been at the BBC every couple of months pitching and stuff but I’m not getting through. But they’ll say aye eventually, if I just keep doing it. So aye, writing for the telly’s probably my next goal.” C’mon, BBC, get it together – we want to see Big Angie on the screen and we can’t be the only ones? Again though, there’s no dip in McQueer’s mood as he talks about getting knocked back. Sure, he takes a slightly more serious tone but

his resilience is clearly something to be reckoned with. There’s a pause that lasts maybe a second before he continues. “A novel as well.” Another pause. We think we’ve found a contentious point. We ask if he feels pressure to write a full-length novel: “A wee bit aye. After Hings, I thought my next book should be a novel, but then I thought, ‘Nah I don’t really want to write a novel, I want to write more short stories.’ I like writing short stories, what’s wrong with that? So I just did it.

“ With this book everyone knows I’m a weirdo, so who cares? I just went for it. I like being weird” Chris McQueer

“But now I don’t know; the stories I’m writing are getting longer and longer. Maybe I should give a novel a go? Maybe that’s the next step. I don’t want to just keep churning out short stories, I feel people might get bored of that. I do still

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worry about that – it’s natural. So aye, a wee bit of pressure to write a novel but it’s good pressure.” This is the best answer his readers could hope for: one day we might be treated to a McQueer novel. But we’re glad he’s finding his own way to it. We’ll be ready when you are, Chris. Our final question harks back to Leathered, the short novella released earlier this year, published by Speculative Books (which can also be found in HWFG), in which a Scottish prison guard ends up in a fight with North Korean dictator Kim Jong-Un. So, who would Chris McQueer like to leather most? “Aye, that footballer, who shall not be named, that was firing into Vanessa [McQueer’s girlfriend]. Aye, that happened: an actual verified footballer tried to chat up my girlfriend. I’d like to leather him. But he’d probably leather me to be fair, he’s like 6 foot 3 and 16 stone of pure muscle. But I can run fast – I’ll tire him out.” He’s laughing and clearly doesn’t feel any real animosity toward the guy, but we can’t help but think this answer is somewhat reminiscent of how McQueer tackles his writing career. Short stories not coming out as he’d like them to? He keeps going and eventually the good ones are found. The BBC not letting him through its gates? He’s still running for this one, but we can only hope the BBC tires out soon. Chris McQueer is playing the long game, and isn’t prepared to stop until he meets his goals. HWFG is out on 8 Nov via 404 Ink HWFG Launch Party with Anna Devitt, Chris McQueer and more TBC, Stereo, Glasgow, 10 Nov twitter.com/ChrisMcQueer_

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The Infinite Robin Ince Discussing his new book, I'm a Joke and So Are You..., Robin Ince finds the human condition as universal as it is unique

hen we don’t know who someone is, we ask in the plural: ‘Who are you?’ instead of ‘Who is you?’ And maybe there’s more to us than we think. “My original draft was 200,000 words long,” says Robin Ince. Human nature, it seems, requires longform discussion. And Ince’s book I’m a Joke and So Are You: A Comedian’s Take on What Makes Us Human resists easy answers. Not only the easy answers about who we are as a species, but also as individuals. As a three-year-old, in the back seat of a car, searching for a toy gun that had fallen under the front seat, Ince was a passenger in a car accident. An incident that was surely significant to the rest of his life? Yes. But, until Robin Ince wrote about it, he’d never really considered it that way. “What was interesting, especially with the car accident,” he says, “was that I was really embarrassed writing about it. When you’ve been a child in an accident, and you think that you’ve caused it, and your mum spends time in a coma, apparently it is alright to consider that to be quite eventful.” It’s the chaos, the ambiguities about who we are that Ince seems to relish. It’s in the not knowing and the search for answers rather than finding them: “One of the fascinating things about being human is this confusion of things that get us through life and the people that we become.” Ince’s embrassment in writing about the collision was matched by his embarrassment that his family would read it. Was he making a meal out of something that happened a long time ago, belatedly feasting on a random incident for the sake of a book? “I gave a copy to one of my sisters and a copy to my dad,” he says. “I said, ‘There’s probably things in here that you don’t know’. But one of the things they never knew was that I thought it’d been all been my fault. They were quite shocked by that. But, of course, as a three-year-old you have no way of communicating. It’s the difference between an adult’s mind and a child’s mind – and some things can’t be translated.” And in examining the memory, Ince has found himself face-to-face with its emotions. “The thing that has most startled me, having written this book, sent it off to the printers, then come back to do live events, was that I found myself at Wigtown Book Festival. After 28 years as a stand-up, I was being asked by [the host] Lee Randall about this thing that had happened. Out of nowhere, as I told this story, I started crying. Generally, I like to control my emotions... so that took me by surprise.” Much of Ince’s book is about the feeling of being an impostor, the different voices our heads entertain, if through creativity or our fear, and about how comedians don’t have a monopoly on being a bit odd. “We spend our whole lives judging everyone from their exterior and ourselves from our interior,” says Ince. “It’s this disparity between the two which leads to so many problems.” Ince wants to show that comedians are as hard to explain, and as different from each other, as everybody else. One persistent myth about comics is the

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‘tears of a clown’, that comedians use humour not to make us laugh but for some psychological need to deal with some kind of sadness within them. It makes for a good story but that doesn’t mean it’s true, and it can bias us towards not understanding someone’s situation at all, such as in the case of Robin Williams’ suicide in 2014. “With Robin Williams, all the newspapers turned his death into a linear thing,” says Ince. “It makes a much better story to say: ‘Funny Person is Sad’. As far as I remember, suicide rates among vets, ballet dancers and farmers are higher than they are among comedians. Then we find out Williams had a form of dementia... Lewy bodies [were] making his life hell. In his story alone we can see that people are three-dimensional.”

“ We spend our whole lives judging everyone from their exterior and ourselves from our interior. It’s this disparity between the two which leads to so many problems” Robin Ince

Is there no kernel of truth in a myth though? “I do think most people who create or the desire to create, in any field, comes from a need that does perhaps require, if not inner turmoil, something along those lines – that you won’t accept the status quo. And you express it in your weird story, your strange painting or odd haiku.” But this urge isn’t unique to comedians, or even to the artist. Ince might appreciate NASA’s message to alien civilisations written on space probes, which defines humans as: ‘bilaterally symmetrical, sexually-differentiated bipeds located on one of the outer spirals of the Milky Way, capable of recognising prime numbers, and one extraordinary quality that lasts longer than all our other urges – curiosity’. Perhaps there is one thing curious to comedians though. When pressed to give the kind of simplistic answer Ince doesn’t like, he suggests: “There isn’t a comedian that hasn’t died on their arse, spent a week dying on their arse, at some point in their career. The fact we go on stage again is maybe what marks us out. When you go on for the first time, if people hate you, it’d be wiser not to do it again. It’s the equivalent of eating poison berries, or mammoth shit – let’s

Photo: Steve Ullathorne

Interview: Ben Venables

not eat anymore mammoth shit – but, instead comedians keep going back.” Ince himself is back on stage after a two-year hiatus, doing only benefit gigs and writing. He’s found a new energy on stage and perhaps, for all his enjoyment in revelling in the complications of human existence, something of a purpose. “In more recent stand-up shows, when I talk about intrusive thoughts and strange voices, I realise that part of the job that I’m doing is to say to the audience, ‘Don’t worry, there’s a lot of weird shit going on’.” He mentions too how much more he

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connects with the crowd since he’s returned. “I feel there’s less of a wall between who I am and the audience,” he says. “Maybe it’s the aged sentimental person I’ve become but I think more about the Kurt Vonnegut quote: ‘God damn it, you’ve got to be kind.’” I’m a Joke and So Are You: A Comedian’s Take on What Makes Us Human, published by Atlantic Books, £16.99, out now Robin Ince reads from I’m A Joke... at James Gillespie’s High School, Edinburgh, 12 Nov, £5, tickets via edinburghbookshop.com robinince.com

THE SKINNY

Tallinn Tales We chat to the people behind Estonia Now, a new festival of visual art, film, contemporary dance and performance that celebrates the 100th anniversary of the Baltic republic

altic herring; classical ballet; e-governance. All of this, and more, can be found this month in Glasgow at Estonia Now (12-18 Nov), a city-wide festival celebrating 100 years of Estonian statehood. Based primarily at Tramway, the festival expands across the city to locations such as Stereo, the University of Glasgow and the newly-reopened CCA, and promises a diverse showcase of contemporary artists, as well as reflections on Estonia’s recent past and current digital innovations. One of the festival’s main organisers, Kersti Kirs – Cultural Counsellor at the Embassy of Estonia in London – states that the celebrations taking place both in Glasgow and back in Estonia “are for Estonians but also they are an occasion for us to let the world know that we are not only 25 years old.” She continues: “Estonia was independent before the Second World War, which many people don’t know. For us, it has obviously been a continuous journey.” After centuries of Russian rule, Estonia declared its independence in 1918 following the Russian Revolutions of 1917. It was then reoccupied by the Soviet Union from 1940 to 1991. Kirs explains that the genesis of the festival in Glasgow came when she visited the city in 2016

to see Eve Mutso, an Estonian ballet dancer and ex-Principal Dancer with Scottish Ballet, in her final show with the company. “I felt Glasgow was my kind of city,” she says. “I felt it was edgy enough, curious enough – the vibe was Tallinn-like… It gave me the wish to do something there.” The festival is, consequently, tailor-made for the city. It focuses on contemporary artists, rather than the traditional choral singing and folk dance that is happening in many of the celebrations in Estonia, with Kirs and Mutso working with different Glaswegian institutions. “Eve has been an enormous help,” Kirs reflects, “I feel this is Eve’s present to Estonia.” Marking its first visit to Scotland as part of the festival is the Estonian National Ballet, performing at Tramway on 16 and 17 November. The company is bringing a triple bill to Glasgow, including a piece by Mutso alongside work from the Artistic Director of the company Thomas Edur and Tiit Helimets, a choreographer and Principal Dancer with San Francisco Ballet. Speaking of her connection to both countries, Mutso talks of her move to Scotland in 2003 after a successful audition with Scottish Ballet. One of the draws, she explains, was the repertoire: “Ashley Page took over Scottish Ballet and

Interview: Roisin O’Brien

was reshaping the company… and it just blew my mind, the repertoire – Balanchine, Forsythe… these voices which I had only heard of, I actually could dance now.” In her piece Echo, she states she is interested in both ‘communality and individuality’. “I’m playing with ideas of leading versus following, reacting, echoing, belonging and also acceptance, letting go of each other and rejoining,” she explains. A work for eight dancers (the biggest group she’s worked with), Mutso is intrigued how the work will feel in Tramway after its premiere in the Estonian Opera House. “At Tramway, we don’t have the front curtain,” she says, “so the stage will be exposed, the dancers have no way to escape… [it will] hopefully offer these artists different ways of connecting with audiences as there is no opera pit between them.” Alongside the ballet programme, the festival also features a contemporary dance performance at Tramway on 13 and 14 November. The evenings contain works from Estonian choreographers Sigrid Savi (Imagine There’s a Fish), Karl Saks (State and design) and Mart Kangro (Start. Based on a True Story). Resident in Tramway throughout the festival is Trial and Error: Artists’ Moving Image Programme, curated by Kulla Laas and Kaisa

Estonian National Ballet

November 2018

THEATRE

Maasik in collaboration with the Estonian Union of Photography Artists (FOKU). Laas and Maasik talk about how the programme has evolved to be part exhibition, part screening. “We were asked to show a moving image programme, I guess they might have thought of it as being a simple thing to show within a week,” Laas states. “We kind of made their life a bit difficult!” Maasik says: “We started thinking in a larger scale... most of the artists also use installations as their method, so we kind of saw a problem not using the space itself and just using a screen – so we also added some works that are in the space separately.” The thematic framework of the exhibition screening is concerned with everydayness and human attempts in coping with it; this came from the material they found as well as a conscious decision on their part. “We went to the archives in our contemporary arts centre and did some research of the latest video works that had been shown internationally,” Laas explains. “But also,” says Maasik, “it was during the starting point where we both agreed this is something we are interested in, so the everydayness came up pretty early.” “True,” Laas agrees: “A more poetic way of looking at the everyday. “I really love the scene [in Glasgow],” continues Laas, “and I hope there will be more collaborations. I feel, culturally or temperament-wise, we together could be good collaborators. It seems to fit!” They both emphasize that “the artists we have picked up are huge names in Estonia who have a live international presence.” The exhibition will be accompanied by a TalkSeePhotography event, Contemporary Love (CCA, 12 Nov), which will see a selected screening of the artists’ work and a post-show discussion, curated by Marge Monko. Laas and Maasik will also lead a tour of the exhibition at Tramway (12 Nov, 3pm). Reaching out beyond dance and visual art, Estonia Now will also see screenings at GFT, including feature film November, which was nominated for Best Foreign Language Film at the 2018 Academy Awards. Stereo will host a late night show on 17 November, allowing Scottish audiences to experience Estonian electronic music from Hypnosaurus, DJ Ilmajaam, HAPE and Cubus Larvik with Karl Saks, alongside AJAY C from Glasgow. Residents who want to know a bit more about Estonia can head over to the University of Glasgow on 15 November for From 1918 to 2018 and Beyond, a public lecture with Estonian Ambassador Tiina Intelmann. Strathclyde University will be hosting StrongEST, SmartEST, EasiEST on Estonia’s e-government, and the festival finishes off nicely with an Estonian brunch on the Sunday (18 Nov) at Gandolfi Fish. There has been a shift, Mutso muses, in how she feels Estonia is now viewed by Scotland, and consequently similarities emerge: “When I first came here 15 years ago, when I said I’m from Estonia, people would often ask ‘where in Eastern Europe is it?’ Now, when I talk of Estonia, I often refer to Estonia as a Northern European country, and it’s understood differently now. I do feel there is a known connection between Estonia, Finland, Sweden, Norway, Scotland…” Kirs says: “I think we do have the same downto-earth feeling, a no-nonsense kind of people... always doing more than is expected from you, jumping a little bit higher than you are. Because we’re so small, we try harder.” Estonia Now, venues across Glasgow, 12-18 Nov

Feature

THE SKINNY

Taking The Piste From the correct way to dress for the slopes to the delicious tricks to keep you from panning it every five minutes, here’s a guide to skiing on Scotland’s slopes

Words: Lucie Dhog

Skiing in Scotland Part of the charm of Scottish skiing is the unpredictability, which is great for those who live relatively close to one of the five resorts scattered around the country and can leave at short notice. Every year, Scottish skiers embrace spontaneity, take impromptu sickies from work and skip classes as soon as weather reports predict a fresh dump of snow. For west coasters, Glencoe isn’t far from Oban, and is also where to go to find hobbit huts at base for a ski-in and ski-out vibe. Glenshee is the best bet for skiers in the Central Belt, at just over an hour away from Perth. 22 lifts and 40km of varied terrain is spread out over three valleys, in what is by far the largest ski area in Scotland. Near Aviemore, Cairngorm Mountain is the best known, with 30km of runs as well as off-piste skiing at the Head Wall of the Coire Cas. In the Eastern Cairngorms, The Lecht is best for beginner and novice skiers; as the smallest of Scotland’s resorts, the outdoor centre is very family-friendly, serviced by 12 lifts and a magic carpet. Nevis Range, near Fort William, is the newest and highest Scottish ski resort, with groomed runs overlooking the north-facing aspect of Aonach Mòr. Layer Up: Dressing for the slopes It’s instinct to panic-grab your thickest jumper and bulkiest winter jacket, but layers are more efficient for staying warm without channelling the look of the Stay Puft Marshmallow Man. A thermal base layer top and bottom, a lightweight fleece, thick ski socks, a waterproof jacket, salopettes, and a pair of mittens stuffed with hand warmers are all you need to stay cosy and dry for a day on the mountain. You’ll want to be able to bend your knees, so do *not* wear jeans under your ski pants. Equipment Rental shops will ask what kind of terrain you’ll be riding, your level of ability, height, weight and what kind of experience you want to have. Beginner skis are shorter and easier to manoeuvre, with more flex and a low-torque binding

Photo: Ed Smith

here’s nothing quite like the first ski day of the season. The unmistakable waddle of the ski boot strut, that first tentative warm-up run, and the whisper of skis across untouched powder with the wind in your face; no matter how cold the morning, it’s always magical. As someone who doesn’t come from an outdoorsy family, and with no real athletic inclinations, being bundled into a snowsuit as a toddler and having wooden planks strapped to my tiny feet seems like an odd choice for my less-than-adventurous childhood. I didn’t learn to ride a bike until I was almost 30 and I wasn’t allowed outside after dark, but my parents decided I should learn to ski almost as soon as I could walk. With a limited amount of actual fear and a low centre of gravity, I was surprisingly graceful on skis and yet terribly clumsy on two feet. Despite our bracing Scottish winters, it’s a common misconception that skiing is an activity you need to go abroad to experience; we picture snow-capped Rockies, iconic Swiss Alps, or a picturesque chalet somewhere in Austria. Maybe it’s our proud nation’s general inability to deal with even the slightest sprinkling of snow on the roads, but we often forget that the same mountain ranges that cyclists and hillwalkers head to in droves in the summer are perfect for swishing your way down on a pair of skis as soon as the temperature drops below freezing. release. Skis with a wider waist are better suited for floating over soft powder snow, but if you’ll be skiing mostly groomed runs, a carving ski will make your turns smoother and more effortless. For an all-terrain ski, a middle-of-the-range 95-105mm base can take you anywhere. You’ll find that experienced skiers may own several pairs, swapping them each day dependant on the terrain they want to tackle. Ski boots need to be relatively snug but comfortable; never be tempted to rent a pair that are slightly too big or too small, because a second pair of socks won’t make up for the agony of an ill-fitting boot. One of the best pieces of ski equipment you can buy is a ski helmet; in some resorts they’re mandatory, as even the most experienced skiers can wipe out. Personally, I also find a ski helmet will keep your goggles firmly attached to your head, they’re perfect for keeping your ears warm, and won’t fly off into the distance on a windy day like a projectile bobble hat. Try to pre-book your ski rental online or locate somewhere closer to home rather than on the mountain; ski hire shops in Edinburgh and Glasgow will be less expensive and more likely to have the right size of boot and length of ski for you. Pizza, French Fries and learning how to fall A few years ago, I went to Glenshee with some friends and was completely baffled as to why they all kept muttering “pizza then french fries, pizza then french fries” under their breath on their way down the mountain. In skiing terms, ‘pizza’ refers to the wedge shape formed by bringing the front tips of the skis together while applying pressure to the inside edges; it’s the go-to move for beginner skiers wanting to turn, slow down and stop. As you become more confident, you can try shifting your skis into a parallel position in between turns, and eventually maintaining your ‘french fries’ and carving to turn. To start out with, there will be far more pizza in your life than french fries, and that’s OK. They’re both delicious.

If you somehow find yourself fighting a losing battle against gravity, it’s helpful to know how to fall. If at all possible, try to fall with your torso uphill from your skis and boots; once you’ve come to a snow-covered halt and dusted yourself off, position your skis pointed across the slope so you can stand up without taking off on an uncontrolled downward trajectory to the bottom of the mountain.

“ To start out with, there will be far more pizza in your life than french fries, and that’s OK. They’re both delicious” Reading A Piste Map Step one: learn to read a map. Get your head round piste classifications – these refer to the grades given to ski runs by level of difficulty, from easy to expert. Classifications can vary from country to country, but in general green runs are for absolute beginners who have never skied before, blue runs are slightly more challenging, red runs are intermediate and black diamonds for advanced skiers. In Canada and the US, there are no red runs, so a blue square could mean anything from a gentle novice run to something quite advanced. When I was a kid, my older cousins and I went skiing every winter like all good Canadian children. It was during that delightful era in the 80s when adult supervision was optional, and all

of our parents had opted for a day in front of a roaring fire over leading half a dozen small people aged between four and ten down a mountain. We were shipped off to a group lesson for the morning, and then sent out into the wilderness to babysit each other. None of us knew how to read a piste map. None of us knew how to read a map at all. The older kids sent us young‘uns down first to “scout out” the terrain, which meant we skied on ahead and hoped for the best, like miniature crash test dummies. It taught me how to problem solve, to tackle bumps with confidence, and to never trust my cousins. Groomed Runs, Moguls and Going Off-Piste Snow grooming is a process of manipulating and flattening snow with a snowcat, tractor or snowmobile to maintain and compact hills, and to spread fresh snow over the piste with giant rakes. You can always tell a freshly groomed run by its corduroy-like appearance. Moguls are formed by snow being pushed up into mounds as skiers repeatedly make turn after turn along the fall line (the best path down the hill). These bumps become more pronounced with heavy traffic and, as downhill skiing is a series of hypothetically linked turns, this can result in a mogul field. The key to tackling bumps is rhythm, and to commit to your turn. In very icy conditions and poor snow quality, a good skiing hack to remember is that there is always snow on top of a mogul. Off-piste or backcountry skiing is where to find the untouched powder, between trees and challenging terrain on unmarked and unpatrolled areas; some are accessible from a ski lift, but more often than not they involve a bit of a hike. Most European and Canadian resorts permit off-piste skiing but will post warning signs. Japan doesn’t prohibit or forbid venturing outside marked boundaries, yet nobody strays on to the backcountry at all. It’s best to buddy up even if you consider yourself to be an expert, as snow conditions and changes in terrain are unpredictable. theskinny.co.uk/travel

November 2018

ADVENTURE

Feature

Head for the Hills Want to get up in the Munros this autumn and winter? Here’s some info on how to get started...

Words: James Barlow

“ It is important that you take two different methods of navigation AND know how to use them” Where To Go and How To Get There You may have heard the phrase “Munro bagging” already, but if not, a Munro is a Scottish peak over 3000 feet (914m), and the challenge of Munro bagging is to try and top all 282 of them. There are also Corbetts (between 2500 and 3000ft) and Grahams (between 2000 and 2500ft), which are peaks that are lower in altitude but not necessarily any less challenging or dramatic. Whether or not you want to go for the big peaks, or to start in your local hills, the Walkhighlands website is a great resource for researching hillwalks in Scotland. The walks are divided by region and for each walk there is information about the difficulty of the route, maps and photographs, and numerous walk reports by people who have done it previously. All of this gives a sense of what the hike is like and highlights any difficult sections you might run into before you go. Of course, there are numerous other websites and books on Scottish hillwalking too, and it is worthwhile having a peruse for inspiration. It’s definitely nice to have a car for flexibility when planning a trip and so that you can head to the hills on a whim. But even for those without, there are plenty of options to get out for a hike, whether it be using public transport, joining a hill walking club or car sharing with pals. The Isle of Arran and the Trossachs are easy to access using public transport from Glasgow or Edinburgh. If you do decide to use public transport, just make sure to set off early enough to give you plenty of daylight, particularly in winter time, and remember to get off the hill in time to catch a ride home!

Feature

Photo: James Barlow

t is amazing how many people who have been to explore around the world and yet haven’t had a good old explore of what Scotland has to offer beyond the central belt. Yes, the weather can be a little hairy at times, but Scotland is rich with stunningly beautiful landscapes: the rugged mountains of Torridon, the Arctic tundra-like Cairngorm Plateau, the barren moorland of Rannoch Moor, the sprawling woodland of Perthshire and the white sandy beaches of the north-west coast. Hiking is an ideal way to get out and explore these areas, whether you’re more for easy-going woodland strolls and breezy coastal walks or a more challenging mountain ridge traverse. Apart from cracking calves, the benefits of walking and spending time outdoors in nature are well known – the fresh air, the scenery, the exercise, the calm, the bond you build with your pals as you fight your way through the elements. The fun doesn’t have to stop in autumn and winter either, especially as the paths are a little quieter and the air is midge-free, and if you’re lucky, the snow-topped mountains are a sight to behold. If you’re thinking about getting out into the hills over the next few months, here are a few useful tips to stay safe and keep it fun.

Navigation Even on days that start out beautifully clear and crisp, you can end up in cloud by the time you get to the mountain top. Navigating can feel challenging and perhaps a bit daunting at first, but it becomes super satisfying once you’ve had a bit of practice and you start finding it easier to relate what’s on your map with your surroundings. There are plenty of navigation apps (such as ViewRanger) which you can use on your phone to keep track of your location – this precludes needing a dedicated GPS. However, a phone could easily break, or run out of battery. It is important that you take two different methods of navigation – a phone or GPS, and a map and/or compass – AND know how to use them. From personal experience, we can definitely recommend keeping your map in a waterproof case so that it doesn’t disintegrate in the rain. There are an abundance of navigation courses in Scotland if you need help to improve your skills and confidence. Check out the Mountaineering Scotland website for a list of courses available near you. Next Steps It’s hard to write about getting into hillwalking at this time of year without going on about safety, but after a few trips, all of that will become second nature. Ultimately, it’s about getting out and enjoying Scotland’s beautiful landscapes and the great outdoors, and we’re so lucky to have that on our doorstep. Be prepared and even the bad weather days can be great hillwalking days. Once you’ve got the basics down, there are loads of ways to go for trips that are that little bit more adventurous: progressing on to the bigger and more dramatic mountain tops, learning some additional mountaineering skills to take on more challenging routes and taking on the Munros in full winter conditions, trying out multiday trips with a stop at a hostel, a spot of wild camping or a night in a mountain bothy and incorporating a wild swim. Don’t leave litter on the mountains. Do remember to take some tea and flapjacks.

Before You Go Check the weather The weather is pretty key to determining what kind of time you’ll have on your hike. The Mountain Weather Information Service caters specifically for those who do outdoor activities on the mountains. There is information about visibility (aka, the chance of actually being able to see anything), wind speed, precipitation and temperature for the different broad regions of Scotland and how all these will affect walking conditions. We’re fairly sure that one of the words we’ve seen used to describe the wind conditions is “nightmarish” – as fun as that sounds, use your common sense and don’t head out on to an exposed mountain top in dangerous conditions. The Met Office also has a regional mountain forecast and you can use their website or app to search for a specific mountain top to get a forecast for that particular location and altitude. Check the ground conditions At this time of year, there can be snow and ice on the mountains. Hiking the Munros and Corbetts in true winter conditions and cold weather can be an incredible experience, but it requires additional equipment and skills compared to your average mountain jaunt. For example, you would need to have an ice axe and crampons, and know how to use them. You would need to be aware of avalanche risk and be especially good at navigating in poor visibility. If you’re new to this, it is probably best to stay low level in such conditions, but it is definitely worth building up the necessary experience and skills to move on to the bigger peaks.

ADVENTURE

Pack your bag You can delve deep into the world of outdoorsy gear, but you don’t have to spend a fortune, and once you’ve got all the bits and bobs, you’ll be good to go adventuring as much as you like. The best advice is to pack light while also making sure to carry the following essentials: —— A waterproof jacket, trousers and walking shoes/boots —— Warm layers and spares (plus a hat and pair of gloves) —— GPS/mobile phone, map with a waterproof map case, compass —— Headtorch (as getting lost in the dark isn’t much fun) —— Food and water (treat yourself to some homemade snacks and a flask of tea) —— Spare batteries for the torch and phone —— Ski goggles (if there is risk of snow and wind, these will help to protect your eyes) —— Emergency shelter (a group shelter or survival bag) Get Informed Mountain Weather Information Service have details on the weather you can expect (mwis.org.uk) Winterhighland’s webcams are handy for remotely checking ground conditions (winterhighland.info) WalkHighlands have comprehensive guides to walking routes in Scotland (walkhighlands.co.uk) Mountaineering Scotland have detailed safety information, and details on training (mountaineering.scot) Also, make sure to tell someone where you’re going and when you plan to be back.

THE SKINNY

Climb Spree An introduction to Scotland’s climbing spots, tips to get you going, and a guide to the crucial difference between ‘indoor’ and ‘outdoor’

hen you start climbing, you will find yourself moving your body in unusual ways to get up the wall, utilising muscles you didn’t know you had, getting into and holding positions you didn’t know you could. It is no wonder then that this sport is so good for improving balance, flexibility and physical strength (and typically requires a good pair of stretchy pants). Climbing is a great way to get your blood pumping, to challenge yourself and to step a little (or a lot) beyond your comfort zone. Indeed, it is not just a physical challenge but a mental game too. Whether or not you’re comfortable with heights and vertical exposure, you will eventually find yourself doing climbs where you need total focus and confidence in yourself to make the next move, and it is truly satisfying when you are finally able to make that final push and finish a route that you’ve been working on for weeks. Climbing, in its many forms, has boomed in popularity over recent years and is even due to make its Olympic debut at Tokyo 2020. With the daylight hours beginning to dwindle as we head into winter, there is no better time to head to your local climbing wall and try it yourself for the first time. It is entirely normal to be nervous before you begin, but it’s worthwhile remembering that everyone starts off at the same level and has had to learn the basic movement skills and techniques at some point. Like most activities,

Words: James Barlow

it’s something that you will get better at as you practice, learning to climb more efficiently, with new techniques and new-found strength. With patience and regular sessions you will soon find that you will be able to tackle more challenging routes, and that feeling of progression is one of the most enjoyable things about climbing. You will also find that the climbing community is a supportive one, and people are always willing to help or give advice if you are struggling with a particular problem. Getting Started In Scotland, we have a wealth of indoor and outdoor climbing venues, including dedicated indoor bouldering walls like the Climbing Academy in Glasgow and Alien Bloc in Edinburgh, and even Europe’s largest indoor climbing arena at Ratho. There is also a good number and variety of courses at these venues to help get you started, and meet-up groups and clubs where you can find other people to climb with. An indoor bouldering or top roping wall is great for your first time and you should be able to just turn up (in appropriate clothing) and hire any additional equipment you might need. It is normal to wear climbing shoes, which are designed to maximise friction between you and the wall, and to have a bag of chalk, which helps to keep your hands dry and improves your grip. If

you do decide to start climbing regularly, it will be cheaper in the long run to invest in your own bits of gear, and as your feet can get pretty grotty while climbing, it’s certainly nice to have your own pair of shoes. Indoor walls will also typically have an information board to tell you which coloured holds correspond to which level of difficulty, or you can just ask about good routes to get started with.

“ The experience of climbing outdoors is rather different to indoors – for a start, there are no coloured blobs to aim for or crash mat to catch your fall” Indoor Climbing Bouldering Indoor bouldering is a form of non-roped climbing that takes place on walls at a variety of angles with a thick crash mat below. To get started, all you need is some climbing shoes and chalk. It’s this simplicity that makes it so appealing, particularly for beginner climbers. It’s a great way to learn basic climbing techniques and how to move efficiently before transitioning to roped climbing, although many climbers find that bouldering is more than enough to be getting on with. The lack of ropes may put some people off, but taking care to fall in a controlled manner where possible reduces the chances of any injury. As you don’t need a climbing partner, bouldering is also a good one to do on your own, but it’s always fun to tackle problems with pals. Top Roping If you’re nervous about falling when bouldering and feel that you’d rather climb with a rope for that extra security, or if you’re simply keen to learn some rope skills and climb with a partner, then top roping at an indoor wall is also a good place to start. Top roping involves a rope that runs through an anchor at the top of the wall; one end of the rope is tied into your harness and the other is held by your belayer. The job of the belayer is to keep the rope reasonably taut as you climb, to catch you if you do fall, and to lower you down when you’re finished. You’ll need a few extra bits of kit: a harness, karabiner and a belay plate as well as your shoes and chalk, but you’ll be able to hire these at a climbing centre. For your first climb, you’ll need to have someone experienced to show you how to tie in to your harness and belay your partner safely, and most indoor climbing centres will offer an induction to get you started.

Edinburgh International Climbing Arena

November 2018

Lead Climbing With top roping, the rope attached to your harness can be kept taut from above, and this means that there isn’t much risk of falling very far. With lead climbing, the rope is again tied into your harness and held by your belayer, but this

ADVENTURE

time you carry the rope up as you climb, and clip it into a series of quickdraws (these basically keep you attached to the wall). This adds an additional challenge in that if you do fall before you get to the next quickdraw, you could potentially fall a considerable distance to the previous quickdraw. For this reason, lead climbing has a bit more risk involved and is, understandably, more anxiety-inducing. The added risk of falling means that it is all the more vital to have confidence in each move that you make up the wall but it also gives a greater sense of freedom as you climb, and there’s that extra satisfaction if you manage to keep the fear at bay and push on to the top. Outdoor Climbing While most people start climbing at an indoor climbing wall, it certainly doesn’t have to stop there – the potential for outdoor adventure is huge. Many keen climbers progress on to climbing outdoors on boulders, crags, sea cliffs, in caves, and of course to the summits of high mountain peaks. The experience of climbing outdoors is rather different from a trip to the climbing wall. For starters, there are no coloured blobs to aim for, nor an expansive cushy crash mat to break your fall. Route finding is more difficult as you search around for foot placements and hand holds. You are exposed to the elements, and a heavy downpour may ruin your plans. On the other hand, when the weather is kind, it’s great to be out in the open, in the fresh air and with beautiful, natural surroundings rather than those blobs and crash mats. There is a great deal more to learn when climbing outdoors and you will also need more equipment (and the ability to use it safely) to mitigate against the added risk. Types of outdoor climbing include bouldering (on real boulders), sport climbing – this is similar to lead climbing on an indoor wall – and traditional climbing. Traditional climbing involves utilising small cracks in the rock to place your own safety equipment to protect against falls, and is the method used for mountaineering. Your first time climbing outdoors should be with someone with plenty of experience and who you trust to keep you safe. Hiring a climbing instructor or enrolling on a course is a brilliant way to try different types of outdoor climbing and to sample some of Scotland’s amazing outdoor climbing venues. Beginner Tips As a beginner climber, it is beneficial to think about the journey up the wall rather than just getting to the top. Here are a few tips for starting out: Use your legs: Keep an eye on your foot placements to make sure they’re solid, and try to push your way up the wall with your legs more than pulling with your arms as the latter will tire you out more quickly. Climb quietly: Placing your hands and feet on to the wall with care and control rather than bashing against it will encourage more precision in your movement. Don’t be shy: Watching the way more experienced climbers move up the wall and asking for advice is one of the best ways to learn and progress. Breathe: If you’re feeling tense on the wall, it’s easy to forget to breathe. But don’t – focusing on your breathing helps keep you calm and keeps oxygen flowing through the muscles. It is, in fact, rather underrated.

Feature

Adventure Planner

Glenshee Ski Centre Old Military Rd, Ballater

"From invitingly easy to the surprisingly steep" is how Glenshee describe their patch up in Aberdeenshire. There are more than two dozen runs for intermediate skiiers and boarders to career down once you get your bearings on the trainee slopes.

Compiled by: Peter Simpson

ski-glenshee.co.uk

Nevis Range Mountain Experience Torlundy, Fort William

The country's highest ski spot offers runs for all abilities, equipment hire if you need it and a fancy gondola to ferry you up and down the mountain. Snow season usually runs December to April, but check the website before making the trip. nevisrange.co.uk

Huntly Nordic and Outdoor Centre Hill of Haugh, Huntly

Glenshee

If you're looking for a mode of winter fun with fewer hills and decreased risk of falling, the Huntly Nordic and Outdoor Centre offers activities like tubing, crosscountry skiing (the one that's a bit like very awkward walking) and mountain biking. huntlynordicandoutdoorcentre.com

Edinburgh Curling

Murrayfield Curling Rink, Edinburgh

Brush up on your skills with the help of Edinburgh Curling at Murrayfield, a stone's throw away from the city centre. Is it the most high-octane winter sport? No. Will you enjoy launching enormous shiny rocks down a big sheet of ice? Yes.

Get High For the serious explorer, Garry Smith's Get High mountain skills courses can help take the climbing from earlier to the next level. One on one tuition, guided climbs, and more – if you want to amp up your outdoor activities, here's where to start. gethigh.co.uk/winter_climbing.html

edinburghcurlingschool.org.uk

Intu Braehead Curling Kings Inch Road, Glasgow

Over in Glasgow, the Intu at Braehead hosts regular 'Try Curling' taster sessions for those of you who... well... want to try curling. You've seen it in the Olympics and wondered how they don't fall over more often; now you can find out! Glencoe

trycurling.com/find-a-session

Braehead Ice Arena

Dundee Ice Arena

'Ice skating disco' is a sentence we didn't think we'd be writing in here, but it's on offer every Friday evening at Braehead. Elsewhere on their schedule you'll find classes, skate sessions and ice hockey of both recreational and professional forms.

It may have a slightly confusing tagline – 'Dundee Ice Arena: more than just an ice arena!' – but the DIA offers a chance to brush up on your skating, brush about doing curling or sit in the bleachers watching ice hockey players smash into each other.

braehead-arena.co.uk/the-ice-arena

dundeeicearena.co.uk

Braemar Mountain Festival

UK Learn to Skate

Kings Inch Road, Glasgow

The third edition of the Braemar Mountain Festival pulls together a whole load of wintery activities in one weekend. From ski touring workshops to snow shoeing, avalanche awareness courses to film screenings, there's plenty to be getting on with. Try Curling

28 Feb - 3 Mar 2019 braemarmountainfestival.com

Alien Rock/Bloc

Kingsway West, Dundee

Murrayfield Ice Rink, Edinburgh

Fancy heading onto the ice, but not keen on falling flat on your face? The Sunday afternoon classes from UK Learn to Skate are ideal – 45 minutes of training, 45 minutes to put that training into action, home in time for a big lunch and to tend to your injuries. murrayfieldicerinkltd.co.uk/uklearntoskate.html

Edinburgh International Climbing Arena

8 Pier Pl / 23 Dunedin St, Edinburgh

Glasgow Climbing Academy

Europe’s largest indoor climbing wall is situated at Ratho, just outside Edinburgh, offering coaching alongside literally hundreds of roped routes and multiple rocks for practising your bouldering, plus everything you need to get started. edinburghleisure.co.uk/venues/edinburgh-internationalclimbing-arena

124 Portman St, Glasgow

The annual celebration of adventure-inspired cinema returns with everything from stop-motion mountaineering to documentaries on freeriding snowboarders. If you want to experience the outdoors from the comfort of a big chair, this is for you.

Glasgow Climbing Academy offers state of the art indoor bouldering facilities in Glasgow’s Southside, as well as equipment, coaching for all ages and abilities, and even a lovely cafe to look forward to once you get back down.

Feature

theclimbingacademy.com

Edinburgh International Climbing Arena

ADVENTURE

European Outdoor Film Tour

Old Fruitmarket, Glasgow; The Assembly, Aberdeen; Assembly Rooms, Edinburgh

Glasgow Climbing Academy

Alien Bloc

A to B Rollerski

Photo: Martins Grants

alienrock.co.uk

Photo: PHOTOEUAN

South Platt Hill, Newbridge

Alien Rock offers training for all levels and the space to learn skills safely, indoors and away from the harsh realities of the Scottish winter. Alien One focuses on roped climbing, while its sister venue Alien Bloc is big on bouldering.

6-8 Nov 2018 eoft.eu

THE SKINNY

CairnGorm Mountain

CairnGorm Mountain, Aviemore

Cairngorm has something for everyone – a fully-maintained Freestyle section with jumps and bumps to fly off; loads of ski and snowboard runs to try out; and a funicular railway to take you right to the top and back again if you don't fancy skiing. cairngormmountain.co.uk

Glencoe Mountain Kingshouse, Glencoe

Glencoe's snow school can help you get on a board or skiis and stay vertical, while any children in your squad will be kept happy by the 75-metre sledging slope. Once you get going, the mountain has slopes of all shapes and sizes to check out. glencoemountain.co.uk

Glenmore Lodge Glenmore, Aviemore

Glenmore Lodge is billed as Scotland’s national outdoor centre and offers courses and facilities for training across a wide range of outdoor disciplines. Winterwise, this means mountaineering, off-piste skiing and ski touring (which combines a bit of both). glenmorelodge.org.uk

Lecht Ski Centre A particularly good spot for beginners, the Lecht offers full hire of all the kit you'll need, ski spots that won't terrify you on sight, and a bar and cafe in which to decompress after a day firing yourself downhill on a piece (or pieces) of wood.

Glenmore Lodge

Photo: Nadir Khan

Strathdon, Aberdeenshire

lecht.co.uk

Newmilns Snow and Sports Complex

Ancrum Outdoor Centre

A community-run dry ski slope in East Ayrshire, Newmilns is an affordable and accessible place to kick off your skiing or snowboarding adventures. Or, alternatively, go tubing and fling yourself downhill in a giant rubber ring.

The staff at Dundee's only dry ski slope are here to help to you with the basics – How do you put on skis? Which part helps change direction? How do you stop moving? etc. Learn here, then impress the mountain folk with your starting and stopping.

skinewmilns.com

ancrum.com/facilities/dry-ski-slope

Glasgow Ski and Snowboard Centre

Ice Factor

If you need to work on your shredding but can't make it out of town, the dry slope at Bellahouston Park is a bit of a godsend. The Centre also hosts evening ski schools to help you learn, and runs buses from Glasgow to the slopes up north.

The largest indoor ice climbing wall *in the world*, you say? Ice Factor lets you indulge your inner polar explorer with training sessions on its 12 metre ice wall, with a less chilly indoor rock climbing wall also an option if you don't fancy going full Shackleton.

ski-glasgow.co.uk

ice-factor.co.uk

Midlothian Snowsports Centre

Snow Factor

Hillend's star attraction is Europe's longest dry ski slope – it's that incongruous pair of white squiggles you can spot from miles away. The centre offers the chance to practice your shredding no matter how much snow's lying around.

For those weekends when the weather won't play ball, the genuine powder at Snow Factor's indoor ski slope is your best bet. It's the largest in the UK, and remains gloriously unaffected by it either being too cold or not cold enough.

High Street, Newmilns

Bellahouston Park, Glasgow

Biggar Road, Edinburgh

10 Ancrum Rd, Dundee

Kinlochleven, Lochaber

Soar at Intu Braehead, Glasgow

midlothian.gov.uk/info/200281/snowsports_centre

snowfactor.com Newmilns Snow and Ski

Snow Factor

Altitude Festival

Polaris

A comedy festival up a mountain sounds ideal, although that additional altitude might make laughing trickier. Hit the slopes all day and yak it up all night, or combine the two at the festival's inaugural Comedians Downhill Race.

The Swiss alpine season kicks off with a blast with the electronic music festival Polaris, who celebrate by plonking a stage in the middle of the slope at Verbier. On the bill are DJ sets from Carl Craig, Nina Kraviz and Massive Attack.

Craig David

Verbier, Switzerland

1-7 Apr 2019, festival ticket from £99 altitudefestival.com

Maribou State

Photo: Alexandra Waespi

Mayrhofen, Austria

Snowboxx

Snowbombing

Ever wanted to follow up a day on the snow with a set from Craig David? Reader, your dreams have come true. Snowboxx promises 'the world’s largest ski area', midnight snowball fights and assorted other cold-weather fun. Plus, as we just said, Craig David.

The mountain-top music festival returns for its 20th edition this year, combining the frozen fun of Austrian ski slopes with a varied music line-up. Stormzy tops the bill, while big names including The Prodigy, Hannah Wants and Maribou State also feature.

Avoriaz, France

23-30 Mar 2019, full week ticket from £269 snowboxx.com

November 2018

29 Nov - 2 Dec, 4-day pass £185 polarisfestival.ch

Mayrhofen, Austria

Altitude Festival

8-13 Apr 2019, from £249 snowbombing.com

ADVENTURE

Nina Kraviz

Feature

Adam Wilson

“2

017 started with a short film I made out in South Queensferry. Thinking this might become something of a yearly adventure, this time we set off for Scotland’s wild wooded glen – The Trossachs. The sun sets around 4pm in winter, so time was against us. “To drive, it’s only an hour and forty-five minutes away from Edinburgh to enter the park boundary. We had a quick pit stop in Aberfoyle (the Scottish Woollen Centre was open, curiously) before heading off along wee Loch Ard. The water runs high here, almost at road level. Thankfully I’d been given a 4x4 for this trip so we blasted through 3ft of water making a wondrous splash. The car aquaplaned and I held my heart in my mouth for a few seconds. “We carried on past Loch Chon before we arrived at the intended south west point of Loch Katrine, Lochside Cottage just announcing itself through the mist. Rain was pelting down so we took shelter in the car with coffee, sandwiches and an assortment of salty snacks. On New Year’s Day, we had the view to ourselves. Low clouds waned away revealing frosty peaks, and we were treated to the burnt orange tones of Scotland’s beauty.” Adam Wilson is a graphic designer in Edinburgh, who usually has his head buried deep into digital projects. He’s designed sites for The National Trust for Scotland, Edinburgh International Festival, Radisson Red and Scotland itself, to name a few. After editing other people’s work for years, he finally bought a camera in 2007; the transition into making his own work started a passion he still has today. His favourite work is travel photography. fourcolourblack.com instagram.com/fourcolourblack

Feature

SHOWCASE

THE SKINNY

November 2018

SHOWCASE

Feature

THE SKINNY

LI FE ST Y LE

Along For The Ride Does travelling help or hinder mental ill health? One writer shares their experience of travelling the world, only to have depression follow them

icture this: a small, seaside town along the Albanian Riviera, Dhërmi. The mountains are on one side, the sea on the other. On one of the mountains, a forest fire rages away from civilisation, and in your head it looks like Mordor. It’s been hitting forty degrees all day, but the sun is sitting low in the early evening, and the heat feels dry and still. You’re sat on a pebbled shore, which somehow feels softer than sand would, and is easily far less annoying. Your belly is full of salted squid and warm beer. The sun is winking off the sea, which is hot and silky; some of the water has beaded on your skin. Your freckles are starting to make an appearance. Families are packing up their bags. The beach starts to empty. The only thing you can hear is the sea each time it kisses the shore. For the first time in months, there is nothing else in your head apart from this moment. You are calm, you are present and you are alive. You smile, and you mean it. The kind of unabashed smile a child gives to the moon on nights staring up at the sky. Beautiful, right? It wasn’t always like this. For the last couple of years, I had been dancing the line between intense periods of depression and small glimmers of happiness. I had just graduated from university, having lived some of the best moments of my life there, consisting of blooming friendships and nights spent dancing under bright lights, wishing they’d never end. Yet, it was also when my depression had bared its ugly face. For me, it was – and still is – the feeling of never quite being fully awake. Of seeing the world through a blurred lens, like I’m not wearing my glasses. Of never being present. And, of course, the indescribable pain of feeling, so resolutely, that there is something deeply, deeply wrong, but never knowing what it is. Looking back, I can

November 2018

safely say that I was in a good place during my final months at university. I felt like maybe, just maybe, I was starting to turn a corner. I had my first big trip planned to travel around the Balkans with my boyfriend Louis, to places I’d always dreamed of visiting. Surely, after all this time, depression wouldn’t chase me there.

“ I’d decided that depression couldn’t stop me doing something I’d spent years waiting for, even if I didn’t feel quite right” In the lead up to my trip, I’d been worrying incessantly. An unmatching accessory to excitement. I’d been asking myself if it was a good idea to go. Whether it was wise to risk having a bad episode in a new country. Whether it was fair to put that all on Louis. Whether I could deal with the oh-so-long nights all over again. It had happened the year before, when we went to Budapest, and during some of the times I’d visited Louis in Prague. What would I do if I became lost again? Would I be dragging other people down with me? It was something I’d tried so hard to move on from, and if I had to pick a time for it not to come back, it was now. At the same time, I had always

pictured melting sunsets and cobalt seas in my future. The idea that I could finally begin to travel the world after so long was also a strange comfort. Could this be something that would help? I’d been told by numerous people that it wasn’t the best idea. But I had it fixed in my head that I could outrun it. Was it truly something I could escape? An obscure kind of therapy? Or was I doomed from the start? Eventually, I’d decided that these worries couldn’t stop me doing something I’d spent years waiting for, even if I didn’t feel quite right. Like most people, I had read about the mysticism of Thailand in The Beach, seen the toppling opening sequence of the Na Pali Coast in Jurassic Park, and watched as the boys in Stand By Me went on their coming of age journey into the Oregon wilderness. What intrigued me most is that you could find something better than in storybooks when travelling, make your own adventures and maybe discover more pieces of yourself along the way. Something good. Unfortunately, it wasn’t to be. When departure day arrived, depression had settled into place. The sleepy excitement I’d feel when I was younger – after being bundled into the summer holiday crowds at the airport at five in the morning – quite concerningly wasn’t there. Not even when the plane was in the air; I was asleep before I could revel in the take-off. Instead, there was only worry and the sheer weight of nothingness. Already, I’d tuned out from my surroundings, no matter how new they were. Roaming through the white streets of Tivat, trying freshly-caught seabass, sipping on cocktails as I looked out over Galicica National Park; all were moments felt through a glass wall. My fingertips hadn’t touched the other side. I could see that they were stunning in their fleetingness, and that

TRAVEL

Words: Georgie Battersby Illustration: Saman Sarheng

they were, in many ways, a work of art, but I couldn’t feel them. It wasn’t a wonderful surprise when the sun set peach over Roman ruins, or when we’d had to pay only one euro for a long taxi ride. It was muted, dulled. Like I was looking at a film roll rather than its pictures. It was as if I wasn’t really there. I know I was lucky during this time to have such a great support network, but I sometimes think about how it would have panned out if I didn’t. I like to think I can do everything by myself, but this is obviously not true. Nobody can. Travelling can do wonders for depression, but I should also stop looking at it as a cure. After over two thousand years, Confucius still hits the nail on its head when he says, “no matter where you go, there you are.” A lot of people attempt a trip when they’re feeling rosy and ready to follow a childhood dream, whereas others use travel as a form of escape, a way to ‘fix’ themselves. I think, for me, it was a mix of both. The thing is that it doesn’t matter where you are in the world, it can catch you unaware. It’ll suddenly be sat on your shoulder, smiling its familiar smile, and you’ll think about how on earth you can get rid of it this time round. But it isn’t everything. In truth, I look back on some parts of my time in the Balkans with an extreme contentedness that is both out of place but welcomed. In past, present and future travels, there are bad days, but there are also good ones. You may feel like the world is going to end, but then you’ll realise that it’s not. Some nights, you’ll breathe in the warm air and feel it keeping you afloat. You’ll feel a tiny but tangible millisecond of bliss after you open your eyes in the morning. You’ll feel happy. theskinny.co.uk/travel

Lifestyle

Countdown With the news that the government has proposed a calorie count on menus, one writer examines the detrimental effects the initiative could have on eating disorder recovery and fatphobia

ike many women, I have had a chequered relationship with food. I embarked on my first diet when I was just ten years old, promised by Kellogg’s that I could drop a dress size in two weeks. In my teenage years my attention switched to calories. I found myself obsessively tracking my intake and weighing myself a few times a day. I could recite the calorie count of common foods without pausing for thought. My obsessive calorie counting never made me thin, but it did make me miserable and prone to fainting spells. I have lived my life at the intersection of fatness and disordered eating, viewing my body in torturous ways, thoughts consumed by images of the ways I could scold it and remould it. It’s for these reasons that I was horrified to hear about proposals to get calorie labelling on menus in UK restaurants – an initiative that seems completely disconnected from the realities of living with or recovering from eating disorders, and from women who walk the world fat. The Department for Health has proposed making calorie counts on menus a legal requirement, a bid currently supported by Diabetes UK within its Food Upfront Campaign. This is not a novel initiative – similar strategies have already been employed in the US. Proponents suggest these public health initiatives could significantly reduce obesity; however, research testing their effectiveness suggests they may not be so transformative. While a US study found that when participants were given a calorie count on menus, calorie consumption was reduced by an average of 45 calories per meal, it was estimated that “over a three-year period, the calorie cut would lead to weight loss in the range of one pound.” Now, I’m no weight loss expert, but it strikes me that losing one pound in three years is an incredibly low bar for success. But the problem with these initiatives goes beyond their holey evidence base, and to their potential to harm eating disorder recovery and pander to dangerous fatphobic rhetoric.

“ My obsessive calorie counting never made me thin, but it did make me miserable” I spoke to Charlotte Wiseman, who grew up with eating disorders, about how she feels people may be impacted by the initiative. Wiseman worries displaying calorie counts could disrupt recovery for people with conditions like bulimia and anorexia, as treatment plans often encourage individuals to avoid using numbers to guide their eating to help restore intuitive eating and reduce obsessive thinking. “I had to avoid Pret, as they display calories, and I’d find myself gravitating towards the low calorie choices,” she tells me. But there’s also a risk that numbers oversimplify and consequently obfuscate nutritional information: “A focus on numbers leads to people regarding foods as 'bad' because they don’t always know how to interpret the information.” She worries that emphasis on limited indicators like calories can actually feed into misinformation around healthy eating, with focus on low calorie numbers compounding the belief that a high number means a food is 'bad'. This dichotomised view of food as 'good' or 'bad' can feed in to food guilt that

Lifestyle

can trigger or worsen eating disorders. However, criticism of proposals to make calorie information more readily available is not unanimous. Polly Hale, who suffered from anorexia, found that having calorie information more readily available makes eating more relaxing. “A therapist would say that’s giving into the ED (eating disorder) but if I don’t know the calories, I undereat ‘just in case.’ I eat better when I’m in control,” she says. Hale’s account suggests there may be mileage in a middle ground that allows individuals to more readily access calorie information, but without forcing it into the consciousness of anyone who looks at a menu (an example of such an approach would be making labelled menus available upon request). Beat, the UK’s leading eating disorder charity, argue that the initiative could heighten risk among those vulnerable to eating disorders, with calorie labelling having the potential to “exacerbate eating disorders of all kinds.” Data has shown that exposure to calorie content when selecting meals can lead to individuals with anorexia or bulimia consuming fewer calories. As Charlotte Wiseman and Beat attest, mandatory calorie labelling brings with it a risk of over-policing that could prove detrimental to individuals with disordered eating. And this risk doesn’t just extend to the ED community – it could also carry harmful consequences for fat people. Fat people already experience body policing in public space. They regularly experience hostility, fatphobia and judgement around food choices that can see them categorised as a ‘good’ or ‘bad’ fat person depending on what they order. Many fat people experience weight shaming in public. In 2015, there were reports of fat women receiving cards on the London Underground, telling the reader they “disapprove of ” and “hate” fat people. As a result of instances like these, many fat people already live with anxieties around being a fat person in public spaces. I’ve experienced a great deal of this myself. In 2014, my weight ballooned as a result of a medication change, that saw me go from a calorie obsessed size 12 to a size 20. In a matter of months, I went from living with body issues, to living in a body that was seemingly always an issue to someone else. Being a fat person is to be at the intersection of invisibility and hypervisibility. Invisible in advertising, representation and art, yet hypervisible when it comes to public space. There is no corner of my life that goes unpoliced, with strangers seemingly viewing my body as a subject for public commentary. I have had strangers yell fatphobic comments at me from rolled-down car windows. I avoid cashiers in supermarkets, worried they’ll comment on the contents of my basket. I fear stran gers taking pictures of me in the gym to share on Snapchat because these experiences are happening every day. With my decisions already over-policed, I fear a world in which calorie labelling is fed to us in restaurants, so that it becomes another arena in which strangers will feel entitled to comment on my body and my choices. I worry that this proposal, sponsored by our government, could support anti-fatness rhetoric that doesn’t need any more weight behind it. The government’s calorie counting proposal is short-sighted in this regard. While it’s pitched at improving public health, the initiative could have significant physical and mental health implications for anyone with a history of disordered eating or anyone viewed by society as too big. And, if the evidence of earlier initiatives is anything to go by, it could harm more people than waistlines it will trim.

Words: Chloë Maughan Illustration: Giulio Castagnaro

Real Love In this month’s love column, one columnist explores what it’s like dating cis people as a trans woman Words: Anonymous

“P

retend to be my sister while I fuck you in the ass.” It’s certainly a startling opening line, yet that is the greeting I received from a cis man on Grindr. Now I know Grindr is hardly the place to look for love, but the utterance is emblematic of the way cis people perceive me, a trans woman, as a potential partner. Hooking up with cis people is like being a quirky side character to a protagonist’s grand narrative. Proximity to you means having a taste of an alternative lifestyle, and there is a certain thrill in that. But because you never live up to their fantasies you come across as broken, and because their perspective is the perspective, you feel that defectiveness as an unalterable reality. You disappoint them, and worst of all you don’t watch RuPaul’s Drag Race. So, they will leave you. I’m still in my twenties but I am resigned to the fact that I will probably never have a longterm partner. TERFs have manufactured the stereotype of the trans woman who is twisted by the bitter reality that nobody wants to fuck them. It’s not true. Lots of people want to fuck me; a few

INTERSECTIONS

months ago a man offered me £200 for the privilege. Nevertheless that stereotype makes it difficult to admit that there is a bitterness. It’s not due to the likelihood that I will never start a family; rather, it comes from the knowledge that there is an unbridgeable chasm of experience between myself and the cis people in my life. Coming out as a trans woman in a misogynistic society does not mean you come across as a man in a dress, instead you come to realise that the world sees you as a thing. You don’t have that mysterious it, because it is all you are to them. When society can only ever see me as a niche commodity, I find myself asking: “Can the cis ever love me?” For a cis person to do so requires more of them than they are often willing to provide. It’s not a demand for whatever 'support' means, but rather a massive decoding of the way we perceive value. We like to divorce the material kind from the more abstract or sentimental, yet in our lives the two are so often intertwined. It is why a cis person would be better off marrying another cis person than marrying something like me.

THE SKINNY

Hang the DJ Clubs for LGBTQ+ women and gender non-conforming people are seriously lacking in Scotland. We talk to the people in the queer clubbing scene fighting to create safe social spaces about why inclusive queer parties are hard to find and harder to maintain

ancefloors are political spaces. While most people think of clubbing as something to do every other weekend to let off steam, for marginalised people clubs and parties can be the only spaces where you’re not in a minority. Historically, for the LGBTQ+ community, clubs have been spaces to come together: to party, to plan, to connect. While at work or at home, you might be a minority, in a queer space a liberation takes place. However, as traditional gay clubs – think CC Blooms in Edinburgh and the Polo Lounge in Glasgow – become increasingly popular with straight crowds, there’s a concern that these spaces no longer represent the larger LGBTQ+ community. Pop culture celebrates a specific kind of queerness – cis, white, gay men – meaning that mainstream gay clubs also celebrate this specific kind of queerness. For those marginalised within the LGBTQ+ community itself (particularly lesbians, queer women, transgender people, nonbinary and gender non-conforming people), these clubs often don’t represent them any more than your average dancefloor. While Glasgow’s underground queer scene has been thriving for years, queer parties in Edinburgh tend to be few and far between, and when they do pop up, they tend to fizzle out. “Edinburgh really has a lot to answer for being the capital city of Scotland, the first country in the UK to legalise gay marriage,” says Sarah Donley, who’s been vocal about the lack of social spaces for LGBTQ+ women and gender non-conforming people [she’s also The Skinny’s production manager]. “We’ve got the pink triangle and its scattering of institutional gay bars. Infinity Nightclub (formerly Chalkys, formerly mood, formerly GHQ) closed its doors earlier this year.

November 2018

Planet, which was once a buzzing fluffy leopardprinted haven for lesbians, has changed hands to become an empty, outdated shell. You’ll rarely see a woman socialising in there nowadays.” The lack of a queer scene for LGBTQ+ women and gender non-conforming people was the incentive behind Grrrl Crush, a party that describes itself as “run by girls for girls who like girls.” Speaking to Roberta Pia, one of the brains behind the night, she says that when GrrrlCrush started, the queer scene in Edinburgh was close to non-existent. “A lot of Edinburgh’s gay bars feel stuck in the 90s. I understand what their purpose was but they haven’t really moved on. None of them are actively running nights for women and when you go in, it’s mostly gay guys and straight women.” HEY QT, another queer night in Edinburgh, started in 2015 for similar reasons. Fin, one of the night’s four founding members, says that it started “as a DIY night,” reacting against the lack of a queer scene and the expensive cost of the few queer parties that were going on at the time. When we ask Fin how the queer scene’s changed in Edinburgh, he laughs: “There’s fuck all happening in Edinburgh but for me looking at it now, there seems to be so much because there was absolutely nothing before. But when you compare it to Glasgow it’s a bit sad.” When starting HEY QT, Fin took inspiration from Glasgow’s queer scene. While there’s been an increase in Glasgow’s gay clubs over the last few decades, the city’s queer scene has been alive for much longer. “With minority spaces, they’ve been doing it themselves and putting on their own nights and trying to do something to change things,” says Fin. “All that’s been happening in the queer scene and underground scene for a long time, it’s just catching on to the

mainstream now.” Cat Reilly, Stereo’s booker and promoter, has played an instrumental role in Glasgow’s LGBTQ+ club scene. Asked if she’s noticed a difference in queer nights recently, she says: “There’s been a rise of clubs that are queer-leaning or clubs that are vaguely queer but not outwardly identifying as queer. There are a lot of clubs that identify as queer for gay men with a more sexually-orientated focus, but there’s not so much for women, lesbians and non-binary or gender non-conforming people. It’s weird, it’s both opened up and closed at the same time.” Reilly runs Push-It, an all-female R’n’B night and started Grind Your Axe, a house night at which she DJs. “I wanted to have something for femme identifying, lesbian and non-binary people to hang out and have the same kind of space gay men have with gay clubs,” she explains. The biggest difference between Glasgow and Edinburgh’s queer scenes – other than Edinburgh’s lack thereof – is the amount of variety in Glasgow. “I love queer nights that play disco and pop,” says Cat, “but I think there needed to be more nights with techno and house because there are so many queer femme DJs for that.” When she took over as Stereo’s booker, Reilly also introduced a substantial safe space policy, one of the first people in the club scene to do so. “[Safe space policies] aren’t perfect and they don’t mean that nothing is going to happen but it does mean the people promoting the night and the venue staff will take your issues seriously.” When one in six LGBTQ+ people report being harassed and assaulted in bars and clubs, safe space policies are essential for queer clubbers. Reilly’s initiative was the inspiration for HEY QT’s own policy. “The first time I saw a safe policy was

INTERSECTIONS

Interview: Katie Goh Illustration: Kate Costigan

with Cat’s nights,” says Fin. “Something that sticks out to me as a trans person are the bathrooms. The other week when we were putting on HEY QT, I checked the locks in the bathrooms and one of them was broken. If that was me walking into a party, I’d be freaking out about what cubicle I could go into that was safe. Simple shit like that, people don’t consider but that has such a huge impact on someone’s night out.”

“ We’re a diverse community. We deserve diverse nights out” So, why is Edinburgh’s queer scene lagging behind Glasgow? Fin believes that a lack of accommodating venues is an issue: “There are venues in Edinburgh I won’t book because the door staff aren’t trained.” Roberta Pia agrees that venues play a major role in the lack of nights in Edinburgh. Grrrl Crush was able to start in the Mousetrap and move to the Mash House because the managers were actively putting on LGBTQ+ nights. While there are queer and alt nights and parties like HEY QT, Grrrl Crush's, XOXO, Temptation and Hotline, there are no permanent clubs in Edinburgh that define themselves as queer. The lack of permanent social spaces for queer women is something on GrrrlCrush’s mind, with an aim to extend their parties into other community-focused events. “Parties are great but obviously not everyone wants to party or go out drinking all the time, so we want to have a space where women feel comfortable to go and meet people in a relaxed environment. The plan is to keep on doing parties but extend it out and make it more of a community thing.” While mainstream gay clubs seem to be more popular than ever, their popularity is due to straight crowds coming for a specific gay experience. “A lot of straight people [who] come into queer spaces think it’s going to be really accessible and fun for them as a straight person,” says Reilly. As a result, LGBTQ+ people are being pushed out and erased from gay clubs. Fin says that when he tried to get into Polo, he was pushed back for “not looking gay enough.” As both Sarah Donley and this writer can both attest to, if you want to be hit on by men, head to CC Blooms where straight men prowl the dancefloor because they know it’s a popular spot for straight women and hen parties. Safe spaces to relax, party and grow a community are seriously lacking for queer femmes, transgender and gender non-conforming people. No one is asking mainstream gay clubs to close their doors – they’re just as important in the clubbing scene as underground queer nights – but initiatives need to be put in place so that clubs that define as “queer” don’t just mean a specific type of queer. Safe space policies and femaleidentifying only nights could improve inclusion, but at the end of the day, more social spaces for the LGBTQ+ community that don’t involve getting hammered to Madonna every Friday night need to exist. We’re a diverse community. We deserve diverse nights out.

Lifestyle

THE SKINNY

Tear and Share As one big national chain uses the power of food to annoy and offend, a new book celebrates the ways in which grub can bring us together

Words: Peter Simpson

“ Think of the cultures you’ve experienced, however superficially, through food; it’s one of the best tools we have to learn about people and places”

Sesame Pastries In Xi'an

Pide being formed

November 2018

Photo: Eric Wolfinger

In mid-October, an advert appeared on Twitter from GBK, promoting their new ‘Indianinspired’ Ruby Murray burger. In this advert, a man (let’s call him ‘this smug fucker’) stands outside a variety of independent Asian restaurants wearing a sandwich board both lauding his new burger and slagging off everyone around him. This

Fried Chicken

Photo: Eric Wolfinger

smug fucker then starts shouting about how this new lamb burger with a variety of Indian-sounding condiments is a ‘Proper Indian’, trying to discourage potential customers from visiting one of those restaurants from earlier. He then makes a half-hearted attempt at The Robot, before being told to piss off by a disgruntled off-screen adversary. It’s a bit like one of those YouTube ‘prank’ videos only without any real jokes; it is, basically, a load of old shit. Cut to the predictably swift and entirely deserved response. Marina O’Loughlin from The Sunday Times described GBK as “arses” trying to be “edgy”; author and chef Jack Monroe instructed them to “get in the fucking sea”; Buzzfeed’s Ryan Broderick said “I really cannot prepare you for how much this ad campaign fucking sucks in every conceivable way.” There weren’t many fans. And that’s before you get into the colonial overtones of a smart-arse white Englishman shouting through a loudhailer at an Asian restau-

rateur about the virtues of ‘authenticity’. That’s been picked apart in more detail by Asma Khan for i and Biba Kang in the Independent in two excellent articles which you should absolutely read, but to offer a brief third take for a moment – if an indictment of your behaviour can legitimately include the phrase, “that’s before you get into the colonial overtones,” you probably want to rethink a thing or two. After the backlash comes the apology, the messages about ‘getting it wrong’, and the removal of the ad from Twitter. Sounds OK in theory, but as Kang writes in that Independent article, this advert was “like an inadvertent public awareness campaign... a perfect illustration of why the appropriation and bastardisation of a minority culture’s cuisine can curtail their economic prospects [in] a country like Britain.” So in this case, an apology isn’t much good if it erases any reference of the teachable mistake you initially made. This is a common thread in social media marketing – companies act in unfriendly and troubling ways, the public find their behaviour objectionable, those companies make a handwaving show of being contrite and then delete the offending work. ‘But if they deleted it, what’s the problem?’ Well, imagine someone were to throw a glass of water at you, and you were to become a bit miffed. They apologise, then ask everyone who heard it or made a note of it to scrub it from their memories. Their apology doesn’t change the fact that a) they thought it was alright to chuck stuff at you in the first place or b) THEY ACTUALLY DID DO IT. This is the dark side of when food, politics and business cross paths, with big companies taking whichever cultural artefacts suits their plan for the week, throwing bags of capital at the situation, then offering shitty apologies if the public rebel. Fortunately, food is – when handled correctly – a hugely positive force for good in the world. Think of the cultures you’ve experienced, however briefly or superficially, through their food; it’s one of the best tools we have to learn about people and places other than our own.

FOOD AND DRINK

Photo: Lauryn Ishak

he world of food is pretty wild sometimes; one minute you’re enjoying a delicious bowl of jelly without a care in the world, the next thing you know there’s a massive financial scandal erupting in that chain of cake shops that have popped up everywhere. Things move pretty fast, and sometimes it’s nice to slow down and dissect a piece of food industry gubbins and point out its role in a wider cultural malaise. When shall we do that? How about right now? Gourmet Burger Kitchen is a group of burger restaurants, one of those restaurant chains that exist to mop up city centre overspill or make shopping centres seem slightly less grim and dystopian. No shade to anyone involved – we all have to eat, and nice environments that serve food people enjoy are a good thing – but let’s call GBK what it is, which is a run-of-the-mill yet slightly fancy chain. It’s innocuous, it’s acceptable, it is basically fine. Which makes the next part of this story more than a little odd.

Edited by Lucky Peach co-founder Chris Ying, You and I Eat the Same is a new collection of essays that’s an unabashed celebration of what food can do to bring us together. Grown out of the MAD community project, headed by Noma head chef and all round top food lad René Redzepi, You And I… combines nearly 20 essays looking at food cultures, traditions, restaurants and chefs from across the globe. It sets out to show that food is an example of cultural exchange, travel and trade done right; where we all benefit from people’s ability to go to new places, try new things and pass on their knowledge. Inside, there’s a chapter on the global ubiquity of putting meat inside flatbreads, a look at the many different ways that culinary cultures use the sesame seed, pieces examining immigration’s role in building our food culture, as well as the occasional big long list of foodstuffs or delightful full-colour photo of a piece of chicken. The point throughout is that food is something to be explored and enjoyed, and that – hold on to your hats here, folks – being unstoppably rude about people while discreetly filming them in order to sell your version of their culinary tradition is *not* the only way to facilitate cultural exchange. Who’d have thought? The book also features a chapter by Ben Mervis (of office favourite Fare magazine) on Ranjit’s Kitchen, the much-loved Indian restaurant that’s become a massive cult success among the foodies of Glasgow’s Southside and beyond. It’s a story of the positive power of immigration, our changing palates, and it also features some fantastic ideas for what to do with paneer. “Curry,” says Mervis, “is a product and reflection of cultural openness,” citing its role in religious and community gatherings – Ranjit Kaur, head chef at Ranjit’s Kitchen, began cooking at Sikh temple upon moving to Glasgow, which eventually led to her now-vaunted restaurant – and its ability to change and adapt to regional ingredients and tastes while retaining its culinary DNA. That’s food that can bring us closer together, without a loudspeaker or shouty dickhead in sight. You and I Eat the Same is out now via Artisan, RRP £14.99

Lifestyle

New in Food As our Food and Drink Survey closes for another year, here’s a selection of new venues to check out as you ready your voting muscles Words: Peter Simpson Stack and Still OK, which of you had ‘pancake restaurant’ on your Scottish food and drink bingo card? Stack and Still is pretty much solely dedicated to the art of the pancake, offering six different types of pancake batter and over 60 sweet and savoury toppings. Do they claim that there are ‘over 12 million combinations’ on offer? Yes. Is that number largely theoretical and pretty much irrelevant? Mmm-hmm. Are we now tempted to host some kind of ‘most obtuse topping’ competition to really see what we can do with this culinary blank canvas? You betcha. 100 West George St, Glasgow; facebook.com/stackandstill Ramen Dayo! A West End outpost of the ever-popular Glasgow ramen joint, this second Ramen Dayo! will be powered by the same slurpable recipes that have made the Queen Street spot so popular. In a happy bonus, the West End Ramen Dayo! is open until 1am at the weekends, so if you fancy some fried chicken and sake at around midnight, you no longer have to go to bed in a huff – you can

instead go to bed having just eaten loads of chicken. 31 Ashton Lane, Glasgow; facebook.com/RamenDayoashtonlane Little Rascal A new spot from the folks who brought you Good Brothers down in Stockbridge, Little Rascal takes the ‘trendy setting in which to drink nice wine’ to Corstorphine. Expect an exciting range of organic and natural wines, and some lovely lighting choices. 113d St John’s Rd, Edinburgh; facebook.com/littlerascalwine Pizza Geeks After regular appearances at all kinds of markets and pop-ups in recent years, Pizza Geeks have opened the doors on a bricks-and-mortar spot just round the corner from Haymarket station. Inside, it’s a perfect marriage of the two halves of the name – the ‘geek’ part comes courtesy of the endless references to and merch from sci-fi and comic book culture, as well as a pretty impressive selection of arcade games to play while you wait for your food. The ‘pizza’ is deliciously crispy

Pizza Geeks

and impressively inventive, served up from a brilliant wood-fired oven. 19 Dalry Rd, Edinburgh; facebook.com/pizzageeks Rose Theatre Cafe Another coffee and brunch option in the heart of town, the Rose Theatre Cafe sits alongside – you guessed it – the recently-reopened Rose Theatre. Expect tasty coffee from local roasters Machina Espresso, a variety of delicious things on toast, and an intriguing selection of sweet and savoury treats. 204 Rose St, Edinburgh; facebook.com/rosetheatrecafe

Lucky Yu The bad news for the people of Leith is that they’re going to be without the fantastic fusion tacos of Bodega for a while, as the taqueria gets ready for a move into a new spot down the street. The good news is that their old Elm Row location is now home to the pan-Asian street food canteen vibe of Lucky Yu. Gyoza, bao buns, assorted nibbles and an impressive array of lucky waving cats await. 62 Elm Row, Edinburgh; facebook.com/luckyyucanteen The Skinny Food and Drink Survey closes on 19 Nov; cast your votes at theskinny.co.uk/food

Chews Bulletin November's round-up takes an early, boozy swing at Christmas, and throws in loads of vegan fun and juniper-based science

e begin with Cocktails in the City. The boozy shindig returns to Edinburgh this month, setting up shop in the Hub at the top of the Royal Mile with a selection of the city’s best bartenders and a whole host of #brands. Expect one-off cocktails, lots of bow ties, and the chance to try out a few things you might never consider on a standard trip to the pub. 9-10 Nov, 6-11pm, The Hub, Edinburgh, £12, tickets via Eventbrite Next up, an early spot of Christmas fun courtesy of the Glasgow Vegan Christmas Festival. Fifty vegan stalls loaded up with animal-free festive goodies for you to gift around the place (or just keep for yourself, it’s up to you), as well as

vegan cookery demos and a host of talks and workshops to give you some plant-based inspiration. 10-11 Nov, 10.30am-4.30pm, Trades Halls, Glasgow, £3 on the door Also in Glasgow, The Science of Gin wins the ‘most descriptive event title of the month’ award (and it was up against an event called Cocktails in the City), filling the city’s Science Centre with half-a-dozen fantastic tipples selected by the lovely folks at the Good Spirits Co. You’ll hear an explanation of the science behind the gin, then drink some of it inside a planetarium. Science! 16 Nov, 7-10pm, Glasgow Science Centre, £35, glasgowsciencecentre.org Cocktails in The City

Cocktails in The City

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In Dundee, Spirit of North Hop brings together distilleries of all sorts from across Scotland for an afternoon of sampling and spiritbased questioning. There’s also a beer bar from 71 Brewing, coffee from local aces Sacred Grounds, music, street food, and all the usual drinks festival hoopla. 24 Nov, 1-5pm & 6-10pm, Apex City Quay Hotel, Dundee, £25, northhop.co.uk Regular readers may have noticed that Innis & Gunn’s series of Versus events keep catching our eye – what can we say, they keep offering loads of booze and nice food for not much money! I&G have gone for a Vegan theme for this month’s beer vs food vs other drink face-off, with four vegan wines going up against a quartet of beers and some veggie food from their own kitchen. You, of course, have the tough job of enjoying it all and picking a winner. 29 Nov, 7-10pm, Innis & Gunn Beer Kitchen, Ashton Lane, Glasgow, £20, tickets via Eventbrite And finally, with Christmas on the way, there are a whole host of wine fairs to hit up across

FOOD AND DRINK

Edinburgh this month – these will help you through the endless dinners you’re going to have to attend in December, at least you’ll have your vino sorted, and chances are you’ll have bought enough of the stuff to float a small ship. WoodWinters host The Big Tasting at Summerhall (3 Nov, 4-7pm, £20) with a mix of old, new, and “left field” bottles, while Great Grog offer up 100 bottles at the Merchants Hall in a “informal wander-about style”, which we’re fully on board with (16 Nov, 6-8.30pm, £20). Hill Street Design House host a way-fancy evening of sparkling wines that is a bit pricier than the others on this list, but then you do get complimentary cheese on arrival so maybe it balances out (22 Nov, 7.30-9.30pm, £45), and Vino take the reins back up the road at Summerhall for their Winter Wine Tasting on the same night (22 Nov, 5.30-9pm, £15). If nothing else, this should all make for excellent practice for next month’s bacchanal of drinking, mince pies, and festive headwear. [Peter Simpson] theskinny.co.uk/food

THE SKINNY

RE V

Go East

IE W

Idris Ackamoor

he autumnal cousin of Platform’s Outskirts festival, Eastern Promise is a beacon of exciting and experimental art of all stripes when it comes flashing into view each year. Now in its eighth year, the festival spreads out across the various spaces of the Easterhouse complex that Platform calls home and, in a time where looking outward seems to be falling out of vogue, the programme has an exciting international feel. Of all the great musicians highlighted by Brian Shimkovitz’s Awesome Tapes From Africa

Photo: Pat Mazzera

The eighth edition of Platform’s Eastern Promise festival combines cutting-edge music, art and performance

label, it’s been argued that Ethiopian funk great Hailu Mergia is among the very best. Off the back of some of his classic works finding a new audience in recent years, Mergia released a brand-new album – his first in two decades – earlier this year, and he heads the line-up for Eastern Promise’s first night. Expect funky accordions and keyboards aplenty. Also on Friday night, Monster Chetwynd presents her new short film Face Cream. A co-production between Platform and the GoMA

art gallery, the film is inspired by Russian novelist Mikhail Bulgakov’s Stalin-era satire The Master and Margarita. The action is transposed to a magical Glasgow, with the film shot in (and with the support of) museum venues across the city. In terms of theatre, performance maker Xavier de Sousa presents new work POST, examining national identity and creating new dialogues through the ingenious use of Portuguese food and Cachaça. On Saturday, dancer Ashanti Harris collaborates with textile designer Zephyr Liddell and musician Paul Shofolahan on fascinating new project Jumbies. The piece combines elements of each of their practice, in what’s described as “an Afrofuturist masquerade” packed with alternate realities and apparitions. Jumbies explores what the French philosopher Jacques Derrida called ‘hauntology’ – the notion of spectres or ghosts that are neither here nor there, past or present, dead or alive – an idea that explains everything from your faux-retro Instagram filters to our endless obsession with archive material and reboots of bygone TV series and film characters. Another collaboration that’s sure to provide some intrigue is Decline, a piece of dance and music presented by Monika Smekot, Penny Chivas and Jer Reid. The new piece sees the three performers interplay with one another, in a “meditation on things that draw us together and those that fall away.” Glasgow-based artist and musician, Sarah Glass presents 13 +/-, a performance which uses light and sound to explore coping mechanisms for social anxiety, and to touch on themes of feminism and social control. As for Saturday night’s music, the two select-

Words: Peter Simpson ions fall at opposite ends of the spectrum. Up first, Night School Records’ Michael Kasparis presents his solo project Apostille at Eastern Promise. When we caught up with Kasparis this year, he described the new Apostille record Choose Life – recorded with Free Love’s Lewis Cook – as an instinctual, personal collection of tracks, and the result is an exciting, minimal take on synth-pop. Kasparis is well-loved for his enthusiastic live shows (a particular strong point of his erstwhile hardcore punk band Anxiety), so expect an energy-boosting set for your Saturday night. And after Apostille, West Coast jazz legends Idris Ackamoor and the Pyramids close out the weekend. Their set at Platform last summer was their first ever Scottish gig; such a quick return is a little out of character for a band whose cosmic sound matches up well with their long and well-travelled history. Having formed in Ohio back in the early 70s, Ackamoor and company journeyed across Africa on a “cultural odyssey”, then moved to San Francisco before disbanding in 1977. Three and a half decades on the band reformed in 2012, with their two new records – 2016’s We Be All Africans and this year’s An Angel Fell – featuring a blend of psych rock, experimental jazz and some unbelieveable sax playing from bandleader Ackamoor. Fittingly for an internationally-minded festival like Eastern Promise, you should finish the weekend feeling transported to another world entirely. Eastern Promise, Platform, 16-17 Nov, tickets £7.50-15 Platform are running a return bus from Mono; tickets £5, pre-book at Mono, Kings Court or email info@platform-online.co.uk platform-online.co.uk

Voulez-View Words: Jamie Dunn

rench cinema is often the punching bag for the type of cultural critics who equate watching a film with subtitles to eating your cultural vegetables. But anyone wanting to counter the cliche of French films being talky and pretentious need only cast an eye across the annual French Film Festival programme, which each year offers up a vibrant snapshot of the depth and breadth of contemporary cinema from across the Channel that’s far richer and more varied than that classic sketch from The Fast Show would have you believe. There are plenty of stalwarts of the French scene in this year’s line-up, including Laurent Cantet, poking fun at his own image by playing an insecure actor in Rock’n’Roll, and Robert Guédiguian, who delivers another heartfelt portrait of everyday people in La Villa, in this case three adult siblings who find themselves reunited in their childhood home after their father has a stroke. There’s also the latest from French New Wave veteran Jean-Luc Godard, who at the age of 87 is still innovating with his new mosaic film The Image Book. The programme includes plenty of emerging talent too, along with classics like Jean Renoir’s sublime POW masterpiece La Grande Illusion and Henri-Georges Clouzot’s downbeat courtroom drama The Truth, which centers on a killer

November 2018

performance by Brigitte Bardot. Here are five highlights we urge you to seek out.

Sorry Angel Christophe Honore’s latest is a vibrant, sensual and deeply humane study of Paris in 1993. The centre is 35-year-old writer Jacques (Pierre Deladonchamps), who has AIDS and whose generation has been devastated by the disease, and the tender relationship he begins with 22-year-old student Arthur (Vincent Lacoste), who’s excited to explore his sexuality with the older man. For Jacques though, the relationship is bittersweet, as he knows his fling with Arthur will be his last and their time together will be curtailed. Glasgow Film Theatre, 12 Nov; Dundee Contemporary Arts, 16 Nov; Dominion Cinema, Edinburgh, 2 Dec Little Tickles This inventive exploration of sexual abuse and its lasting consequences stars Andréa Bescond as Odette, a 30-something looking back on her childhood when she was preyed upon by a friend of the family. Speaking out for the first time about the abuse to her psychiatrist, the film dizzyingly flashes back and forth between Odette’s childhood and her erratic adult life as a dancer. The subject matter couldn’t be more grim, but

Sorry Angel

Bescond, who co-directs with Eric Metayer, balances the darker moments with burst of comedy and beguiling in-camera effects and witty editing that elides the space between past and present. GFT, 9 Nov; Filmhouse, Edinburgh, 17 Nov; DCA, 27 Nov

Wild Félix Maritaud gives a raw and physical performance as Leo, a gentle young man who’s living on the streets of Strasbourg and selling his body there too. Calling to mind Gus Van Sant’s My Own Private Idaho and Agnes Varda’s haunting depiction of homelessness Vagabond, the film immerses us in Leo’s circular world of sexual encounters (some tender, most humiliating) and the life among his community of homeless young men, including hunky Ahd (Eric Bernard), the callous gay-for-pay hustler for whom Leo’s fallen head over heels. Filmhouse, 18 Nov Cyrano de Bergerac Gerard Depardieu stars in this classic tale as the hopeless romantic who’s hobbled by his insecur-

ART / FILM

Photo: Jean-Louis Fernandez

The French Film Festival returns for its 26th edition with another lively line-up of the best in francophone cinema

ities (i.e. his massive nose) and ends up playing cupid for another man who’s interested in the woman he loves. A brooding, bulky hulk (even in his youth), Depardieu was never a great fit as the delicate Cyrano, but he exudes such earthy charisma that he made the role his own anyway. GFT, 10 Nov; DCA, 17 Nov; Filmhouse, 19 Nov

Our Struggles The idea of basing a drama around a father struggling to cope with his two kids when his wife walks out on them seems a bit old hat nowadays – even in macho France – but word is Belgian filmmaker Guillaume Senez’s sophomore feature has enough charm to overlook the outdated premise. The other thing it has going for it is the dad in question is played by Romain Duris, while Laetitia Dosch plays his sister who helps him out, and two more charismatic performers you’ll struggle to find. GFT, 11 Nov; Filmhouse, 12 Nov The French Film Festival, 7 Nov to 16 Dec, various cities across the UK, including Glasgow, Edinburgh, Dundee and London. For full details, head to frenchfilmfestival.org.uk

Review

THE SKINNY

The Education of Ms. Lauryn Hill With 2018 marking the 20th anniversary of Lauryn Hill’s iconic album The Miseducation of Lauryn Hill, we look back at the album’s development and its ongoing influence

Photo: Roosa Päivänsalo

Words: Nadia Younes

t’s been 20 years since Lauryn Hill released her seminal debut album The Miseducation of Lauryn Hill on 25 August 1998, and, unbelievably, it’s still her one and only solo studio album to date. ‘It could all be so simple,’ she sings in the opening line of Ex-Factor, one of the album’s most famous tracks, but for Hill it’s been anything but. On Superstar, Hill raps, ‘All I wanted was to sell like five hundred / And be a ghetto superstar since my first album Blunted.’ But Hill got more than she bargained for; following the poor sales of her first album with The Fugees, Blunted on Reality, their second album The Score became one of the biggest selling hip-hop albums of all time. As one third of the group, alongside Pras Michel and Wyclef Jean, Hill was propelled into the public eye and became one of the most famous musicians across the world, and the success of Miseducation only built upon that. On its release, Miseducation went straight to the top of the Billboard 200 charts in the United States, breaking the record for first-week sales by a female artist, and won five Grammy Awards out of ten nominations at the 1999 ceremony. Hill became the first woman to receive that many awards in one night and the album became the first hip-hop album ever to receive the Grammy Award for Album of the Year. But just as much as Miseducation was Hill’s peak, it was also her downfall; widely credited as one of the greatest records of all time, Hill struggled to cope with the fame her success had brought and shortly after its release, she exiled herself, with little to no musical output from her since. The album itself is also shrouded in controversy. Due to her ongoing feud with Jean, following their break-up and the break-up of The Fugees, Hill had essentially been blacklisted, with many musicians and producers refusing to work with her. Instead, she gathered together a group of musicians from her hometown of Newark, New Jersey, known as the New Ark collective, to collaborate with her on Miseducation. However, when the album came out, its liner notes originally credited all its tracks as written and produced by

November 2018

Hill herself and she was hit with a lawsuit from the musicians, which was later settled out of court for a reported $5 million.

“ Lauryn Hill honed in on something so hugely relatable on the album – the joys, the difficulties and the complexities that come with love, and with being a woman” Its influence and impact, however, cannot be denied. Released just a year and a half after Erykah Badu’s iconic 1997 album Baduizm, Hill picked up where Badu left off in continuing to change the landscape of hip-hop and R’n’B, and particularly in expanding upon the neo-soul genre in which Badu became known as a pioneer. Each woman’s respective debuts, both albums were revolutionary in their exploration of Blackness, womanhood and in tackling themes of life, love, loss and everything in between. Both artists were at a similar crossroads in their lives at the time of both albums’ development and release. Badu became pregnant with her first child – with her partner of two years, Outkast’s André 3000 – shortly after the release of Baduizm; Hill, on the other hand, was pregnant to Rohan Marley – son of Bob Marley – with her first child at the time of recording Miseducation.

Growing and maturing are important elements on both albums, as both grapple with the idea of entering the next stage of their lives and journeying into adulthood, and in Hill’s case, preparing for motherhood. Miseducation literally takes you back to the classroom, opening with a ringing school bell before a teacher takes attendance, and with further interludes of classroom interaction between a teacher and his students scattered throughout the album. These interludes were recorded in an actual classroom in Newark, led by educator Ras Baraka – now the Mayor of Newark – and feature the voices of local school children. In them, they are asked a series of questions about their ideas and experiences of love, naming songs and movies about love, explaining their own personal definitions of love and discussing different kinds of love, just as Hill is offering hers on the album’s tracks. Hill gives us everything on the album; every emotion, every conflict, every battle she has faced is detailed and explored in great depth. On her dedication to her son, To Zion, she addresses those who attempted to persuade her to abort her son, and her decision not to; on I Used to Love Him, she details the breakdown of her relationship with Wyclef Jean; and on Every Ghetto, Every City, she goes right back to her own childhood, exploring the community she grew up in on her own personal love letter to the ‘New Jerusalem’, as she refers to it on the track. The album is awash with big-name features too. Carlos Santana lends his Latin-influenced guitars on To Zion; Mary J. Blige provides vocals on I Used to Love Him; D’Angelo plays piano and also provides vocals on Nothing Even Matters; and a then-unknown John R. Stephens, now more commonly known as John Legend, plays piano on Everything Is Everything. After years of silence, and only one other release since Miseducation (a live taped concert of an unveiling of new material in 2001, titled MTV Unplugged No. 2.0), in 2013 Hill released her first single in over a decade, Neurotic Society

Music

(Compulsory Mix). In a Tumblr post accompanying the single’s release, Hill stated, “Here is a link to a piece that I was ‘required’ to release immediately, by virtue of the impending legal deadline. I love being able to reach people directly, but in an ideal scenario, I would not have to rush the release of new music… but the message is still there.” The rush-release became even more clear when just days after the single’s release, Hill was sentenced to three months in prison for tax evasion, after pleading guilty to charges brought against her in 2012, and was placed under house arrest for three months afterwards. Since then, she has only made a few public appearances, performing at a handful of festivals and events, and her musical output has been limited to providing guest verses on a few tracks and appearing on a Nina Simone tribute album to accompany the 2015 documentary What Happened, Miss Simone? In just this year alone though, the influence of Miseducation continues to be visible in the music world and in popular culture. Two of the year’s most successful tracks – Drake’s summer smash Nice For What and Cardi B’s Be Careful – sampled Ex-Factor, and the title of Desiree Akhavan’s latest feature film, The Miseducation of Cameron Post, played on the album’s title, to name just two examples. Without The Miseducation of Lauryn Hill, we may never have had Beyoncé’s Lemonade, or Solange’s A Seat at the Table, or so many other albums after it. Lauryn Hill honed in on something so hugely relatable on the album – the joys, the difficulties and the complexities that come with love, and with being a woman. It’s a record that truly stands the test of time, as crucial today as it was 20 years ago, and one we can forever learn from. The Miseducation of Lauryn Hill was released via Ruffhouse Records and Columbia Records Ms. Lauryn Hill plays the SSE Hydro, Glasgow, 23 Nov mslaurynhill.com

Review

Good Memories We speak to Glasgow singer-songwriter Michael Timmons about his breakthrough year that’s about to get even busier as he embarks on a European tour in support of The Twilight Sad

Interview: Tony Inglis

here’s no denying that the idea of ‘making it’ as a musician, in any scene, can require an element of luck or chance. But for the few who have the talent to deserve it, the truth is that getting to the stage where your music finally reaches people takes a great amount of time, effort, patience and elbow grease. East Kilbride via Glasgow singer-songwriter Michael Timmons is extremely gracious; it’s nearly half an hour into our conversation before he admits that it’s through more than just pure luck that he finds himself at a breakthrough point in his career. 2018 has been a whirlwind for the 29-yearold. After headlining (with much trepidation as to what the reaction would be) a couple of solo shows at Glasgow venue The Hug and Pint late last year, he released his long-gestating debut album Bone Coloured. This was followed by a stint supporting Kathryn Joseph, James Graham and Marcus Mackay’s Out Lines project down south, a vinyl release of his LP and what seemed at the

time to be a one-off slot opening for The Twilight Sad in June at Leeds’ Brudenell Social Club. “There was that kind of weird moment seeing The Twilight Sad artwork and my name underneath it,” says Timmons. “Just this feeling of ‘Wow, this is where I’m at.’ Years of gigging and really working hard and supporting so many acts through the Glasgow venues and now the chance to do something bigger.” The surreal feeling of the whole episode didn’t stop there. “They have this really dedicated group of people who love their music, which was quite strange because I guess I’m part of that. They’re really intense, but also friendly and supportive. I was a wee bit apprehensive. But their fans were silent for the whole set, really listening to my music and even chanting for me afterwards. It went really well.” Unknown to Timmons, his connection to that fervent fanbase was about to continue. When the band announced a ten date November tour to

Ladytron @ QMU, Glasgow, 2 Nov Last month, the mighty Ladytron, creators of such bangers as Seventeen, Ace of Hz and Blue Jeans, announced that their eponymous sixth album would be released in February 2019; coming eight years after their last record, we’re pretty ruddy well excited to say the least. Before that though, you can catch them in all their electropop wonder at Glasgow’s QMU, and we wouldn’t be surprised if a few new cuts got an early outing. Oh, and Bossy Love are supporting, so make sure you get down nice and early.

Ladytron

Review

OK PAL

OK PAL Records Launch Party @ Brig Below, Edinburgh, 3 Nov Hailey Beavis and Faith Eliott have only gone and flippin’ well launched their own record label in the form of OK PAL Records, with which they aim to cover all sorts of visual arts, music, zines, samplers and more. They’re celebrating with a launch party tonight at one of Edinburgh’s newest live spaces on the scene, Leith Walk’s Brig Below, and with performances from Beavis and Eliott themselves alongside Blue Tiger (aka Mario Cruzado from Plastic Animals) and a DJ set from SPILLRISK (Bart from eagleowl), you’re in for a rare treat of a night.

Photo: Mario Cruzado

Do Not Miss

Michael Timmons

“He’s a joy to work with,” says Timmons ecstatically. “He’s got so much knowledge and experience that he’s generous about sharing. It helps to have that trust that if either of you have an idea, that you’ll see where it takes you.”

EM|ME @ Broadcast, Glasgow, 11 Nov Glasgow-based, Dutch singer-songwriter Emily Meekel, who performs under the moniker EM|ME, released her debut EP I K at the end of last month. With a beautiful ambient opening number in What Makes Us through to the upbeat and decidedly funky, indie-pop closer Artificial, it’s an enjoyable debut. To celebrate, Meekel is headlining Broadcast tonight with her full band in tow, plus support slots from Bobby Kakouris and Russell Stewart.

Music

EM|ME

Timmons’ sound – stripped back, just his voice amid waves of layered, swirling guitar tones, with the field recording-style flourishes of ambient music scattered here and there – leans closer to the tortured confessionals of Molina than post-rock. In song, beneath the atmospheric wash of feedback, his words strike a balance, managing to seem personal and specific but ungraspable, like seeing familiar figures through gossamer, the detailed features of which you can’t quite make out. The images he conjures feel like memories – perhaps not quite complete. In fact, memory is a theme Timmons returns to over and over, starting from Bone Coloured’s opening line: ‘Are you finished yet / Time to forget’. As with most interesting artists, Timmons is multi-faceted. When not gigging and writing, he works in the care sector with much of his focus going into music-based projects. Timmons’ involvement with Playlist for Life, an initiative that uses personally meaningful music to help keep dementia sufferers connected to their families and themselves, sees these ideas of memory bleed over from one part of his life to another. “It can really change their life and essentially unlock who they are again,” he says about the project. “As dementia develops, some people can become quite lost in the disease and lose a sense of who they are. But by listening to familiar songs and then having a conversation with someone about them it can bring that person back, even if it’s only fleeting.” Before heading to Europe, Timmons is beginning to explore new but still characteristically downbeat ideas for another record with the help of Frightened Rabbit’s Andy Monaghan, and reflecting on a year filled with milestones. “Things have moved a lot quicker since the album came out than the last four or five years have. I’ve got to do a lot of stuff that I’ve wanted to do for a long time,” he says. “Even just seeing strangers respond to your music makes you feel very lucky. People come up and tell me what their favourite song is – it’s odd after all this time, but it’s a good feeling for sure.” Bone Coloured is out now via Gargleblast Records Michael Timmons supports The Twilight Sad at The Liquid Room, Edinburgh, 29 Nov michaeltimmonsmusic.bandcamp.com

Pip Blom

Pip Blom @ Sneaky Pete’s, Edinburgh, 15 Nov Amsterdam’s Pip Blom was one of the most talked about artists at this year’s Eurosonic, the festival in The Netherlands that’s essentially all about discovering the next big thing/‘ones to watch’. With that in mind, we’ve been keeping an eye out for Blom and, fresh from releasing her latest EP Paycheck at the start of October, we're chuffed to tell you she’s bringing her band and their incredibly infectious brand of grungy slacker-pop to Sneaky Pete’s this month. Catch them tonight with support from Haze and Moonsoup.

THE SKINNY

Photo: Phil Smithies

“ There was that kind of weird moment seeing The Twilight Sad artwork and my name underneath it. Just this feeling of ‘Wow, this is where I’m at’”

Photo: Benjamin Ellis

Michael Timmons

Photo: Michael Ozmond

precede the release of their fifth album, including a sold out show at Edinburgh’s Liquid Room, it was to be Timmons coming along with them to support on each night. “When they announced this massive tour, that wasn’t on my radar at all. I didn’t in a million years think I’d be offered the chance to go with them,” he says. “They’re an amazing band and James [Graham] just seems to give so much onstage. It’s special seeing them live and to get to support them is a wonderful opportunity.” It’s not the first time that someone with creative and industry clout has expressed trust and high hopes in Timmons, helping him out in his work as an artist. Bone Coloured, Timmons’ dark, sombre first full-length collection of songs, was helped into existence – fully-formed and imbued with the kind of gentle power familiar from his live shows – by producer Andy Miller and Hamilton’s Gargleblast Records. Miller lent a hand to cult record Any Other City by Life Without Buildings, as well as music from Mogwai, The Delgados and the increasingly adored Songs: Ohia project of the late Jason Molina.

Anger and Joy Aside from casting spells through their music and hexing the patriarchy, we talk to Dream Nails about what it means to be DIY, the importance of self-care and promoting inclusion in music

Interview: Amy Kenyon

“W

e like to call songs hexes because we feel like they produce enough power to take down the average male in the street.” Riding high on a new wave of feminism, Dream Nails are a DIY collective of self-proclaimed ‘Punk Witches’ from London. “Being a ‘Punk Witch’ is about embracing the DIY spirit of punk, the energy and reliance of that movement with a global sisterhood of people who share knowledge, support, compassion,” says guitarist Anya Pearson. “I am not practising but used to do spells on crushes when I was younger which were very unsuccessful, I must say. “Punk is traditionally really macho and dominated by men and we feel that we are way too femme to fit into punk, and on the other hand we are way too raw and way too political to be called indie-pop... so we decided to make our own genre. We talk about what it means to us as a collective of women owning our own power.” Frontwoman Janey Starling adds that “creative spaces are sacred, and witch punk is the product of four women’s energy combining to create something magical for the world to enjoy.”

We Were Promised Jetpacks @ The Biscuit Factory, Edinburgh, 17 Nov In September, Edinburgh four-piece We Were Promised Jetpacks released their fourth album, and first on Big Scary Monsters, The More I Sleep the Less I Dream. A year on almost to the day since they played two back-to-back shows airing new material at Sneaky Pete’s, they’re back in the capital for what is sure to be a pretty unique outing for Jetpacks’ fans as they play The Biscuit Factory in Leith. Can’t make tonight? They also play Saint Luke’s, Glasgow, 15 Nov.

Dream Nails

November 2018

In true DIY spirit, the band are entirely selfmanaged, booking and organising all of their own shows. When asked what it means for Dream Nails to be a DIY band, they make it clear that it’s much more than just being self-managed. “Being DIY is refusing to listen to the little bugger in your head who says you’re not good enough,” says drummer Lucy Katz, “and pursuing a project or the development of a skill because you want to and the world deserves and needs what you have!” Although being an entirely self-run band comes with its challenges, Dream Nails make sure they take the steps to look after each other and to ensure their own self-care. “Living in a patriarchal society,” says bassist Mimi Jasson, “you have to take care of yourself and that means doing more in the way of self-care than what the patriarchy are trying to sell you. We’re not a band that gets wasted every night. We drink a lot of water and make sure we eat properly. We go to bed and make sure we get enough sleep. We definitely like to make sure that we prioritise our own lives and that we

that in order to encourage more women into the industry they would have to ensure that the venues they performed in are safe and inclusive spaces. They do this by enforcing a ‘women and non-binary people to the front policy’ at their shows and have been encouraging venues to do Good Night Out training. “My life’s mission is to end violence against women and I believe that music is a powerful platform to challenge male control and empower women and non-binary people,” Starling tells us. “As feminists, we stand against male control and we prioritise the experiences of women and non-binary people... People know it’s non-negotiable and that if men don’t move, we don’t play.” “We didn’t write songs about rage to sing it into the eyes of guys,” adds Pearson. “We are there to sing it to people who might actually understand it from their perspective... I think that’s why people are so on board with what we are trying to do – they believe in the real anger and joy that we are bringing to our music.”

Errant Boy @ The 13th Note, Glasgow, 23 Nov; Leith Depot, Edinburgh, 30 Nov Edinburgh’s Errant Boy are guitarist Chris Harvie, drummer Sarrah McLaren and bassist/singer Sean Ormsby, who create super enjoyable 80s-inspired, quirky indie-pop. We recently premiered the music video for We Like You from their second album Memory Fractures, which is out this month on 16 November via their own Leith-based label, Errant Media. Help them celebrate its release by joining them at one of their two Friday night, central belt outings this month.

Errant Boy

Photo: Laura Palmer

Lucy Katz (Drummer) “Uppsala, Sweden because the ketchup and mayo was squirted by the boss man from a pair of giant condiment udders.”

BEAK>

BEAK> @ The Art School, Glasgow, 24 Nov Bristol three-piece BEAK> – featuring Geoff Barrow (Portishead), Billy Fuller (Robert Plant) and Will Young (not the one from Pop Idol, but rather from Moon Gangs) – are fresh from releasing their third album, the annoyingly titled >>>, which we awarded five stars to. While we still have no idea how the album’s title is meant to be pronounced, we can confirm that it is a great listen and getting yourself along to The Art School to see them is an absolute must. Support comes from Glasgow’s Snapped Ankles, so be sure to get down in good time.

Music

Mimi Jasson (Bassist) “I have to say best chips were at Handmade Festival in Leicester, where they did a veggie poutine.” have enough space to do so.” An important aspect of this self-care is ensuring that the band have lots of fun while on tour, which helps to reduce stress levels both on and off stage. A good outlet for Dream Nails’ propensity for silliness is apparent in their Chip Advisor video series, where they rate the quality of the chips they come across while on tour. Pearson tells us about the first one they filmed in Berlin: “It was about 5am and we’d just been rejected from the club for the second time. We realised that we loved the pun ‘Chip Advisor’ too much not to do one for every place that we went to. “What really appeals to us about pop-punk is [the] ability to be goofy and funny and to have lots of energy on stage,” Pearson adds. “We want to have a great time, to do lots of stupid stuff, tell jokes and to enjoy ourselves in a way a lot of our punk heroes would because it feels so liberating.” Dream Nails play Book Yer Ane Fest XII at Abertay Student Centre, Dundee, 30 Nov-2 Dec dreamnails.bandcamp.com

Hinds @ The Caves, Edinburgh, 28 Nov It’s been just over a year since these four lovely ladies from Madrid last graced us with their wondrous presence in Edinburgh, so we’re thrilled to have them back so soon, and this time in the vaulted surrounds of The Caves, one of the city’s most atmospheric venues. Their sophomore album, I Don’t Run was released back in April and offers more of the same sunny garage rock we’ve come to expect from Hinds. It’s so close to December we can practically smell Christmas, so this show is the perfect antidote; ideal for warming a cold November eve. [Tallah Brash]

Hinds

Review

Photo: Sarah Donley

We Were Promised Jetpacks

Photo: Eleanor Petry

Dream Nails decided to be a part of the change they wanted to see, so formed their own all-female punk rock band. After they began performing in front of crowds, they soon realised

Janey Starling (Singer) “N15 Fish and Chips near our rehearsal studio in Tottenham, even though the man salt-shamed me.”

Photo: Hollin Jones

Janey Starling

Anya Pearson (Guitarist) “The best was in Austria up a mountain near Innsbruck, and the second one was in Blackpool near Blackpool Pleasure Beach. So they were both 10/10 fries experiences.”

Photo: Emmanuelle Le Coz

“ I believe that music is a powerful platform to challenge male control and empower women and nonbinary people”

Dream Nails’ Best Chips

Album of the Month Jeff Tweedy

WARM [dBpm Records, 30 Nov]

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n WARM, Jeff Tweedy can console and bolster his listeners then pour a glass of cold water over their heads within a single line, a modest yet wizardly twinkle in his eye as we ask: How the (insert multiple expletives here) did you do that? To quote George Saunders, author of the 2017 Man Booker Prize-winning Lincoln in the Bardo and evil genius responsible for this album’s liner notes – which are so irritatingly insightful and delightful that this review is almost pre-destined to be trivial in comparison – there is an inherent “Jeffness” to be found within these songs that humbly encourages the listener to find fresh value and intrigue in their surroundings and themselves. Like Saunders, Tweedy takes mundane, normalised parts of our lives and examines them through a different lens to reveal hidden truths or agendas. These are songs for the faithful and the uninitiated; universal yet strikingly intimate. It’s easy to envision How Hard it is for a Desert to Die strummed before a campfire of strangers or a

The Ninth Wave

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Glasgow-based electronic duo Free Love (fka Happy Meals) recently took part in Lost Map Records’ Visitations residency where they wrote and recorded music on the Isle of Eigg. The island has clearly left an impression, as on Luxury Hits the atmospheric sounds of waves crashing, the passing of time, the solitude and the silence of the surroundings they experienced are all captured in the brief gaps between notes. With the new name comes a new and more ambitious sound which leaves the listener feeling as though they’ve escaped into a Nintendo dreamworld. In the opening track, Et Avant, Suzanne Rodden’s vocals are otherworldly and fragmented but greater clarity comes on songs like Tomorrow Could Be Heaven and How Do You Feel; these songs are classic dance tracks, a more highly attuned form of pop music that is aware of itself and its surroundings. The drums march on in a machine-like manner but there is an inherent, meditative sense of calm in repetition and in the movement of the rest of the EP, which mimics the natural biomechanics of the body and the world around us. The drums are like the heartbeat, the silences between the notes, the breaths and natural pauses, and the lyrics are like mantras which leave the listener’s mind and body feeling wholly uplifted. [Amy Kenyon] Listen to: Tomorrow Could Be Heaven, Synchronicity, Playing As Punks

Review

theatre of vintage Uncle Tupelo T-shirts. ‘I know what it’s like / Starting over again,’ Tweedy sings, always on the same level as his audience. Recorded at The Loft in Chicago (a space many Wilco devotees are likely to characterise as an eighth wonder of the modern world), Tweedy is joined on WARM by his son Spencer among other long-time collaborators. The timelessness of last year’s acoustic retrospective Together at Last remains, with a little of the experimentation Tweedy is famed for colouring in songs like The Red Brick, which gradually builds from acoustic beginnings to a raucous, bass-driven crescendo. Saunders states that “great art is really just great personhood in compressed form,” and WARM could be the most quintessentially and vibrantly “Jeff ” release of Tweedy’s career: timely, as his first memoir is also set to arrive this month via Faber & Faber. Tweedy is rarely nostalgic, but he is constructively reflective (‘All my life I’ve played a part / In the bombs above’) and unflinchingly honest: ‘I wander how much freedom you can

Free Love

Luxury Hits EP [Full Ashram, 9 Nov]

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Jeff Tweedy

dream / And I’m sorry / When you wake up to me.’ WARM offers a welcome dose of head and heart at a time where both ought to be celebrated a little more. As Saunders so ably describes, “Tweedy-tenderness is sophisticated and badass

North Atlantic Oscillation

FLESCH EP [Distiller Records, 9 Nov]

Grind Show [Vineland Music, 16 Nov]

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FLESCH is the new EP from Glasgow goth glam quartet The Ninth Wave and a widescreen statement of intent that sees them shed their early alt-rock crunch for swooping synths and cavernous drums. With its grandiose tub thumping and glamorous vocal swoops, there are nods to both Suede and Depeche Mode on the ponderouslytitled but explosive opener A Wave Goodbye to the People Who Said I’d Win. It’s a track that the band have described as a turning point in their style and a touchstone for the music that was to be written after and if that’s the case, it seems they’re setting a course for the big time. The vaguely religiously inspired Reformation with its ‘I wish that you could reform me’ refrain and neatly dovetailing vocals from bassist Millie Kidd make it the most intriguing musical moment on the EP, while Sometimes the Silence is Sweeter channels the same vein of post-punk as Simple Minds. Some of the group’s quirkier early impulses have been sanded off to make way for songs like the driving New Kind of Ego and the relentless desire to operate on a grand scale might get wearing over a full album but this is an ambitious release from a band that keep pushing forward. [Max Sefton] Listen to: A Wave Goodbye to the People Who Said I’d Win

Post-rock, prog, alternative: these are just some of the labels that have been used to describe North Atlantic Oscillation’s work to date. Yet they’re a band that consistently confound categorisation, with 2014’s The Third Day being their most fully-realised genre-defying vision up to that point. How to follow it? Well, by continuing to push their own boundaries of course. On their fourth album Grind Show, the band traverse even further into myriad musical territories. It’s an album that’s deeply textured with twists at seemingly every turn. Fruitful Little

Errant Boy

Memory Fractures [Errant Media, 16 Nov]

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On their latest album Memory Fractures, Edinburgh indie-pop trio Errant Boy use inspired recording techniques to experiment with offbeat tempos and slowed down sounds. Tracks like Theme From 29 Bus captures atmospheric noise, with synth-esque guitars sounding like a melody from an out of control merry-go-round which is recorded to tape then played backwards; a particularly percussive track, the drums sound like the tops of old glass bottles being hit, to disorientating effect.

RECORDS

Photo: Whitten Sabbatini

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and funny.” It’s also very, very necessary. Spread it far and wide. [Fraser MacIntyre] Listen to: Having Been Is No Way to Be, I Know What It’s Like, Some Birds

Moons contains a flurry of skittering percussion and chopped-up brassy sounds while Sirens announces itself with loops in reverse and a wave of static. The sense of grandeur that they bring to the record is only heightened by the waves of guitar riffs that often accompany Grind Show’s most epic moments. North Atlantic Oscillation bring many of these together into a gargantuan climax on Fernweh. There are unfortunately times where Grind Show can feel lengthy; its slightly more mid-tempo middle passage is a bit sluggish and meandering in comparison to its more urgent and immediately arresting moments. Despite this, it’s an album where North Atlantic Oscillation continue to expand the sonically rich and vibrant universe they’ve created for themselves. [Eugenie Johnson] Listen to: Fruitful Little Moons, Hymn It’s as though the songs here have been recorded from ‘the undeserted house’ described from Errant Boy’s memory, with each band member playing or singing from a more distant memory or room in the house while we stand and listen to the somehow still cohesive sound from the landing. Each track is like catching a glimpse of a party or a scene through an open door before it snaps shut, obscuring the sound. Memory Fractures lends itself well to being played over and over as the listener is often left feeling fuzzyheaded, akin to ‘three nights on the lash,’ as sung on We Like You. The album is complex with a lot to take in but it’s well worth ruminating on: confident, bold, highly charged and full of kinetic energy. [Amy Kenyon] Listen to: Means, We Like You, 444

THE SKINNY

boygenius EP [Matador, 9 Nov]

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boygenius are not like other supergroups, and thank God for that. Phoebe Bridgers, Julien Baker and Lucy Dacus hopefully aren’t at the peak of their powers just yet, but they are each riding the crest of a wave off the back of outstanding breakthrough albums. They create vital, heartfelt, connecting music that has rightly won them an ardent and loyal fanbase. They create art that walks similar emotional pathways – it seems almost an inevitability that they should come together as they have done here. Because of all this, the project makes plain sense in theory, and it is such a joy to find that it works perfectly. Take the Bridgers-led track Me & My Dog: what’s so astounding is just how easily the three lock in step and complement one

Beerjacket

Silver Cords [Scottish Fiction, 23 Nov]

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Silver Cords is far from the first album from altfolk singer-songwriter Peter Kelly, but it is the first to come with a particularly intriguing twist: each song comes with a short story inspired

Bill Ryder-Jones

Alpines

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Yawn [Domino , 2 Nov]

another, while still managing to sound entirely themselves. This comes after the EP’s emotional and melodic peak in the Dacus-fronted Bite the Hand, while the spotlight shines on Baker in the two centrepieces, Souvenir and Stay Down. Every track seems to widen the horizons of each artist while simultaneously nailing down what makes each one of them unique. Perhaps the only downsides is the brevity, and the fact that when you hear the voices of Bridgers and Baker back-up Dacus as she rips a solo skyward - it leaves you pining to hear what a whole record of solo Bridgers or Baker backed up by such heft might sound like. The harmonious country-folk of Ketchum, ID closes the record with the three singing about where they are in their lives. On tour, thinking of home whilst constantly on the road: ‘I am never anywhere, anywhere I go / When I’m home, I’m never there long enough to know.’ In complete synchronicity. [Tony Inglis] Listen to: Bite the Hand, Me & My Dog, Stay Down by its lyrics. Described by Kelly as a way to give physical presence to his music at a time when music is so often consumed digitally, it’s an ambitious project that complements a slow burn record which gets better as it gently unspools. Opener Nervous uses little more than Kelly’s precisely plucked guitar to tell a restive first person narrative; it’s gentle and lilting with a slightly unfinished air to it that gives it a simple and intimate feel. Forest is a strummed folk rock ballad while Everybody’s Song is a reflective, and at times

Full Bloom [Untrue Records, 16 Nov]

Yawn sees Bill Ryder-Jones delve deeper than ever into the melancholia that has long permeated his work, while still remaining a quintessential RyderJones release in its complete disregard of ego and falsities. His eye for detail is as sharp as ever: intimate, immersive and likely to resonate deeply with anyone who has struggled with mental health issues, Yawn feels almost tailor-made to be absorbed and appreciated in solitude or very close company. The ex-Coral songwriter is unafraid to experiment on Yawn, and aside from a few songs that lose a little of their immediacy due to similar tempos and an abundance of shoegaze guitar, it showcases Ryder-Jones as one of the most distinctive, comforting and essential voices we have. [Fraser MacIntyre]

Full Bloom, the third album from London duo Alpines – comprised of Catherine Pockson and producer Bob Matthews – hints at the confidence in which the pair approached the making of the record, the blossoming of a band who have been steadily honing their craft over the years. They weave together trap alongside UK garage beats and, on highlight Heavy Metal, combine metallic flourishes with a squalling guitar solo. When Full Bloom is at its most immediate, it’s more often than not a shimmering and sleek pop record. Unfortunately, it’s also weighed down by a few mid-tempo tracks that feel sluggish by comparison. Despite this, Alpines still demonstrate that they’re a duo now unwilling to hold back. [Eugenie Johnson]

Listen to: Recover, There’s Something on Your Mind

Listen to: Heavy Metal, Human

November 2018

boygenius

self-critical, musing on the songwriter’s art. Over a simple beat, the lead single Cord and its accompanying short story, Shoots of Life, focuses on that one thread in your life that holds everything together and it’s here that Kelly’s central themes of loss and interconnectedness begin to come into focus. This is a personal record, spilling out over the past three years and even when the arrangements are simple, it’s clear they’ve been painstakingly sweated over. Curiously on the back half of the album, the

Miya Folick

Camila Fuchs

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Premonitions [Terrible Records / Polydor, Out Now]

Heart Pressed Between Stones [ATP Recordings, 9 Nov]

bleaker moments like Friends and closer Tiny Graces are interspersed with some of Kelly’s most upbeat songs like Buttons, which resurrects his vision of a wound thread as a symbol of life finding its way in difficult circumstances. From time to time, shifts in tone can be a little disorientating but Silver Cords is an impressive endeavour from a songwriter who thinks deeper than most about his art. [Max Sefton] Listen to: Hopen, Grey Areas

NAO

Saturn [RCA, Out Now]

MØ

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Forever Neverland [Chess Club / RCA Victor, Out Now] From No Mythologies to Follow to Forever Neverland, MØ has collaborated with an array of artists to create some of the most captivating pop singles of recent years. Her second album brings together these influences, including further collaborations with Diplo and Charli XCX, producing a masterpiece that puts MØ firmly on her own pedestal as an artist in her own right. Listening to standout tracks such as Nostalgia, Sun In Our Eyes and Way Down, it’s quickly clear MØ has refined her sound since her 2014 debut, providing more of what made us love her in the first place. With her distinctive vocals and synthesised touch, she’s graced us with one of the most contagious albums of the year. [Harriet Willis]

After a handful of EP and single releases, and a recent headturning performance on Joy Stops Time (the incredible finale to Fucked Up’s latest opus Dose Your Dreams), LA’s Miya Folick is just about ready to explode as indie-pop’s shiny new thing. Given her incredibly versatile voice, plus a knack for writing incredibly catchy tunes, it’s not exactly difficult to see why she has dazzled so many in such a short space of time. Her debut full-length album, Premonitions, comes with much anticipation. Thankfully Premonitions is, generally speaking, a success in impressive terms. The ten tracks collected here are an excellent slice of brilliantly composed pop masterclasses, and only further add credence to the idea that Folick is indeed the real deal. [Adam Turner-Heffer]

Across Heart Pressed Between Stones, Camila Fuchs (Camila de Laborde and Daniel HermannCollini) unravel six long tracks that are built to breathe and grow. With an enormous, unusual sense of space, its bleeps and slurps swoop towards you as if they’re spiralling out of cosmic orbit with the sole purpose of radiating precisely behind your left earlobe. A clichéd ‘headphones album,’ if you will. Droning, immersive electronic psychedelia that either feels far, far away or uncomfortably close, Heart Pressed Between Stones has the feeling of sinking too deep in a glittering pool. However, de Laborde and Hermann-Collini have lavished so much attention upon the atmospherics that occasionally, as a listener, you can feel lost. [Katie Hawthorne]

Saturn comes two years on from NAO’s debut For All We Know. On this 13-track offering, the now 30-year-old takes inspiration from her recent Saturn Return, (a personal astrological event that is believed to have transformative effects on one’s life), to navigate her way through an agonising break-up. This explains the greater abundance of heartache presented this time around. The vividity of NAO’s lyrical expression throughout Saturn leaves the listener deeply enthralled and invested in her stories. Thankfully downtempo closing track A Life Like This provides some reassuring confirmation that everything has come together. You would hope so, as in terms of achieving success with an album, for NAO, the stars have most certainly aligned. [Andrew Wright]

Listen to: Freak Out, Deadbody, Leave the Party

Listen to: For All Stable Appearances, He Was Wild

Listen to: Another Life Time, If You Ever, Orbit

RECORDS

Photo: Lera Pentelute

boygenius

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Listen to: I Want You, Sun In Our Eyes, If It’s Over

Review

Visual Art We catch up with VAJ.Power duo Holly McGowan and Sofya Staune to learn more about their unique Art School-based nights FUSE, drawing on interactive technology, sound and audio-reactive video synthesis

You were doing some visuals for events in places like Moscow and Stockholm, is that right? HM: It was basically in the countries that have a bit more of a culture of VJing (video jockeying). It’s a much more common and valued thing in other countries, and here it wasn’t so much. SS: I’m from Moscow, and even in Moscow VJing is much more of a culture. VJs are actually on the line-up [for club nights].

“ I would love to live in this ideal place where someone at 2.30am is going to say, ‘oh yeah, it’s such a profound work’, but I’m realistic” Holly McGowan

You must be one of the only collectives that are currently performing as VJs in Glasgow? SS: That’s why we actually started FUSE, because we were doing visuals, and we were like, ‘there is no space to do visuals in Glasgow, so we should create a space to do visuals!’ So that’s how it started, basically.

HM: I think the main challenge for us is trying to make as much of a space and visuals [as possible] with no budget. I think that’s the biggest challenge. We don’t get any funding or anything. We’re trying to create an immersive space with limited means. Is VJing more expensive than a traditional DJ set? HM: It’s more expensive, and also more time-consuming, because we make the animations. It’s like making all of your tracks for a DJ set, and then DJing with them! Making the animations takes so long, and then we work with them live in a program where we can change colours and composition and things like that. Can you explain in basic terms how you actually create the visuals? SS: It’s a 3D computer animation. Coding is basically what you actually manually write, and there are visuals that can be coded. But there are certain programs that allow you to just do it visually; so for example, if you need a circle to expand in time to the beat, you can just basically drag and drop it, and manipulate it yourself. HM: We were interested in doing something that was a little bit outside the modernist view of our school, which was very much like ‘paint something, post-rationalise and then get a good grade’. We are so into process, and really into the way of making things and how learning environments can be more safe and friendly and better for people. We teach these things that we’ve learnt – we’re not like ‘professionals’, but we want to make it more accessible and accommodating for people. Because it can be really intimidating, especially when you’ve got like a guy who comes in and is like, ‘oh, you’re doing that wrong’. You don’t want that the first time you’re starting out! You want to feel excited about it. On the surface it seems like a practice that is male-dominated? SS: Oh, for sure. And really white! Holly had this flat on Sauchiehall Street, and it had quite a big room – that’s the room where everything happened, to be honest. We were researching VJing, and it was like all white, cis guys. And their visuals were all very aggressive, trying to be very cool, and we were looking at them and thinking, ‘this is shit!’

Photo: Khadija Moustafa

How did you both meet and when did you start performing as VAJ.Power? Sofya Staune: It was early 2016 when we actually started. It was after we went to this weird course in Belgium, about technology! We studied in GSA together, Holly was doing communication design and I was doing fine art photography. We were just visual, purely visual when we started out. We were doing exhibitions together and stuff like that. Holly McGowan: We had this mutual interest in technology, systems, making 3D animations and that kind of stuff. We didn’t start off at all with the idea of music and clubs in mind.

HM: It’s also not that hard, I feel like it’s just accessorised to look very hard. We wanted to get past the initial intimidation of it being ‘technology’. Also it can be very, very boring to watch tutorials over and over again, so that’s why we are putting on workshops. It’s a bit more interactive, and a bit more instant gratification, so you’re not completely disturbed by it. When did you start putting on the FUSE nights? SS: It was December 2016. So there was the thing about us doing the visuals but not having a platform for doing the visuals. And no one actually gave a shit, there was this mentality of ‘it’s visuals, no one really looks at the visuals’. We were also slowly starting to get into grime, and so that first night, it was on a Thursday, we just booked a grime DJ. It was a good night! It was quite a good turnout. I think people were intrigued. HM: It was one of those things where we didn’t have a clue of how to do it, so the third event was probably the ‘good’ one! Honestly, the second one was the worst. It was really bad! SS: I think we tried to jam all of the things that we were interested in, in a very awkward way. Now it’s a bit less awkward and a bit more natural!

FUSE by VAJ.Power

Review

Interview: Claire Francis

What inspires your visuals and where do you take your inspiration from? HM: I’m interested in the body... it comes from probably a personal root, but then I try to make it more aesthetic, because in a club environment it’s not really a place where you stop and think

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about a work as much. It can’t be too complex, where people need to look at the meaning of the work. I would love to live in this ideal place where someone at 2.30am is going to say, ‘oh yeah, it’s such a profound work’, but I’m realistic. For me, I use a lot of images of the body, focusing around gender dysphoria. We integrate this and we want to talk about this more. Not just in a club environment, but as a collective. We aim to be more aware of things like where we’re from, what influences our work, and why we do this, rather than just because it’s fun or it makes money. It definitely doesn’t make money! You must be excited to return to the Art School following the GSA fire and closure of the venue? SS: I remember I was speaking about this with my therapist and I was speaking about being de-motivated, because our last FUSE event was on the night of the fire. It was really disturbing. Throughout the year, FUSE is something that I look forward to and work towards. HM: The next night will be really special because I think we’ve grown a lot more, trying to deal not just with the Art School fire but how we work with people and respect them, and what we want from clubbing. I think what we’re trying to do is practice what we want to see more of. FUSE by VAJ.Power with Sicaria Sound, L U C Y and more, The Art School, Glasgow, 10 Nov cargocollective.com/vaj-power

THE SKINNY

November 2018

Review

Full Circle We speak to rising Irish producer Chris McCormick, aka Cromby, about his new EP Retribution, being pals with Denis Sulta, and learning the ropes from Bicep

ack in September, Denis Sulta launched Silver Service, a new offshoot to his Sulta Selects imprint. To inaugurate the venture, Sulta released an EP – Futurola – by an artist called Cromby. The Belfast-born Cromby (aka Chris McCormick) earned his stripes holding down a six-year residency at Shine in his hometown, before relocating to Berlin. He’s since played at the likes of Panorama Bar and Robert Johnson, and Futurola was a well-received three-track house record that showcased Cromby’s growing promise as a producer. Sulta and Cromby were no strangers to one another – both are Berlin-based, and both move in the same circle of up-and-coming artists from the UK and Ireland including Sally C, Hammer, Brame & Hamo, and Or:la. “He’s a legend for giving me the platform to put out the Futurola EP to a wider audience,” says Cromby of his Glaswegian pal and cohort. “It’s been great. I’m really happy to be joining him for some more shows before the end of the year including Warehouse Project, Motion Bristol and a few legs of the Irish tour.” Cromby is keeping the ball rolling on the release front. His next EP Retribution is out this month, this time on electronic duo Bicep’s Feel My Bicep label. As a fellow Belfast native, Cromby explains that Bicep, and their music, have been a massive early influence. “Seeing people from the same wee city smash it makes you realise that everything is

Interview: Claire Francis

possible,” he enthuses. “They have helped loads and been friends for years; Matt [McBriar] really pushed me when I started buying hardware a few years back, lent me a synth, etc. So aye, I’m buzzing to now, in a way, come full circle and have a release out with them.”

“ Seeing people from your same wee city smash it makes you realise that everything is possible” Cromby

Retribution, the title track of Cromby’s new release, is a dance floor banger with plenty of pace and sinister synth tones. Of the dark mood of the track, Cromby laughs: “I made it around a year ago after a bit of a heavy weekend. So it probably represents the sun coming up, then when it gets going, me trying to fight my way out of a hangover.” The EP also features two remixes from

Cromby

electro stalwart DeFeKT and Peach Discs label owner Shanti Celeste. Celeste’s remix is particularly catchy – aptly titled Shanti Celeste’s Chill Mix, it brings down the tempo and layers in some lusher elements for woozy, hypnotic listening. “I’m chuffed to bits with them. Both Shanti and DeFeKT have smashed it. With Shanti, I’ve always loved her material and the boys suggested getting her for a remix so it was a no-brainer; I’m happy she was willing to get involved.” Belfast and Berlin have both clearly played a part in shaping Cromby’s evolving productions. When asked whether he could pick a favourite, he responds: “Belfast has a place in my heart of course, but with licensing laws being so restrictive you can’t have it right and proper. Berlin is the one for me – you can go out pretty much any

time of the day or night and listen to tunes and have a drink.” Before the year is out Cromby will also return to Scotland - he played FLY’s Open Air Festival at Hopetoun House back in May this year, as part of Denis Sulta’s personally curated line-up. In December, he’ll stop by Glasgow’s Sub Club for a night which will surely be a winter warmer. “I actually played there around six years ago when I was a wee lad, for a mate’s student night, Sub Rosa. This will be my first time playing at the weekend for the Thunder Disco Club. Excited is an understatement – ‘cannae wait’!” Retribution is out via Feel My Bicep on 2 Nov; Cromby plays Sub Club, Glasgow, 21 Dec soundcloud.com/cromby

Clubbing Highlights Words: Claire Francis Illustration: Lewis Loughman

Glasgow kicks off November’s clubs calendar with a massive weekend of parties, and the rest of the month across Scotland looks just as action-packed Era Suite & Sub Club Present: Aku Collective / Nimbus + Vasmant @ Sub Club, Glasgow, 2 Nov Era Suite is a new party night and collaboration between Sub Club and local jazz champion Rebecca Vasmant. Bringing the best and freshest jazz, funk, Latin, Afrobeat and electronica to Glasgow, the first event (which kicks off at 7pm) will feature live guests AKU and Nimbus Sextet, plus Vasmant herself on the decks. From 11pm, you can also stick around to see Sub Club host Vasmant and radio veteran Gilles Peterson. Numbers Presents @ The Art School, Glasgow, 3 Nov The beloved Art School is back in business, and with it comes this huge Numbers night with the inimitable Helena Hauff at the helm. The killer lineup includes live shows from South London musician Klein – fresh from supporting Bjork on her recent tour – and riotous Bristol band Giant Swan. There’s also sets from Batu, Sue Zuki, Numbers co-founder Spencer and new label signing Perko. SHOOT YOUR SHOT (Wes Baggaley) @ SWG3, Glasgow, 3 Nov Mixmag recently declared Wes Baggaley to be as influential as The Black Madonna in terms of shaking up mainstream dance music. The Manchester-born DJ with the distinctive handlebar moustache has been around since the 90s and is a household name on the gay underground scene. He’s a regular at some of London’s best parties (Your Love, Chapter 10, Horse Meat Disco, Dalston Superstore) and it seems the rest of the UK is beginning to catch on to his talents.

Review

A Cut Above #3 @ The Flying Duck, Glasgow, 3 Nov After two successful outings, A CUT ABOVE is back for party number three, showcasing the best of Glasgow’s forward-thinking talent. This time round, MR TC heads the bill with a live show, with further live sets from Pleasure Pool and Cucina Povera and DJ sets from 12th Isle, VAJ.Power and Junglehussi. HEALTHY w/ Lena Willikens, Nathan Gregory Wilkins & Jonnie Wilkes @ The Berkeley Suite, Glasgow, 9 Nov What do German DJ/producer Lena Willikens, Nathan Gregory Wilkins of Cowboy Rhythmbox, and Glasgow’s own Jonnie Wilkes have in common? As the HEALTHY crew put it, “the three DJs play together for the first time despite their names being right next to each other in the DJ directory”. Jokes aside, this is a trio of heavyweights whose names AND styles of playing go together perfectly. This b3b show will also mark Lena Willikens’ Berkeley Suite debut. Hobbes Music 5th Birthday Party @ The Bongo Club, Edinburgh, 9 Nov A one-off party marking five years of the Edinburgh-based Hobbes Music label. Local favourite Nightwave and London’s Michelle Manetti co-headline, plus expect live shows from Jacksonville, Gaming and Exterior and tunes courtesy of Leonidas & Hobbes. All in all, this is a lively cast of favourites from the past, present and future of the Hobbes imprint. Headway with Rebekah @ The Reading Rooms, Dundee, 16 Nov A night of nuanced yet volatile techno is in store

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with Rebekah taking the lead from warm-up crew Andy Barton, Neil Clark and Graeme Binnie. Pop on her excellent 2018 release My Heart Bleeds Black and get ready to be blown away by a seasoned performer currently on the best form of her life. La Cheetah 9th Birthday Pt.3 – Hunee (6 Hour Set) @ La Cheetah Club, Glasgow, 17 Nov La Cheetah continue their excellent ninth birthday celebrations by bringing in renowned crate digger Hunee for an all-night set. That’s a whole six joyous hours of sonic delights, from one of the most endearing characters in dance music right now. Heaters: Project Pablo @ Sneaky Pete’s, Edinburgh, 21 Nov Our favourite Montreal-based DJ drops into Scotland for this mid-week party at Sneaky’s. Patrick Holland – who also produces under the aliases Jump Source, 2 Responsible and Rest Corp – is a master of melodic Vancouver-ish house, and has also proved himself capable of delivering flawless sets that span house and techno, jazzed up with elements of boogie, disco and funk. Pulse 9th Birthday: Paula Temple @ The Mash House, Edinburgh, 24 Nov Long-running techno purveyors, Pulse celebrate their ninth birthday with a scorching hybrid set from Paula Temple. Her crafty, punchy afternoon set back at Riverside Festival earlier this year was our highlight of that weekend; we can’t wait to see what mayhem she conjours up in the intimate surrounds of The Mash House. theskinny.co.uk/clubs

THE SKINNY

HAAi-Fidelity

Ahead of her show with Daniel Avery at Sub Club, London-based DJ and producer HAAi shares the tracks she’s had on constant rotation in this month’s Guest Selector

Interview: Claire Francis

ustralian-born DJ and producer HAAi (pronounced ‘hi’) moved to London around seven years ago, when she was the singer of the psychedelic rock band Dark Bells. A trip to Berghain piqued her interest in dance music; after swapping psych rock for electronic, her big break as a DJ came when she was announced as the new ‘permanent’ resident at Brixton club Phonox. That residency put HAAi on the map, and this year she has played a huge schedule of UK and European shows, including festivals such as Annie Mac’s Lost & Found, Nuits Sonores, Field Day and Melt. She is the label boss of her own imprint Coconut Beats, and released her broken-beat styled EP Motorik Voodoo Bush Doof Musik in July. With the former psychedelic rocker-turned-techno producer set to play with Daniel Avery at Sub Club this month, we asked HAAi to share some of the tracks she’s had on high rotation recently. Axel Boman Nokturn (Grand Finale) [Pampa Records, 2015] “I heard Gilles Peterson play this when I had him as a Coconut Beats guest at Phonox this summer. I tapped him on the shoulder and was like ‘ummmmm, what the hell is this?’ He just tapped the side of his nose and winked and turned back round and kept playing. When I woke up the next day, I had a WeTransfer from him and I’ve been playing it ever since. I mean, listen to this track. It’s the perfect balance of percussion, tension and psychedelia.”

Almaty Gennaro [Naive, 2018] “Violet is of one of my favourite humans and label bosses, and this is off her label Naive. The whole release is rad and it was hard to choose which is my favourite from the EP, [but] from beginning to end this track is a winner.”

The Black Madonna Say My Name [Home Taping is Killing Music, 2013] “Anyone who knows me musically knows this has long been my favourite tune. I first heard Andrew Weatherall play it during one of his all-night sets a few years back. That set was almost like a religious experience for me. I’ll never forget when the bass came in on this tune. Never.”

Daniel Avery & Alessandro Cortini Water [Self-released, 2017] “There is no denying Dan is one of my favourite artists and people on this dusty marble. His project with Cortini of Nine Inch Nails is nothing short of superb. This track really serves as a breath of fresh air in among much heavier tunes. Quite a spiritual listen I think. Both Avery and

HAAi

Cortini share a love for the textured and ambient. I can’t wait to hear more from them.” The Immortals Mortal Combat (Techno Syndrome [Vernon Yard Recordings, 1996] “Mortal Kombat was my favourite game when I was a kid. It’s such a kind of aggressive trance tune, but I fkn love it. Really love the sound bites in [the track] from the game as well.” Richard H Kirk All In Vain [Intone Productions, 2013] “I have included a Richard H Kirk track in every mix I’ve made for the past couple years. He has long been one of my favourite producers. One of the most prolific producers of our time, he is a man of

Photo: Alec Donnell Luna

many aliases (I think it was 36 at last count). I have played this tune on and off in the club for the past 18 months. The distorted synth and quite motoric beat really does something to my insides.” Peder Mannerfelt Introductions and Aspirations [Peder Mannerfelt Produktion, 2018] “I had never met Peder but was a big fan of him and his productions. I wrote to him to ask if he had anything in the cannon that I might want to use for my Radio 1 Essential Mix that went out recently. He happily obliged and sent me some unreleased bits, including his new LP. It’s fucking rad.” HAAi and Daniel Avery play Sub Club, Glasgow, 13 Nov facebook.com/HAAiDJ

Techno King We speak to Glaswegian techno mainstay Gary Beck about new album Dál Riata, the long-awaited follow-up to his 2012 debut Bring a Friend

or those who don’t know, Dál Riata is the name of a Gaelic kingdom which, at its height in the late 6th and early 7th centuries, covered most of the west coast of Scotland and part of Ireland. It is also the name of the new album from Gary Beck, the Glaswegian DJ and producer who has likewise been reigning over the heavier end of the Scottish techno scene for almost a decade. Alongside fellow Glaswegians such as Harvey McKay and Slam (who released Beck’s debut LP Bring a Friend on their Soma Records imprint in 2012), Beck has established himself as a primary figure in Scottish techno. We meet Beck for coffee in Glasgow on an early Tuesday afternoon. He’s already ticked off another interview – an 8am Skype call – from his to-do list, after a weekend of shows in Spain and Italy. In two days, he’ll head to Amsterdam for ADE 2018, and has plenty more shows lined up between now and the end of the year. Though his schedule remains as busy as ever, he explains that the pace of his life has changed since the

November 2018

Interview: Claire Francis

birth of his young son. “My studio used to be in my house, but it’s kind of hard to make techno with a little guy running around your legs,” he laughs. Moving to a new studio in Glasgow’s southside was a pivotal part of album number two, Beck explains. What constitutes the right space, we ask? “A bathroom! I have a bathroom so I can take a shower, a little kitchen, my equipment, space where I store all my records.” This space is where the new album was created, in a short six-month burst of creativity and inspiration. Beck came away with a wealth of material – “I literally had like 60 tracks from that six-month period” – that were whittled down to ten tracks (the digital release will include a further two bonus tracks) which showcase Beck’s skills, influences and styles. “I wanted to show what I could do,” he confirms. “I felt like the time was right to showcase what I’m feeling at the moment in the studio. I had been releasing EPs, mostly on my label BEK, so I felt a new challenge

was needed where I could showcase various styles of my music.”

“ I felt like the time was right to showcase what I’m feeling at the moment in the studio” Gary Beck

Dál Riata is a thundering follow up to Beck’s debut LP, with big room techno tracks that sit comfortably alongside its more ambient moments. Opener Fools Regime begins with a heraldic rattle of drums, morphing quickly into an omin-

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ous synth drone. The club-friendly Isle then bursts into life with a deep bass end, while Return A590 is driven by resounding kick drums, and the aptly-named Bonkers Bus drives up the album’s BPMs. The album closer, Absolute Gem is a beautiful counter-point, a one-and-a-half-minute orchestral soundscape made sweeter by Beck’s explanation: “It’s named after my wife’s mother, who sadly passed away a few months ago. I used to call her an absolute gem, and when it came to naming this track, I had to name it after her.” When pressed to choose a favourite track from the album, he hesitates for a moment, and then says, “probably the title track – it’s a banger!” he laughs. “Even over the weekend in Rome, playing that track and seeing the reaction of 2,000 people, that’s the best thing. That’s why I do it, for that reaction.” Dál Riata is released via BEK Audio on 19 Nov bekaudio.com

Review

Rhyme Watch Radical celebrations of literature, new poetry collections a-plenty and the return of Book Week Scotland feature in this month’s spoken word round-up Words: Beth Cochrane

here’s plenty of poetry heading your way early this winter, with Iain Morrison kicking things off with his debut collection I’m a Pretty Circler, released on 2 November. Do you like your poetry with a splash of Emily Dickinson, drag culture, experimentalism and heart wrenching intimacy? Whether your answer is yes to just one or all of the above, I’m a Pretty Circler is unquestionably a jewel in the crown of Vagabond Voices’ catalogue. A second debut collection for recommendation is Mouthguard by musician and poet Sadie Dupuis, published by Seattle-based Gramma Press on 1 November. Dupuis holds an MFA in Poetry from the University of Massachusetts Amherst and is the lyricist for Speedy Ortiz. The collection is one of self-discovery and, as Gramma Press have described, reading it is ‘like crying alone in a movie theatre’ (was the popcorn forgotten?). Nat Raha is releasing her collection, Of Sirens, Body and Faultlines, via Boiler House Press this month. It’s a ‘book of prophecy against the Brexit era’, and Raha’s consistently explorative and remarkable use of language is sure to shake readers awake. Of Sirens, Body and Faultlines will cohabitate a launch event on 28 November with Harry Josephine Giles’ The Games (check back to September’s round-up for more details). This double launch is being held at Lighthouse, Edinburgh’s Radical Bookshop from 7.30pm. It’s an incredibly busy month for Lighthouse, with its annual Radical Book Fair taking place on 1-4 November at Assembly Roxy. A particularly excellent addition to the programme this year is The Poetry Corner, happening at various intervals on the Friday, Saturday and Sunday of the Fair. Programmed events will be preceded by some of Scotland’s favourite poetic voices. Starting the weekend off is Jay Whittaker at 6.30pm on the Friday night before the ‘On Being’ event on diversity in art and writing. Other poets involved

Crocodile

By Daniel Shand

rrrrr Chloe has been sent to stay with her grandparents for the summer, and she has very little say in the matter. She constantly dreams of leaving this unfamiliar and uncomfortable environment and moving back to the comforts of home. However, she soon falls in with a local band of outcasts much like herself, and begins to see

Review

include Claire Askew (3.30pm, 3 Nov), Georgi Gill (3.30pm, 4 Nov) and Carly Brown (5pm, 4 Nov). Neu! Reekie! has something new up its sleeve for us. They’ve partnered with writer and producer Bréon Rydell to take It Is Easy To Be Dead (a play with music and poetry by Neil McPherson) to the Tivoli Theatre, Aberdeen (6-7 Nov) and Glasgow’s Òran Mór (11-14 Nov). It Is Easy To Be Dead is a historical drama which tells the story of much-loved First World War poet Charles Hamilton Sorley. Born in Aberdeen in 1895, Sorley was killed in battle in 1915 aged 20, leaving behind some of the War’s most evocative and ambivalent poetic work. The play remembers Sorley through his letters and poetry, fusing his story with music and song from his era’s greatest composers. A remarkable poet, it’s excellent to see his light shining so brightly in the centenary of WWI. There is a huge selection of excellent events programmed for Seachdain na Gàidhlig – Edinburgh Gaelic Festival – running 2-10 Nov. One to highlight is Na Balaich Aighearach/Na Buachaillí Aerach at The Waverley on 10 November, 8-10pm. Featuring ‘two gay poets who write in the Gaelic languages of Scotland and Ireland’, it includes the much-loved Marcas Mac an Tuairneir and Scott De Buitléir performing their poetry through-out the evening (fingers crossed for a song or two), with some English explanations/translations for the Irish work. A key week in the literary calendar is the Scottish Book Trust’s Book Week Scotland, this year running between 19-25 November. There are events running all over the country, celebrating everything Rebel. There’s bound to be plenty of poetry in the extensive programme, so be sure to check out their website and indulge your rebellious side – whatever that may mean to you.

Sandstone Press, 1 Nov, £8.99 sandstonepress.com/books/crocodile

In Miniature: How Small Things Illuminate the World By Simon Garfield

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Life officially sucks. Humanity is being torn apart. The world is a battleground; Wreckers hunt rogue mechs in search of money through salvage at one end, and fame and eternal glory at the other. It’s a bright, beautiful mess of a place to be, if you can survive. Volume one of this cyberpunk graphic novel – written by Dave Cook and illustrated by Craig Paton – is a blood-spattered whistlestop tour; we meet rookie Wrecker Shinji who just wants to save his sister, and the first sentient mech who wants to be more than a machine. The ragtag duo have one goal: to make it out alive. But making it out alive isn’t easy in Killtopia. Take returning champ Stiletto; we meet her smiling, holding an opponent’s head casually like a football after a match. “Destruction and peril are their addiction, wealth and fame are their reward,” it reads. Face off against the two-time Wreck-fest champion with her signature new and improved sword in tow and few would live to tell the tale. With Shinji surviving on the outskirts and doing everything in his power for his sister on the left, and the world’s best and most celebrated Wrecker on the right, it’s a story that the brilliant dynamic of Cook’s writing and Paton’s illustrations is perfect for. Neon-soaked nano-plague infestations, high-tech low life jackets, stiletto whip swords; the glam post-apocalyptic world is a great read, and the pinks and purples of the illustrations are almost deceptively calm as death sprawls the pages. Killtopia is an electrifying trip, and the battle’s only just beginning. [Heather McDaid]

Why does Rod Stewart have a 124-foot long model railway? Why build a miniature Eiffel Tower that you have to saw in half to fit in the living room? What does the YouTube trend for tiny food tell us? Why would anyone want a ‘readable’ book that’s no larger than a fingernail? What is it about making big things small that so engrosses us? From architects’ models to villages of waist-high houses, model railways to a whole fleet of 20th century battleships floating in formation across a bluebaize-topped table, Simon Garfield takes us deep into the world of miniature things. Garfield is at his discursive best when he takes a semi-niche subject and shows you just how omnipresent it is. He ranges widely, from the themed hotels of Las Vegas to a temple in a barn in Suffolk, dipping into the history and psychology of modelling, and the people who’ve spent their lives on such projects. Some models have deep historical significance: for William Wilberforce, the wooden model of a slave ship – complete with little shackled slaves – was instrumental in the campaign to abolish slavery in the 1790s and early 1800s. Others are open attempts to recapture the order and freedom of childhood play. Most seem to confer a sense of control in a chaotic world – but few are as radical or as endlessly reproduced as the Eiffel Tower, with which the book begins and ends. This is an intriguing look at the world, shrunk down. [Galen O’Hanlon] Canongate, 1 Nov, £14.99 canongate.co.uk

BHP Comics, out now, £8.99 bhpcomics.squarespace.com/killtopia

Slip of a Fish By Amy Arnold

Crimson By Niviaq Korneliussen

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theskinny.co.uk/books

that her new life might offer more opportunities than she thought. Shand’s novel contemplates the experience of childhood and naiveté contrasted with the potential for childlike savagery. Chloe finds her home away from home in the company of Ally, Chris and Darryl, playing Truth or Dare in a treehouse across a busy road. This new game soon becomes more than an animated pastime – it unleashes a new brutality that makes her question the very core of her being. Her mother’s sudden return, hellbent and based on a whim like most of Angie’s actions, brings uproar once again; suddenly it isn’t so clear who is the adult, and who is the child. Chloe’s spiral into self-destruction is only halted when faced with its direct consequences: her own mother. Crocodile explores the loss of childhood innocence and its abiding consequences. A mirror to her mother, Chloe is the most complicated of fictional characters: a child who is no longer young, but not yet an adult. Poetic, unsettling and provoking, Shand’s writing encompasses not only Chloe’s psyche, but her coping mechanisms, her fears and her dreams. [Mika Cook]

Killtopia By Dave Cook, illustrated by Craig Paton

True to its title from beginning to end, few novels achieve the delicate shimmer Arnold’s poetic prose evokes in the mind – a cool-warm, unsettling and very beautiful new voice. In this disturbing take on the inevitable motherdaughter tension many of us experience, the protagonist Ash experiences a painful distance from her daughter Charlie, and in her attempt to rebuild what they had before, only makes things far worse. Ash is so successful as the narrator of this tale precisely because of the distance she retains from readers throughout the plot, her voice drifting like flotsam and entirely trapped by its own bubble, allowing us to witness the workings of an otherwordly mind. Through its vague journey from one clump of plot to the next, moving in bursts rather than one clear line, we witness events as if through a slow-motion camera or slightly clouded pane of glass. The lush imagery, full of water, reminds us constantly of how much this element defines her, as well as how dangerous it can be. It will not be an easily-tapped read for some, but is certainly one worth pursuing to its final unravelling. [Clare Mulley] And Other Stories, 1 Nov, £10 andotherstories.org/slip-of-a-fish/

BOOKS

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Crimson, Niviaq Korneliussen’s debut novel, is a web of relationships between siblings, lovers, and friends. In Nuuk, Greenland, Fia breaks up with her long-term boyfriend and falls in love with a woman called Sara. Meanwhile, Fia’s brother, Inuk is on the run while she moves in with his best friend Arnaq. Told from the four characters’ perspectives in four sections, Crimson centres around one major event through which we learn about each character’s relationship to one another. Each has a distinctive style; for example, Inuk’s is told through letters while much of Arnaq’s uses images of text messages on phones. While Crimson is experimental in form, Korneliussen’s stylistic choices hinder rather than help character development. We’re either left to read between the lines or battered over the head with surplus information from letters, texts and social media. Originally written in Greenlandic, it’s difficult to know whether the translation is the problem; however, Crimson’s structure doesn’t help itself. Themes of mental health and queerness are brushed on the surface but never explored in depth, leaving Crimson a rather unsatisfactory read. [Katie Goh] Virago, 1 Nov, £12.99

THE SKINNY

Santiago Sierra DCA rrrrr In 2007, a Russian submersible descended beneath the North Pole and planted a titanium national flag on the seabed — thus staking claim to energy reserves in the Arctic. Canada complained and territorial wrangling between four bordering nation states began. Inspired by quarrels over claims to spaces by the simple planting of a flag, the Spanish artist Santiago Sierra conceived his idea for the planting of an anti-flag, a black flag and a symbol associated with anarchism. This logistically challenged idea became a reality in 2015, through funding by the London based arts organisation a/political. Documentation by the artist of each of his two polar expeditions is currently on display in the DCA. Dundee’s story, too, is entwined with Arctic exploration, as the birthplace and riverfront home to Captain Scott’s ship Discovery. This same area is currently part of a regeneration project in the form of ambitious new buildings often described as ‘flagships’ whilst nearby berthed oil rig platforms are visible.

On opposing walls of the gallery, two sets of black-and-white photographs offer a narrative of travelling and surviving in frozen global extremities. Framed subjects include various modes of transport, the sublime majesty of tundra wastelands, details of equipment and vast amounts of supplies, as well as everyday discomforts involved in dwelling. Immersive sound recordings are also available, to add to the sense of hauntingly inhospitable landscapes. Two gigantic photographs predominate the gallery. Both feature a single black flag in situ. The bottom photograph is inverted. Monumental traces of an act of defiance, these images re-present within the gallery context as anchoring points from which one is compelled to contemplate the world revolving between them. Black Flag questions systems of global and localised power, and what it means to inhabit a place in an era of climate change and fluidly changing national identities. It offers a poetic lens to another version of reality, illuminated by an Arctic light and directed by the artist’s socio-political compass. [Alison Philp]

The new show from ektor garcia, deshacer (translated from the Spanish ‘undo’) is alive with contradiction, each work weighted with it. Appearances are deceiving. What appears metallic is ceramic. What appears rigid is also fragile. Are those chains of connection, or of enslavement? Are they decoration or incarceration? These contradictions settle in sculptures and assemblages full of meditative, thoughtful care. A ceramic rose appears where you least expect, like a fragile bloom growing through a crack in the pavement. Labour and time, absence and presence co-exist. History breathes through garcia’s crocheted spirals of tarnished and untarnished copper wire. The titles of each work hint at the body, a personal past, the history of the Mexican state. the artist performs, through his making, an excavation of history and of craft; mining the knowledge of connection to create works that are

domestic, sensual and satisfying. Prints of fingers and hands, no longer present, appear everywhere. Traces that have been preserved, fired and glazed, are suspended in time yet remaining grounded in the materials of animal and plant fibres, metal and earth. Throughout the exhibition we feel the touch of feminine hands. Generations of hands drawing back lace curtains. Hands placing doilies on tables. Hands taking up tools to darn, to knit, to crochet, to rip back, to rework, to mend, to provide comfort, to provide care. Emotional maternal labour, the strength of gentle touch and the power of the soothing caress. The repetitive processes utilised by garcia feel never-ending yet appear to act as a path to resolution. Crochet hooks and needles pinned into the works, left unfinished, to be picked up later. The repeated actions of stitching transform into muscle memory, allowing the mind to wander and the body to produce unhindered. Embodied moments to be present with the contradictions inherent in us all. [Niamh Moloney] Run ended

ektor garcia, tanneries 2018, Glazed ceramic, 6.5 x 108 x 40.5 cms / 2.5 x 42.5 x 16 ins, 3 parts

Black Flag, at Dundee Contemporary Arts, until 25 Nov

Photo: Courtesty of the artist and Mary Mary, Glasgow

Santiago Sierra, Black Flag

Photo: Santiago Sierra

ektor garcia Mary Mary rrrrr

Where Art Now? Winter is coming, but that doesn’t mean the art opportunities have withered and died: quite the opposite, November has an abundance of exhibition openings, residencies and funding waiting for you

Jonas Staal, New Unions – Athens, study. Digital study for the transformation of the abandoned Faliro Stadium into a site of public assembly, 2016

Exhibition Highlights It’s been four months since a second tragic fire destroyed the Glasgow School of Art’s Mackintosh Building, and forced a host of neighbouring buildings – which many felt to be the heart of the visual art scene in the city – to close indefinitely. But last month, after being closed for what has felt like a lifetime, the Centre for Contemporary Arts reopened. Be sure not to miss their first exhibition Jonas Staal’s The Scottish-European Parliament, which transforms a decommissioned oil rig in the North Sea into a new transnational parliament, assembling

November 2018

pan-European organisations with Scottish civil platforms, social movements and political parties to envision a future European Union from a Scottish point of view. Running until 11 November, you need to be quick off the mark to catch this exhibition before it’s gone (much like our European status itself). In Edinburgh, the newly re-branded Talbot Rice Gallery ended their October by opening two exhibitions, both of which run into the new year. Tremble Tremble by Jesse Jones is an incredible performance piece not to be missed: the artwork’s new world order is feminist, uncompro-

mising, magical and mythical. Alongside Jones’ work, At the Gates brings together work by Maja Bajevic, Georgia Horgan, Navine G. KhanDossos, Teresa Margolles, Olivia Plender and Suzanne Treister. Inspired by the tidal wave of change that has been sweeping the world, At the Gates brings together artists whose voices have amplified the global struggle towards female self-empowerment, and, in the case of Ireland’s historic fight against the Eighth Amendment, right to bodily self-determination. Shown alongside Jones’ piece, the implication is clear and empowering: “tremble, tremble, the witches have returned”. Also in Edinburgh, The Fruitmarket have just opened a solo exhibition by Emma Hart. This will be the penultimate exhibition before the gallery closes for expansion later next year, so we’d advise you to get yourself along to the space before it becomes a building site. Hart’s work is often badly-behaved and messy, challenging assumptions and stereotypes in her quest to make art to which everyone can relate. Her first exhibition in Scotland has seen the creation of a series of entirely new work. Residencies Cove Park have several paid residencies available for visual artists (as well as for experimental filmmakers, writers, designers and more) with a variety of deadlines throughout December. The spaces available offer artists the opportunity to work in incredible environments on the West Coast of Scotland, not too far from Glasgow, with the important time and headspace to create works. Deadline: 10 December Another unique rural venue, The Scottish

ART

Words: Rosie Priest Sculpture Workshop, sitting at the foot of the Grampian Mountains, is offering artists of any practice the opportunity to take part in their winter residency programme. The programme is lightly thematic, offering a loose reflective framework within which artists can spend a month working on the development of their practice – whether this is for production, research or experimentation. The deadline is at the start of this month, so you need to be quick to apply. Deadline: 13 November Finally, Hospitalfield in Arbroath are once again opening up their doors to artists of all backgrounds in their brilliant interdisciplinary residency programme. This programme is highly international and open to those working across the arts who recognise that they require some time to focus on the development of their work. For individuals or collaborative groups it can be a test bed for developing their practice and a scenario to concentrate on a specific project. Deadline: 12 November Awards and Call for Entries Alight 2019, a celebration of contemporary art in Scotland organised by Visual Arts Scotland, are seeking applications from artists of any background to take part in the upcoming exhibition. Both emerging and established contemporary artists, designers and craft makers, members and non-members are invited to showcase new and unseen work. Works selected through the open submission are also eligible for an evergrowing list of awards and funds, selected by judges once the exhibition is hung. Deadline: 19 November theskinny.co.uk/art

Review

In Cinemas Nae Pasaran!

Director: Felipe Bustos Sierra Starring: Bob Fulton, Stuart Barrie, Robert Somerville, John Keenan

Suspiria

Director: Luca Guadagnino Starring: Dakota Johnson, Tilda Swinton, Mia Goth, Jessica Harper, Chloë Grace Moretz

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More of a respectful homage to its predecessor than an overt remake, Luca Guadagnino’s take on Dario Argento’s hyper-stylised horror Suspiria once more introduces prodigy Susie Bannion (Johnson) to the famed Berlin dance academy with a heart of darkness. Mesmerising choreography and an enticing score from Thom Yorke are clear highlights, but the film’s potency begins to drain over its lengthy runtime. Where Argento’s film was loud, brash, and a tightly wrapped 98 minutes, Guadagnino’s version is languorous and muted, with muddled plot lines and a very open approach to the coven of horror that the original film kept a little more secretive. There are subtle and tasteful nods to Argento’s Suspiria rather than direct mimicry, from the prisms of neon light that dance across Susie’s walls in her dreams to the elegant floral robe Sara (the excellent Mia Goth) often wears, remini-

Peterloo

Director: Mike Leigh Starring: Maxine Peake, Rory Kinnear, Pearce Quigley, David Moorst, Rachel Finnegan, Nico Mirallegro, Tom Meredith, Karl Johnson, Tim McInnerny

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Photo: Courtesy of Amazon Studios

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scent of the lavish murals and wallpaper of the 1977 film. The rest of Guadagnino’s work is notably flesh-toned, an intriguingly understated colour palette that allows for a more residual disquiet rather than flashes of bright terror. There is a clear artistry on display, with a stunningly intricate look at the virtuosity and intensity of bodily movement and the erotics of sighs and breaths. The story and its terror are explicitly feminine here, a breaking apart of repressed powers and emotions with some splendidly grotesque consequences. It is simply a shame that the tangential threads of narrative concerning psychologist Dr Josef Klemperer (Tilda Swinton in prosthetics), and ongoing trouble in Berlin with the Baader-Meinhof gang, are a little stifling and overly long. Suspiria remains a stylised horror, with the new director’s own flourishes and distinct approach to storytelling, but while the Markos academy dancers move their sharp, neat limbs with cutting precision, the film itself feels laborious in places. Oversaturated and lacking agility, Guadagnino’s work doesn’t quite find its true rhythm. [Caitlin Quinlan] Released 16 Nov by MUBI; Certificate 18

Widows

Director: Steve McQueen Starring: Viola Davis, Brian Tyree Henry, Daniel Kaluuya

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For his latest film, Mike Leigh has crafted an effective retelling of the events surrounding the Peterloo Massacre: in 1819, civil unrest is brewing in Manchester and Lancaster. Wages have been slashed while a tariff restricting the import of grain from abroad has driven up the price of bread. People are hungry and poor, and ruled by a self-serving Government that determines to crush insurrection with an iron fist: the rod, they argue, is the only thing the poor will understand, and a far better tactic than providing money to help alleviate the hunger of the masses. Despite the violence of the dénouement, Leigh takes a restrained approach to the material, focusing on the political rhetoric of the rallies and the discussions that surround them. It’s beautifully crafted, if somewhat sprawling: characters come and go, leaving the wider political ramifications at the heart of the drama. Result-antly, at times, it feels a little too much like an agenda is being pushed, but this is nevertheless a powerful, pertinent piece of work. [Alex Barrett]

Transplanting Lynda La Plante’s seminal TV series to Chicago, Steve McQueen’s latest sees an impeccable Viola Davis lead a group of women on a high-stakes heist to earn back the $2 million lost in their husbands’ botched bank robbery that saw the men killed. Politics and family legacy become tangled with the crime landscape of the South Side, with the film’s multiple strands creating space for a subtle yet vital commentary throughout, one that has a keen awareness for issues of poverty, crime, social housing, economics and racism in the contemporary city. There is still plenty of room for a thrilling action plot though, and McQueen strikes a killer balance with a punchy and satisfying story. Widows is hugely impressive, engaging and slick in a way that maintains McQueen’s signature mature style without getting caught up in a tired, crime caper tradition. It interrogates the workings of grief as well as the corruption of institutions, be it political or familial, exposing the enduring frailties of the people and systems we should be able to trust the most. [Caitlin Quinlan]

Released 2 Nov by Entertainment One; Certificate 12A

Released 6 Nov by 20th Century Fox; Certificate 15

Review

Chile and Scotland are very far apart, but in 1974, news of Pinochet’s military coup had spread across the world to East Kilbride. In Scotland’s first ‘new town’, a group of engineers found themselves empowered by the delivery of four aeroplane engines from the Chilean Airforce in need of repair. Shop steward Bob Fulton knows what these engines have done and he knows he can’t let them go back to do more of the same. In documentary Nae Pasaran!, Chile-born director Felipe Bustos Sierra sits with this group of retired Rolls-Royce workers in a pub and listens to them explain how these events unfolded. As members of a strong union, Fulton, Stuart Barr, Robert Somerville and John Keenan could boycott the repair of the engines and, unbeknown to them, have a direct impact on their Chilean counterparts. These engines that sat unrepaired in the

Anna and the Apocalypse

Director: John McPhail Starring: Ella Hunt, Malcolm Cumming, Sarah Swire, Christopher Leveaux, Ben Wiggins, Marli Siu, Mark Benton

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Cross High School Musical with Shaun of the Dead and you’re close to the demented flavour of Anna and the Apocalypse, which as far as we’re aware is the first film in the sub-genre of Christmas zombie musical comedy. Anna’s as scrappy as one would expect from a low-budget Scottish B-movie – all untidy editing and ugly lighting – but the cheesy soundtrack and forceful characters are a cut above. As infectious as any zombie plague, the toe-tappers range from a shameless Hall & Oates rip-off to an arena rock number sung by the school jock boasting about his zombie-killing prowess. These are easy characters to root for, and pleasingly they don’t conform to the worst of horror’s gender conventions. The women – the titular Anna (Hunt), spiky American lesbian Steph (Swire) – are unflappable and kickarse, while the men – Anna’s best pal John (Cumming, who’s MVP) and zombie film-nut Chris (Leveaux) – are the goofball scream queens. When some of them don’t make the film’s end with their intestines intact, it proves genuinely moving. [Jamie Dunn]

yard of the Rolls-Royce factory in East Kilbride had been used to bomb the Chilean presidential palace, resulting in the destruction of the country’s democratic government and the death of its president, Salvador Allende. Through digitised film reel and news reports, with the aid of some animation, Sierra introduces us to the Military Dictatorship of Chile. Interviews with survivors of torture, who have since grown old, cast a darkness over the film, yet their gratitude makes you understand how individual acts of kindness can reverberate across the world. Nae Pasaran! has a profound emotional core, found in the humour and sincerity of the personalities of those that acted against a violent military regime on the other side of the planet. These ordinary people, who were trying to work to provide a life for their families – in Chile or in Scotland – demonstrated the danger in opposing the powerful but also the power they could wield when part of a union. The jet engines have since rusted, the junta defeated, but Nae Pasaran! makes it clear we still need human solidarity. [Gianni Marini] Released 2 Nov by Cosmic Cat; Certificate 12A

Wildlife

Director: Paul Dano Starring: Carey Mulligan, Jake Gyllenhaal, Ed Oxenbould, Bill Camp

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There are many reasons to cherish tender 60sset family drama Wildlife, the directorial debut from actor Paul Dano. Chief among them are Dano’s images, as shot by cinematographer Diego Garcia, which suggest Norman Rockwell by way of Edward Hopper, and Carey Mulligan, who gives a knockout performance as Jeanette, the upstanding matriarch of a small, slightly-sad little family who’ve recently moved to a sleepy town in Montana. Jeanette is the epitome of the “good wife”: meatloaf on the table, supportive to her feckless husband Jerry (Gyllenhaal), but screaming on the inside. Near the start of the film, Jerry abandons Jeanette and their 14-year-old son Joe (Oxenbould) to go off and fight a raging forest fire that’s heading to town, but the flame his departure sparks in Jeanette is just as ferocious. This is the rare coming-of-age film where it’s the parents who do the growing, not the kid, and Joe has to discover what we all must come to terms with: that our parents are flawed human beings with messy pasts and lives of their own. [Jamie Dunn] Released 9 Nov by Icon; Certificate 12A

Released 30 Nov by Vertigo; Certificate TBC

Wildlife

FILM & TV

THE SKINNY

At Home Outlaw King

The Ballad of Buster Scruggs

Make Me Up

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Director: David Mackenzie Starring: Chris Pine, Florence Pugh, Aaron Taylor-Johnson, Billy Howle, Tony Curran, Stephen Dillane David Mackenzie tackles a mammoth tale of resilience in the face of long-standing oppression in this story of Scottish hero Robert the Bruce and his fight for his land’s freedom. Set in the early 1300s, after Scotland has submitted to the English crown under duress, we follow Robert as he attempts to unite his country and defeat the cruel tyrants of the south, depicted here as boorish aggressors with a taste for excess and vulgarity. Mackenzie delivers an action-packed film but at times Outlaw King edges close to mundanity, with the Scottish director unable to experiment with his style. There is visual pleasure in places, with some beautiful interior compositions bolstered by elegant costume design, and the vast landscapes of the Scottish Highlands never fail to stun. There’s some satisfyingly gory moments too, mixed into relatively rote fight sequences. It’s baffling that Scottish actors were not cast in the roles of both Robert and his right-hand-man James Douglas, played here by Chris Pine and Aaron Taylor-Johnson respectively. Hard as they may try, their faux-Scots accents prove to be highly distracting and their acting suffers because of it. Pine is brooding and serious, with an occasional glint of revolutionary mischief in his eye, but the oratory power needed for a character of such stature simply isn’t there. Taylor-Johnson meanwhile is maniacal as Douglas, foaming at the mouth with passionate desperation but again is let down by inconsistencies in speech and performance. There are, however, strong showings from Florence Pugh as Robert’s wife Elizabeth de Burgh and Billy Howle as the Prince of Wales; with their own accents intact, they are both confident and engaging. Outlaw King tells a valiant story but lacks a boldness from its lead actors, and further ambition in its direction, to elevate it to something more. [Caitlin Quinlan]

Director: Joel Coen, Ethan Coen Starring: Tim Blake Nelson, James Franco, Zoe Kazan, Tom Waits, Liam Neeson As the titular quick-firing, tune-warbling Buster Scruggs (Tim Blake Nelson) would tell you in this new offering from the faithful Coen brothers, life in the Wild West is all about “singin’ and slingin’ guns.” His sentiment echoes throughout his own ballad, and those that follow, in the writer-director siblings’ collection of comic fables and dark tales, each with their own unfortunate heroes from across the American frontier. From Buster himself, twanging his guitar on the open road and finding trouble, to a dedicated prospector (Tom Waits) digging for gold or an opportunistic impresario (Liam Neeson) seeking his next star, The Ballad of Buster Scruggs has a wealth of bold, inventive characters to explore. These little vignettes ruminate on life, death, luck, misfortune, community, greed and all the bleak comedy to be found in the cracks between. The first and second narratives are blisteringly fun and energetic, but onwards from there the pace slackens enormously. The stories that follow are rich with the Coens’ effortlessly sharp and incisive dialogue, and packed with the softer nuances of the film’s ponderings on mortality, but they feel stiffer, heavier and at times a lot more tedious to watch. The fifth chapter with Zoe Kazan is particularly disappointing, a lacklustre damsel-in-distress marriage plot that’s a dull, predictable use of one of only two female cast members. The Ballad of Buster Scruggs has plenty to admire and enjoy, but it does seem to falter after its delightful opening. It becomes difficult to stay engaged with the fragments as stand alone pieces, as well as part of the cohesive whole, and so perhaps, in the end, these tales would have been better served as part of an anthology series as originally intended rather than a feature film. [Caitlin Quinlan] Released on Netflix 13 Nov

Released 9 Nov on Netflix

Director: Rachel Maclean Starring: Rachel Maclean, Christina Gordon, Colette Dalal Tchantcho In Rachel Maclean’s first feature film, a group of futuristic Barbies are forced to compete against each other to win a few portions of smiley face ham slices. Lording over this sadistic game is a pinkhaired psychopath, played by Maclean herself, who speaks entirely in pompous non-sequiturs from seminal BBC series Civilisation. Oh, and this all takes place in a girly palace modeled on St Peter’s Seminary, but with breasts for door handles and Orwellian eyeballs that dangle menacingly from the ceiling. Anyone worried that Maclean would temper her hallucinatory style in her move from the gallery to terrestrial TV can rest assured: Make Me Up is as fiercely intelligent and wonderfully weird as her video work. Our surrogate is Siri, who’s birthed into this loopy dystopian fantasy through a gelatinous pink membrane that makes her look like a gooey Venus de Milo. This isn’t the only reference to art history you’ll find in Maclean’s film. Siri and co are forced to recreate tableaux inspired by classic (and by default sexist) scenes from art through the centuries. Her one ally in this bubblegumcoloured nightmare is Alexa, who’s out to subvert the system. Like all of Maclean’s work, Make Me Up is overwhelming. Your eyes are saturated by her oppressively bright computer-rendered universe. Her work would prove bludgeoning if it weren’t so viciously hilarious. Plus, as one of the premiere chroniclers of our oversaturated, internet-addicted world, Maclean’s maximalism is the point. As a satire of social media culture and the beauty industry, it’s savage. But it’s art historians who should feel most uncomfortable during Make Me Up; between this and Hannah Gadsby’s Nanette, the canon gets a much-needed kicking. After watching, you might feel like storming your nearest gallery and rearranging the hierarchy – once your retinas adjust back to dull reality, that is. [Jamie Dunn] Screens on 4 Nov on BBC Four

Competitions Win tickets to Edinburgh’s Hogmanay Street Party

Edinburgh’s Hogmanay Street Party

See in the New Year at the world’s best street party as Edinburgh invites you to share the love, embrace friends – old and new – and celebrate at the home of Hogmanay. Edinburgh’s Hogmanay Street Party, hosted by Johnnie Walker, gives you the opportunity to party all night under the stars. From the moment the doors open at 7.30pm until long after the midnight bells have fallen silent, bands, DJs and street performers from Scotland and across Europe will come together to make it the party of a lifetime, all hosted by Love Island’s Aftersun DJs The Mac Twins. At midnight, German techno marching band Meute will be providing the soundtrack to the ultimate fireworks display from Edinburgh Castle. The music line-up also includes appearances from Gerry Cinnamon and superstar DJ Judge Jules, as well as Vistas, Elephant Sessions, Miracle Glass Company, Trendy Wendy and hosts The Mac Twins.

November 2018

To be in with a chance of winning a pair of tickets to the world famous Street Party hosted by Johnnie Walker, simply head to theskinny.co.uk/ competitions and correctly answer this question: Which two people are hosting Edinburgh’s Hogmanay Street Party? a) The Mac Twins b) The Olsen Twins c) The Proclaimers Competition closes midnight Thu 29 Nov. Entrants must be 18 or over. No entry after 10.30pm. Re-entry is not permitted. Tickets are non-transferrable. 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 information on Edinburgh’s Hogmanay Street Party, head to edinburghshogmanay.com

FILM & TV

Review

Breaking Out Scotland’s festival of youth theatre, Chrysalis returns to the Traverse Theatre once again for three days of new work by some of Europe’s leading youth theatre organisations

or the fourth year running, and in what just so happens to be the Scottish Government’s Year of Young People, Chrysalis Festival will set up camp at the Traverse Theatre this month for three days of bold, bright and exciting new work, featuring national and international companies, as well as workshops, collaborations and talks. This year’s iteration, as with previous years, is set to highlight how important it is to nurture the next generation of theatre-makers, and let their work be seen by a wider audience, who may otherwise miss it. “The festival celebrates bold, engaging, high quality theatre that just happens to be made by young people,” Catherine Makin, prod-

ucer of Chrysalis Festival, says of the importance of youth theatre. “Not only are these artists the future voices of theatre, it’s really important that the opinions of young people are given a platform, and hopefully lead audiences to think about issues in unexpected ways.” The festival, which is run by Youth Theatre Arts Scotland, was born from a desire to elevate youth theatre across the country and showcase both national and international work. Makin explains: “We wanted to create a high-profile platform for this work to be seen by wider audiences, and for youth theatres across Scotland to see each other’s work and be inspired by work from other companies, from across

the UK and internationally, that they might not otherwise get to see.” The programme for this year’s festival features four main shows from companies such as Camden Youth Theatre, Platform Young Company and Germany’s Junges Ensemble Marabu. Other events include Emergence, a scratch night which allows companies to try out new work in front of a live audience. In addition to this, Chrysalis has also launched a brand-new scheme for 2018. Creative Buddies sees four youth groups get paired with four professional theatre companies – Vanishing Point, Stellar Quines, Magnetic North and Puppet Animation Scotland – to help them develop their

Photo: Ursula Kaufmann

There is a Globe Stuck in My Throat, Junges Emsemble Marabu

Interview: Amy Taylor work beyond the festival. That’s alongside workshops, talks and other events which, Makin explains, will help the participants and also the audience look to the future. “All of the companies taking part in the festival will work together across the weekend in workshops and discussion sessions,” says Makin, “starting conversations and creating a platform to share what matters most to them and what the future might hold for young artists making work in the current climate. The Youth Panel and In the Studio Workshops are open to all and will give a great insight into the work and the companies for free.” Youth Theatre Arts are currently working with a number of collaborators around the world, and have partners in France, Belgium, Ireland and Norway to name just a few. As Makin points out, continuing to collaborate with and learn from international companies is vital in the current political climate; it gives youth theatre groups the chance to tour, and inspires them to create more work in the future. Makin says: “I think an important part of the programme is being able to present a mixture of Scottish and international work. Youth theatre doesn’t often get to tour, particularly outside of their local area so it’s exciting that we are able to present work that would not normally be seen together. “With an international programme, international companies get to learn more about the theatre sector in Scotland and Scottish companies can see exciting performance and hopefully be inspired in the work they create in the future.” Chrysalis Festival, Traverse Theatre, Edinburgh, 15-17 Nov ytas.org.uk/chrysalis

Stage Directions Just before panto season, and the quiet of January, November features secrets, operas, remembrance and poetry on the Scottish stage

h, flippin’ heck. It can’t be November, surely? Before Panto season descends, here’s a rough guide to what to expect from the Scottish stage this month, featuring absent friends, longlost poets and a literal secret play. Festivals To Absent Friends, a People’s Festival of Storytelling and Remembrance takes place at venues across the country from 1-7 November. The festival gives people across Scotland an excuse to remember, to tell stories, to celebrate and to reminisce about people we love who have died. Following its debut at the Fringe, In The Works’ new show The 900 Club returns to the stage as part of the festival, to challenge how we deal with mental illness and our memories of the dead. Written by Ross McFarlane, Ellen Renton, Shannon O’Neill and Bibi June, the show blends minimalistic theatre with Scottish performance poetry and takes the long view on grief, guilt and friendship. Shows 10ft Theatre’s latest production has no name, no venue, no time slot and no announced cast. It’s a secret! Secret Staging 2, is, in their own words, “a theatre event like no other as the audiences are kept completely in the dark about what they’re seeing, until the lights come up on the evening.”

Review

So, a nameless show will be performed by unknown people at an undisclosed time and venue, possibly in Aberdeen, and that’s as much as we know. What we can tell you is that the show runs from 5-10 November and that 10ft Tall are an “Aberdeen-based theatre company who aim to test the boundaries of what theatre can offer and find ways to make the artform accessible for all.” The work of WWI poet Charles Hamilton Sorley will return home to Scotland this month, in the highly-acclaimed It Is Easy to be Dead, by Neil McPherson. Opening at the Tivoli Theatre in Aberdeen, running 6-7 November, before moving to Glasgow’s Òran Mór (11-14 Nov), it tells the story of the poet’s life through his letters and poetry, with music and songs from some of the greatest composers of the period and recounts the experiences of a young Charles Sorley. Scottish Opera’s revival of their 2011 production of Rigoletto continues across Scotland this month, with performances in Aberdeen (1-3 Nov), Edinburgh (9-17 Nov) and Inverness (20-24 Nov). Directed by the award-winning Matthew Richardson (The Devil Inside), the piece is set in a dark and dangerous underworld where cruelty and inhumanity are rife – and women are objects merely to be played with and discarded. It tells the tragic tale of seduction, revenge and a father’s suffocating love for his only daughter. A perfect opera for the #MeToo generation, and

Unbecoming, Anna Porubcansky

remember, if you’re 26 or under, you can get tickets for just £10! Tours Part theatre show, part live gig, Company of Wolves’ Unbecoming begins a Scottish tour at the Beacon Arts Centre in Greenock on 21 Nov. This new solo work by Anna Porubcansky centres on the riot grrrl movement, and this dynamic and provocative piece focuses on women and individual, group and societal expectation, obligation and desire, inviting audiences into the twisting corridors of a woman’s mind. It may not be Christmas yet, but festivethemed productions can easily be found this

THEATRE

month, starting with Tortoise in a Nutshell’s new kids show, Flutter. Beginning a new tour at the Assembly Roxy in Edinburgh on 25 November (it spends December at Platform in Glasgow, Lyth Arts Centre and the Dundee Rep), this interactive and immersive performance promises to transport you to a world filled with snow drifts, winding paths and twinkling stars. A rich palette of materials, puppetry and music combine to create a tactile and multi-sensory show for small hands, eyes, ears and noses; for kids aged 2-6 (and their adults). [Amy Taylor] theskinny.co.uk/theatre

THE SKINNY

The Visible Woman As Jen Brister brings her exceptional Fringe show back to Scotland on tour, we discuss how to be angry and articulate Interview: Ben Venables felt a lot more vulnerable on stage than I have before,” says Jen Brister. That may seem a surprise. Meaningless is a show of such controlled anger, so commanding, that any kind of fear seems distant. It also holds a classic comedic premise: when Brister’s mum moves in, it puts an inter-generational and odd pair dynamic into a modern family home. Meaningless is honest and personal. It has lots to say about raising young boys to a strange societal silence. A silence that leaves even search engines at a loss to explain a universal experience for every woman. A show where anger increases the heart-rate; but also one that comes from the heart. “This is the show I’ve written that has been closest to what I want to say,” she says. “There’s so much shit happening that it’s made me insanely cross. I wanted to be able to talk about it.”

“ I guess the show reflects how a lot of people feel and so it makes people feel a lot less alone” Jen Brister

But Brister knew the show would be somewhat redundant if she didn’t speak to everyone. An angry show about gender roles and widespread hypocrisy, however justified, may seem to preach or polarise without care and thought. “I wanted to do it in a way that didn’t alientate men. That wasn’t my intention. My intention was for it to be as inclusive as possible. “I also wanted to say it’s legitimate to be angry. Not only legitimate, but that you should be angry, and you shouldn’t be afraid of saying so – that it’s OK.” She achieves inclusivity without risking ire

through empathy and understanding; such as in part of the show when Brister addresses men who may feel some guilt or shame about #MeToo – or those who now at least have the capacity to reflect back on past actions. “My biggest surprise in doing the show was how many men came and how many men enjoyed it. I don’t know why I thought that they wouldn’t. And getting the tone correct was my biggest fear.” It’s through such care and attention that Brister strikes such a mature and intelligent figure. Yet, focussing her anger has not always come easily. “I took everything very personally,” she says of her early years in comedy. “Every email or phone call that was ignored, every rebuff, every frustration, I would think it was all about me – when actually it’s not. “Sometimes, in green rooms, I’d be very defen sive. And I didn’t take banter very well. I was that person, and noone likes that person. I’m not that person in green rooms anymore. I’ve learnt to channel my anger into things that are more helpful.” Brister’s decision to place her mother at the heart of Meaningless helped draw out issues through a comic and relatable relationship. A relationship which understands the people in our lives are not one thing and nor are our feelings, of simultaneous love and fury, towards them one thing. “The thing about my mum is that she is such a contradiction in terms of who she is. She’s a massive feminist. She’s always been: ‘Women have to work harder for everything so you need to toughen up’. But, at the same time I say to her ‘Don’t you think mollycoddling boys is part of the problem?’” Brister adds: “I guess the show reflects how a lot of people feel and so it makes people feel a lot less alone. We can be positive and take some agency with what is happening. “People contacted me and said they’d felt very positive and fired-up. I’ve never written a show where people have said it’s changed their mind about something... I had one guy who came up to me in tears. He was a single dad with two gay sons and he said he found it very empowering. That’s what was really lovely, and unexpected, about the show for me.” Jen Brister: Meaningless, The Lemon Tree, Aberdeen, 13 Nov; The Stand, Edinburgh, 14 Nov jenbrister.co.uk

Jen Brister

November 2018

Photo: Idil Sukan

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COMEDY

Review

Glasgow Music Thu 01 Nov CHRISTINE BOVILL

ORAN MOR, FROM 19:00, £15

Christine Bovill has built her reputation on her interpretation of classic 20th century songs. VERSE METRICS (CATALAN!)

BLOC+, FROM 21:00, FREE

Melodic and mathy rock from the tune-laden Scottish outfit.

YALA! RECORDS (CATHOLIC ACTION + YAKIMA) MCCHUILLS, FROM 19:00, £8

The club night co-founded by The Maccabees’ former quitarist Felix White makes its Glasgow debut. COUPE GORGE (ASBESTOS BEACH)

NICE ‘N’ SLEAZY, FROM 19:30, £5

French hardcore band, whose name translates to cut-throat. ROGER TAYLOR’S QUEEN EXTRAVAGANZA

SEC, FROM 18:30, £32.35 - £52.80

The Queen Extravaganza, produced by Brian May and Roger Taylor. CORROSION OF CONFORMITY & ORANGE GOBLIN

THE GARAGE GLASGOW, FROM 18:00, £22.50

Co-headline tour from the two heavy metal groups. JAMES & THE ULTRASOUNDS

BROADCAST, FROM 19:00, £8 - £9

Manchester’s folk and americana promoter Hey! Manchester presents the rock ‘n’ roll quartet from Memphis. KOBI ONYAME

STEREO, FROM 19:00, £8

Ghanaian/UK based hip-hop artist and producer, infusing his sound with a mix of his life’s influences and circumstances.

ROCK IT! FOR CHARITY: MOVEMBER ROCK (50% INCOMPLETE + SEEDY SANCHEZ + WORSE THAN MOE + .404)

BOX, FROM 20:00, FREE

Fundraiser in aid of Movember UK.

THE LIST HOT 100 PARTY (HEIR OF THE CURSED + CRYSTAL + SARRA WILD + ASHLEY STORRIE + RABBIT HOLE)

THE BARRAS ARTS AND DESIGN CENTRE, FROM 19:00, £5

Celebrate the 'top 100 cultural Scots in 2018' with an evening of live entertainment from artists, musicians, writers and performers. JIZZY PEARL LOVE/HATE (DEAD MAN’S WHISKEY + SWAMP BORN ASSASSINS)

AUDIO, FROM 19:00, £15

The legendary frontman brings his band back for a round of new and classic numbers. HATER

THE HUG AND PINT, FROM 19:30, £8

Swedish indie pop quartet signed to Fire Records. JOE WILLIAMSON’S ‘ANIMAL SOCIETY’ (TYR)

THE BLUE ARROW, FROM 19:30, £8

Animal Society is a group of renegade musicians from the darkest corners of Glasgow’s jazz scene, led by Joe Williamson.

Fri 02 Nov GG JAZZ DUO

GEORGE FITZGERALD (LIVE)

HALEY

SWG3 GLASGOW, FROM 19:00, £15

STEREO, FROM 19:00, £12

British DJ/producer brings his distinctive take on moody, melancholic R&B and deeply analog-based techno/house sounds. FATHERSON

BARROWLANDS, FROM 19:00, £19.25

The Kilmarnock trio do their alternative rock-meets-powerpop thing.

THE HAG FROM ST. ANDREWS (BLACK SATAN MOBILE DISCO)

THE OLD HAIRDRESSERS, FROM 20:00, £5

Jacob Yates and the Pearly Gate Lock Pickers present a Halloween club night special. INSECURE MEN

CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:00, £11 - £12

Insecure Men blend together exotica, easy listening, lounge and timeless pop music. CALIGULAS HORSE (CIRCLES + I BUILT THE SKY)

AUDIO, FROM 18:30, £12

Australian prog metal band, Caligulas Horse headline Audio. ROBERT VINCENT

THE GLAD CAFE, FROM 19:30, £14

Liverpudlian singer/songwriter mixing folk, rock and country into one merry musical whole. BLACK EYED PEAS (NADIA ROSE)

THE SSE HYDRO, FROM 18:30, £56.75 - £85.15

The electro/rap/pop hybrid group are back, sans Fergie. CHAINSKA BRASSIKA

THE HUG AND PINT, FROM 19:30, £12

SE London lads bring their ridiculously high energy mix of ska, roots, reggae and dub. EMMA MURDOCH

PIE & BREW, FROM 20:00, FREE

Emma is a singer/songwriter based in Glasgow. TALISK (ALBUM LAUNCH)

THE BLUE ARROW, FROM 19:30, £12

MARTIN STEPHENSON & THE DAINTEES

ORAN MOR, FROM 19:00, £17.50

Sunderland folk/rock/pop band who specialise in rootsy, rockabilly sound. BLACKBERRY SMOKE

O2 ACADEMY GLASGOW, FROM 19:00, £28.65

Georgia-based rockers who have been together for more than a decade.

DR FEELGOOD (THE MEDIA WHORES)

KING TUT’S, FROM 20:30, £16

The longstanding, no-holds-barred Essex rock’n’rollers continue to do what they do best – tour. CUD

MONO, FROM 19:30, £15 - £17

Leeds-based four-piece, who during the 90s released five albums, 17 singles and played several John Peel sessions. SHRED KELLY

NICE ‘N’ SLEAZY, FROM 19:30, £8 - £10

SOUL II SOUL

The Glasgow bluesmen play an all-acoustic hometown show.

Soul-funk legends, best known for Keep on Moving and Back to Life.

O2 ACADEMY GLASGOW, FROM 19:00, £15.70

CATHOUSE, FROM 19:00, £11

DUDS (RAPID TAN)

MONO, FROM 19:30, £7 - £9

A tight Mancunian five-piece that is centred around sharp bursts of rhythmical energy. DROSS (RHINOPLAST)

NICE ‘N’ SLEAZY, FROM 19:30, £5

A night fuelled by charismatic choruses, ridiculous riffs and inspiring instrumentation with the aim to rock your socks off. LADYTRON

QUEEN MARGARET UNION, FROM 19:00, £22.50 - £24.75

Ladytron mix synth pop, shoegaze and indie pop into a sound all of their own.

KACEY MUSGRAVES (SOCCER MOMMY)

SEC, FROM 18:30, £31.20 - £43.70

Young American country music songstress, in her time nominated for myriad Country Music Association awards.

JEN CLOHER

CCA: CENTRE FOR CONTEMPORARY ARTS, FROM 19:00, £10 - £11

Somewhere in between The Pixies, Lou Reed, Chrissie Hynde and The Breeders you can find Aussie singer/songwriter/guitarist, Jen Cloher. NEIL MORRISON BAND (HAZEYDAYS + DOGTOOTH + REVELATION)

DEVILSKIN

The NZ-based multi-platinum sellers hit Scotland again. RORY & THE ISLAND

THE GARAGE GLASGOW, FROM 19:00, £10

Lanzarote regulars Rory & the Island head to the less-sunny surrounding of Glasgow. ANTI-FLAG (CANCER BATS)

THE GARAGE GLASGOW, FROM 19:00, £16.50

The mid-90s founded political punks return. ELDER ISLAND

BROADCAST, FROM 19:00, TBC

Bristol trio using a mixture of jiving mpc beats, alongside a myriad of effected keys, guitar, bass and cello. CHRISTY MOORE

BARROWLANDS, FROM 19:00, £30 - £33

Irish folk singer-songwriter, also known for being one of the founding members of Planxty and Moving Hearts.

FAT FREDDY’S DROP

EASY LIFE

BLACK SNAKE ROOTS

GIODYNAMICS

BARROWLANDS, FROM 19:00, £23.50 - £25.85

BROADCAST, FROM 19:00, £8 - £9

PIE & BREW, FROM 21:00, FREE

NICE ‘N’ SLEAZY, FROM 20:00, FREE

Hembree is made up of brothersin-law, Isaac Flynn and Eric Davis, brothers Alex and Austin Ward, and lifelong friend, Garrett Childers. CAT CLYDE

THE BLUE ARROW, FROM 19:30, £8.80

A fresh take on the classic sounds of yesteryear; breathing new life into the velvety vocal, tack-piano, slide-guitar-style.

Tue 06 Nov STRATA

BLOC+, FROM 21:00, FREE

Enter a world blending minimalism, groove and unhinged free improvisation.

KLUB KIDS PRESENTS THE ROAST BATTLES (BOB THE DRAG QUEEN + GINGER MINJ + THORGY THOR + PHIPHI O’HARA + MONET X CHANGE + MONIQUE HART) O2 ACADEMY GLASGOW, FROM 18:30, £34.25

An evening of wonderful drag, hosted by Ross Matthews and with stars from RuPaul’s Drag Race. HALFNOISE

KING TUT’S, FROM 20:00, £13.20

AUDIO, FROM 19:00, £7

The indie project of former Paramore drummer, Zac Farro.

PETE MACLEOD

NICE ‘N’ SLEAZY, FROM 19:30, £6

Dundee-based five-piece psychedelic rock’n’roll outfit. THE HUG AND PINT, FROM 19:30, £12

Scottish singer-songwriter with a knack for thoughtful, melodic music. CHRIS CLARK JAZZ & MIC CLARK ACOUSTIC BUTTERFLY

PIE & BREW, FROM 19:00, FREE

Joint show from Chris and Mic Clark.

FRANÇOIS BOURASSA QUARTET

THE BLUE ARROW, FROM 19:30, £10

As a pianist, composer and bandleader, François Bourassa has become an international example of Canada’s contemporary jazz scene.

Sun 04 Nov

THE CLASSIC ACOUSTIC SONGBOOK WITH RONNIE & OLIVIA

ORAN MOR, FROM 16:00, FREE

BLOC+, FROM 21:00, FREE

SEC, FROM 18:30, £30.10 - £36.90

Elvis-fronted Nirvana, obvs.

The Club Kiosk gets some new acts to the floor.

Sat 03 Nov

ORAN MOR, FROM 19:00, £20

ELVANA: ELVIS FRONTED NIRVANA

13TH NOTE, FROM 19:30, £5

Ronnie and Olivia play tunes from their Classic Acoustic Songbook in the cosy bar.

Sunday Jazz in the main bar with saxophonist Gordon Dickson and guitarist Graham Mackintosh. THE NIMMO BROTHERS

THE KIOSK CLUB (PLASMAS + DRAINPIPE + WHISKY PIGEON + GRAVELLE)

Talisk have already stacked up several major awards for their pyrotechnic yet artfully woven sound.

Soaked in electric crescendos and folk tinged sing-along anthems, Shred Kelly are known for their high energy live show.

ORAN MOR, FROM 19:00, FREE

Discovered by Low’s Alan Sparhawk at an open mic club in Duluth, Minnesota, Haley was invited to join the band on tour and has gone from strength-to-strength since.

HEMBREE THE HUG AND PINT, FROM 19:30, £8

BLOC+ JAM OPEN MIC

MAGIC POTION

Swedish ‘full throttle brain juice pop music’. Yuup. HOTHOUSE FLOWERS

QUEEN MARGARET UNION, FROM 19:00, £25 - £27.50

Dublin ensemble combining traditional Irish music with influences from soul, gospel and rock. PARQUET COURTS

SWG3 GLASGOW, FROM 19:00, £16 - £17.60

NYC ensemble, mixing up punk-rock and indie in their own inimitable way.

MADMOIZEL (VIXXXIONARY + POLIS)

BROADCAST, FROM 19:00, TBC

French composer, producer and machines-vocalist performer based out of Paris. KILLING JOKE

BARROWLANDS, FROM 19:00, £28.50 - £31.95

Jaz Coleman’s uncompromising post-punk unit tour once again.

EMMA RUTH RUNDLE (JAYE JAYLE)

STEREO, FROM 19:00, £14

Heavyweight (geddit?) purveyors of soul and danceable music. BLOOD COMMAND

AUDIO, FROM 19:00, £7

Mixing hardcore, punk, electro and pop music, Blood Command have set a name for themselves with an incredible live show and rave album reviews.

Thu 08 Nov TONIGHT ALIVE

ORAN MOR, FROM 19:00, £17

Aussie rock ensemble led by ballsy young songstress Jenna McDougall and her inimitable soaring contralto. ASTRO CHILDREN (LO RAYS + UNHOLY VIBE CHILD)

BLOC+, FROM 21:00, FREE

Shoegaze pop from New Zealand with a fuzz.

THE MEDICINE PRIESTS (ST. DUKES + GUESS) KING TUT’S, FROM 20:30, £7

Four-piece pop/rock/indie band from Western Scotland. HOUSE OF LOVE

QUEEN MARGARET UNION, FROM 19:00, £25 - £28

Guy Chadwick-led alternative rock outfit that rose to prominence in the late 80s and early 90s with their post-Smiths guitar pop sound. DUBIOZA KOLEKTIV

THE GARAGE GLASGOW, FROM 19:00, £17.50

Bosnian hi-hop, reggae and rock act. OLDEN YOLK (ORDER OF THE TOAD + GHOST DANCE COLLECTIVE)

BROADCAST, FROM 19:00, £8 - £9

New York-based group, led by Shane Butler and Caity Shaffer, with a penchant for dystopian folk, abstract poeticism and motorik rhythms.

SLAVES (AMYL AND THE SNIFFERS + LADY BIRD) BARROWLANDS, FROM 19:00, £22

American post hardcore rock group from Sacramento, California. GOGO PENGUIN

ST LUKE’S, FROM 19:00, £20.35

Hard-hitting, jazz meets electronica, Manchester three-piece. MAN OF THE MINCH (DEEP SEA TOURIST + OTHER STORIES + SAM SMALL)

Weekly Open Mic with host Jamie Stuart and friends.

LA-based singer/songwriter, guitarist and visual artist, formerly of the Nocturnes.

Man of the Minch’s first headline show, with a six-piece band.

NICE ‘N’ SLEAZY, FROM 19:30, £7

AUDIO, FROM 19:00, £12

THE BLUE ARROW, FROM 19:30, £10

THREATIN (ICEAGE + BRAID)

Hard rock straight from LA. MAX & HARVEY

THE GARAGE GLASGOW, FROM 17:00, £18

Young pop duo who rose to fame on the social app musical.ly. So fresh, so modern. THE FALLEN ANGELS CLUB

CCA: CENTRE FOR CONTEMPORARY ART, FROM 20:00, £12.50 - £14

Grammy-nominated Robbie Fulks makes a welcome return to Glasgow. SAMMY’S OPEN MIC NIGHT

THE GLAD CAFE, FROM 19:30, FREE

Ever popular open mic night hosted by house band The Bucks.

A. WESLEY CHUNG (HANNAH READ + ROXANNE DE BASTION)

THE HUG AND PINT, FROM 19:30, £8

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

Mon 05 Nov

BABY FACE AND THE BELTIN’ BOYS

BLOC+, FROM 21:00, FREE

Jazz and gospel mixed with some southern charm. THE DECEMBERISTS

O2 ACADEMY GLASGOW, FROM 19:00, £32.60

The Portland, Oregon indie folksters head back on the road. ACOUSTIC OPEN MIC NIGHT W/ GERRY LYONS

NICE ‘N’ SLEAZY, FROM 20:00, FREE

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

THE GARAGE GLASGOW, FROM 19:00, £15

London-based progressive metal ensemble headed up by Chris Barretto. BENE & CORMAC

STEREO, FROM 19:00, £10 - £12

Benedict Morris and Cormac Crummey are a fresh fiddle/guitar duo, who first ignited four years ago.

GHOST BATH (MOL)

American blackgaze outfit, Ghost Bath mix black metal with ambient post-rock and shoegaze. HERE LIES MAN

THE HUG AND PINT, FROM 19:30, £10

The solo project of Antibalas member Marcos Garcia takes a turn for the psychedelic. HND MUSIC SHOWCASE

THE BLUE ARROW, FROM 19:30, £5

Contemporary music played vintage style.

Wed 07 Nov DON MCGLASHAN

ORAN MOR, FROM 17:00, £18

Don McGlashan is one of New Zealand’s best known and highly regarded songwriters.

ALL THE BEST TAPES (LAST HYENA)

BLOC+, FROM 21:00, FREE

Stoke’s thrash jazz pioneers All The Best Tapes play Bloc. SIGRID (OLI FOX)

O2 ACADEMY GLASGOW, FROM 19:00, £21.35

Young Norwegian pop singer, recently voted BBC Sound of 2018, with a sugary sweet voice and pop bangers to boot. HOT ROD SINNERS (DJ MEMPHIS FLASH)

NICE ‘N’ SLEAZY, FROM 19:30, £8

Hi-octane rockabilly from Scotland. MICHAEL BOLTON

SEC, FROM 18:30, £28.40 - £266.75

The pop-rock balladmonger performs his greatest hits and a selection of classic songs. BAXTER DURY

SWG3 GLASGOW, FROM 19:00, £15 - £16.50

Indie-rock singer/songwriter, who’s also the son of the late Ian Dury. TOSKA

THE GARAGE GLASGOW, FROM 19:00, £10

Three-piece prog-rock and metal band. THE BETHS (FREAKWAVE + U.S HIGHBALL)

BROADCAST, FROM 19:00, £6 - £7

Some of the best indie-pop you’re likely to hear, from New Zealand four-piece The Beths.

THE HUG AND PINT, FROM 19:30, £6

MACFARLANE/MCNEIL QUINTET

Leicester five-piece attempting to blend hip-hop, funk and jazz with little success.

SLAVES (AMYL AND THE SNIFFERS + LADY BIRD) BARROWLANDS, FROM 19:00, £22

American post hardcore rock group from Sacramento, California. THE MOUSE OUTFIT

STEREO, FROM 19:00, £12.50

Fronted by UK hip-hop legend Dr Syntax and verbal acrobat Sparkz, this eight-piece band’s horn-heavy and funk-driven live show combines original grooves with classic hip-hop, b-boy and funk breaks. FLASHER

THE GLAD CAFE, FROM 19:30, £9

Established members of Washington, D.C.’s recently re-emergent DIY music scene, Flasher’s music exists in the tension between conflicting feelings and sensibilities. THE KATET

THE HUG AND PINT, FROM 19:30, £8 - £10

Imagine a classical conductor who leaves his score, baton and concert hall for a sweaty, underground funk dungeon. This is, essentially, how Mike Kearney founded The Katet, Edinburgh’s seven-piece soul-funk monster. EMMA MURDOCH

PIE & BREW, FROM 20:00, FREE

Emma is a singer/songwriter based in Glasgow. ZOE FRANCIS & THE JIM MULLEN TRIO

THE BLUE ARROW, FROM 19:30, £15

Zoe Francis and her trio, led by multi award-winning guitar legend Jim Mullen, take a fresh look at the repertoire of iconic American singer-pianist Blossom Dearie. NICK COSTLEY-WHITE QUARTET

THE BLUE ARROW, FROM 23:00, £5 - £8

Fast becoming one of the most in demand guitarists on the UK jazz scene, Nick Costley-White has performed with some of the countries most renowned jazz musicians.

Sat 10 Nov MC50

O2 ACADEMY GLASGOW, FROM 19:00, £33.70

An all-star band, including members of Soundgarden, Fugazi, Faith No More and Zen Guerilla will join Wayne Kramer to tour the UK. BOB WAYNE (THE BROTHERS OUTLAW)

KING TUT’S, FROM 20:30, £13.20

Reflecting the legacy of the great ‘Blue Note’ jazz recordings of the 1960s.

The head of the Outlaw Carnies does his solo thing.

NICE ‘N’ SLEAZY, FROM 19:30, £11

NICE ‘N’ SLEAZY, FROM 19:30, £5

ACID MOTHERS TEMPLE (MELATONIÑA)

Kawabata Makoto and his band of sonic outlaws, mixing traditional melody with hyper-aggressive playing techniques and plenty of improvisation.

Fri 09 Nov GG JAZZ DUO

ORAN MOR, FROM 19:00, FREE

Sunday Jazz in the main bar with saxophonist Gordon Dickson and guitarist Graham Mackintosh. BLANCMANGE

ORAN MOR, FROM 19:00, £19.50

DEAD OR AMERICAN (THE COSMIC DEAD + ADAM STAFFORD)

The first Scottish gigs by the posthardcore/post-punk/post-20s quartet in nearly a decade. OLD DOMINION

QUEEN MARGARET UNION, FROM 19:00, £18 - £20.25

Country group straight from the country hub of Nashville, Tennessee. BARNS COURTNEY

THE GARAGE GLASGOW, FROM 19:00, £9.50

The English-born folk rock musician with the backwards name. ALL THE LUCK IN THE WORLD

THE GARAGE GLASGOW, FROM 19:00, £9

The 80s superstars are coming to Edinburgh. Don’t panic, just get down.

Irish indie trio, with a slightly ridiculous name, let’s be honest.

O2 ACADEMY GLASGOW, FROM 19:00, £23

BARROWLANDS, FROM 19:00, £17.50

LEON BRIDGES

Soulful sounds from the Fort Worth singer, whose critically acclaimed 2015 album, Coming Home, established him as one of modern music’s most compelling acts. PITOU (DENI SMITH + DOUG GIBSON)

KING TUT’S, FROM 20:30, £8.80

The music of Amsterdam-born musician Pitou is characterised by her highly distinctive voice, unique compositions and the use of vocal harmonies as an instrument in themselves. OLD DOMINION

QUEEN MARGARET UNION, FROM 19:00, £18 - £20.25

Country group straight from the country hub of Nashville, Tennessee. YXNG BANE

SWG3 GLASGOW, FROM 19:00, £14.85

Rising East London rapper, real name Larry Kiala. HEAVY RAPIDS

THE GARAGE GLASGOW, FROM 19:00, £8

Alternative rock quartet from Glasgow.

LEWIS CAPALDI (NINA NESBITT)

British singer-songwriter who rose to prominence when his first track Bruises became the fastest streaming track by any new artist. GYPSYFINGERS

AUDIO, FROM 19:30, £8

Gypsyfingers return with their unique blend of ethereal folk-rock. ANCHORSONG

THE GLAD CAFE, FROM 19:30, £8 - £10

Anchorsong (aka Masaaki Yoshida) has become globally recognised for his unique live shows, creating electronic music completely live, utilizing a sampler (MPC2500) and keyboard.

Glasgow guitarist Fraser John Lindsay and Australian born vocalist and bassist Charlotte Marshall deliver an exciting blend of blues music in their own harmoniously relaxed fashion.

Sun 11 Nov THE PARLOTONES

ORAN MOR, FROM 19:00, £15

South African rockers who have achieved multi-platinum status in their own country – go them! BLOC+ JAM OPEN MIC

BLOC+, FROM 21:00, FREE

Weekly Open Mic with host Jamie Stuart and friends. WITHIN TEMPTATION

O2 ACADEMY GLASGOW, FROM 19:00, £28.65

Dutch progressive metal noisemakers, fronted by live howler Sharon den Adel. JOSH ROUSE (JONNY JACK)

KING TUT’S, FROM 20:30, £22

American folky pop singer-songwriter, originally from Nebraska, before starting his recording career in Nashville, then relocating to Spain. Got that? HEILUNG

Young Hamburg electronic music sensation, David August composes and performs multifaceted electronic music with hopeful tones and a human aesthetic. FRIGS

THE HUG AND PINT, FROM 19:30, £9

Canadian indie rock band, whose 2018 album Basic Behaviour was longlisted for the 2018 Polaris Music Prize.

Tue 13 Nov GO KART MOZART

ORAN MOR, FROM 19:00, £15

English independent pop band founded by Lawrence, formerly of the bands Felt and Denim.

JP HARRIS & THE TOUGH CHOICES (LES JOHNSON & ME) NICE ‘N’ SLEAZY, FROM 19:30, £8

DUSKY GREY

The Philadelphian chap and his merry band bring it with a set of accessible melodies cocked askew, marrying the introspection of the nocturnal stoner with the exploration of a troubadour frontiersman.

Danish band blurring the lines between musical performance, ancient pagan rituals, past and present. Interested?

THE GARAGE GLASGOW, FROM 19:00, £8

Gethin Williams and Catrin Hopkins are the Welsh teenage songwriting duo behind Dusky Grey. PHIL CAMPBELL

THE GARAGE GLASGOW, FROM 19:00, £20

Welsh rock musician, best known as the lead guitarist in Motörhead from 1984 to 2015.

EMME (BOBBY KAKOURIS + RUSSELL STEWART)

BROADCAST, FROM 19:30, £5

Catch the whimsical soul of British-Caribbean/Dutch multiinstrumentalist EM|ME. LEWIS CAPALDI (NINA NESBITT)

BARROWLANDS, FROM 19:00, £17.50

British singer-songwriter who rose to prominence when his first track Bruises became the fastest streaming track by any new artist. DEER TICK

STEREO, FROM 19:00, £15

Dirty Americana-styled pseudohillbillies led by guitarist and singer/songwriter John McCauley. WILLIWAW

THE OLD HAIRDRESSERS, FROM 18:00, TBC

Williwaw’s monthly residency at the Old Hairdressers continues. Expect only the finest in amp’d uke histrionics, silent reels to tantalise the optic nerves TOM MCGUIRE & THE BRASSHOLES

THE ART SCHOOL, FROM 19:00, £10

Eight-piece funk/soul powerhouse from Glasgow, making moves in the Scottish scene. ABSOLUTE CLASSICS: IMMERSE

CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:30, £10 - £11

Become immersed in a musical journey to other worlds where you are part of how you reach your destination. SUPERSUCKERS

AUDIO, FROM 18:30, £18 - £20

Acetate Records-signed Seattle rockers on their 31st anniversary tour. CHRIS WOOD

KURT VILE & THE VIOLATORS

SWG3 GLASGOW, FROM 19:00, £20 - £22.50

DAN REED NETWORK

THE GARAGE GLASGOW, FROM 18:30, £20

Funk rock guitarist par excellence, Dan Reed, takes to the road with his live band Network. THE LOTTERY WINNERS

BROADCAST, FROM 19:00, £8

The Lottery Winners are an indie-pop four-piece from an exact point equidistant between the musical meccas of Manchester and Liverpool. WAND

STEREO, FROM 19:00, £12.50

Los Angeles-based psych-rock outfit.

THE NIGHT WITH... JUICE VOCAL TRIO

THE HUG AND PINT, FROM 19:30, £6 - £10

Premiere of Glasgow composer Claire McCue’s new work.

Wed 14 Nov HUGH CORNWELL

ORAN MOR, FROM 19:00, £20

The Stranglers frontman heads out on his own, joined by a select batch of musical pals. HAPPY ACCIDENTS (HURRY + U.S HIGHBALL)

BLOC+, FROM 21:00, FREE

Intelligent, danceable indie-punk. LIL PUMP

O2 ACADEMY GLASGOW, FROM 19:00, £26.45

Miami rapper Gazzy Garcia, best known for his 2017 song Gucci Gang. DANKO JONES (ADMIRAL)

KING TUT’S, FROM 20:30, £15.40

Canadian rock trio led by singer/ guitarist Danko Jones, ably backed by John Calabrese and Rich Knox. KURUPT FM

SWG3 GLASGOW, FROM 19:00, £20 - £22

The People Just Do Nothing crew head out on tour. THERAPY?

THE GARAGE GLASGOW, FROM 19:00, £20

THE HUG AND PINT, FROM 19:30, £15

Intimate unplugged show from Ireland’s legendary trio.

ALAN BENZIE TRIO

Band names these days, eh? Just can’t keep up with them. Bitch Falcon are a rock trio from Dublin.

A self-taught musician, composer and songwriter, whose music reveals his love for the unofficial history of the English-speaking people. THE BLUE ARROW, FROM 19:30, £8 - £10

Winner of the BBC Scottish Young Jazz Musician of the Year at only 17 and Berklee College of Music’s prestigious Billboard Award,.

Mon 12 Nov THE MEKONS 77

ORAN MOR, FROM 19:00, £20

PIE & BREW, FROM 19:00, FREE

BLOC+, FROM 21:00, FREE

Glasgow based singer/songwriter John Rush plays his ‘folk tinged pop songs’.

DAVID AUGUST

THE ART SCHOOL, FROM 19:00, £13.50

JP Harris plays strictly country music, sticking to old-fashioned sounds.

Feel-good, groove-heavy arrangements from the high-energy five-piece. JOHN RUSH

DASHBOARD CONFESSIONAL

QUEEN MARGARET UNION, FROM 19:00, £29

If you haven’t screamed Hands Down at the top of your lungs and if Chris Carrabba wasn’t your teenage God, were you even really an emo?

SWG3 GLASGOW, FROM 18:00, £25 - £27.50

Formed in the late 1970s as an art collective, The Mekons are one of the longest-running and most prolific bands of the first-wave of British punk.

SHEELANAGIG

THE HUG AND PINT, FROM 19:30, £12.50

Improvised open mic with Jer Reid.

THE BLAS COLLECTIVE

Celtic Connections glitterati perform a night of inspiring covers, originals and classics.

BITCH FALCON (HAGGARD CAT)

THE GARAGE GLASGOW, FROM 19:00, £8

ALTINAK (HOWSON + THE PHASE)

BROADCAST, FROM 19:00, £6 - £7

Four-piece indie rock outfit from West Lothian. MANSIONAIR

STEREO, FROM 19:00, £8

Sydney-based trio making waves in their home country and beyond. SARA N JUNBUG

THE HUG AND PINT, FROM 19:30, £10

An acoustic trio based in Glasgow.

Thu 15 Nov STONE FOUNDATION

ORAN MOR, FROM 19:00, £15

Soul, jazz and funk outfit from The Midlands led by Neil Sheasby and Neil Jones.

THE VINTAGE CARAVAN

KING TUT’S, FROM 20:30, £13.75

Icelandic trio now two albums old.

THE SKINNY

WOMAN TO WOMAN (JUDIE TZUKE + BEVERLEY CRAVEN + JULIA FORDHAM) ORAN MOR, FROM 19:00, £30

Judie Tzuke, Beverley Craven and Julia Fordham perform their classic hit.

LESS THAN JAKE & REEL BIG FISH (ZEBRAHEAD + SUBURBAN LEGENDS + MATT STOCKS (DJ SET))

O2 ACADEMY GLASGOW, FROM 18:00, £24.15

Florida’s ska-pop pioneers Less Than Jake take to the road for their co-headline UK tour with Southern Californian favourites, Reel Big Fish. THE ACES

KING TUT’S, FROM 20:30, £11

American all-female band from Provo, Utah. STATIC FUTURE

NICE ‘N’ SLEAZY, FROM 19:30, £5

Alternative rock band, formed in 2011 in Glasgow. SHAKEY GRAVES

SWG3 GLASGOW, FROM 19:00, £18 - £20

Texan singer-songwriter Alejandro Rose-Garcia strums up some folky galore. GRUFF RHYS

SWG3 GLASGOW, FROM 19:00, £18 - £19.80

The Super Furry Animals man takes to the road in support of his latest multi-format American Interior project. PAUL FREEMAN

SWG3 GLASGOW, FROM 19:00, FREE

Welsh-born singer, songwriter and multi-instrumentalist currently enjoying a wave of critical and commercial success. SHEAFS

THE GARAGE GLASGOW, FROM 19:00, £8

Breaking through big time, Sheafs are ones to watch. AN EVENING WITH PETER DONEGAN

BROADCAST, FROM 19:00, £10 - £11

A fantastic evening of country and skiffle music by Peter Donegan. JOHNNY MARR

BARROWLANDS, FROM 19:00, £30

The former Smiths guitarist, and arguably best member, hits the road on his own. OBIE TRICE (SWIFTY MCVAY)

STEREO, FROM 19:00, £20

American rapper, known for singing summat or other about his missus having teeth? Or not having teeth? THE KIOSK CLUB (BIGHT + THE CORDUROYS + DARIA + MIDDLE CLASS GUILT)

13TH NOTE, FROM 19:30, £5

The Club Kiosk gets some new acts to the floor.

WE WERE PROMISED JETPACKS

ST LUKE’S, FROM 19:00, £15

Cult heroes, We Were Promised Jetpacks are back at it, following a four-year hiatus.

THE PROCLAIMERS

THE WOLFE TONES

O2 ACADEMY GLASGOW, FROM 19:00, £36.25

BARROWLANDS, FROM 19:00, £22

ACOUSTIC OPEN MIC NIGHT W/ GERRY LYONS

MATTIEL (MICHAEL RAULT)

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

Expect to hear the classics Sunshine on Leith, I’m Gonna Be (500 Miles) and Letter From America.

Alternative Irish chaps, incorporating elements of traditional Irish music into their sound.

KING TUT’S, FROM 20:30, £8.80

STEREO, FROM 19:00, £13

HOLY MOLY AND THE CRACKERS

Young Newcastle-based folkindie outfit, drawing their influences from such luminaries as Woody Guthrie and Joni Mitchell.

DUNCAN REID AND THE BIG HEADS (REACTION + POWDERKEG) NICE ‘N’ SLEAZY, FROM 19:30, £10

Punk rocker Duncan Reid and his band of big heads. EASTERN PROMISE

PLATFORM, FROM 19:00, £7.50 - £15

Annual multi-arts festival bringing a thrilling mix of live music, performance and visual art to the East End of Glasgow. FASTLOVE - A TRIBUTE TO GEORGE MICHAEL

SEC, FROM 18:30, £29.50 - £49.50

Direct from London’s West End, the UK’s biggest George Michael tribute show. Now featuring special guest Ed Barker, George Michael’s original solo saxophonist. SWIMMING TAPES

SWG3 GLASGOW, FROM 19:00, £7.50 - £8.75

London-based guitar pop. HEWHOCANNOTBENAMED

THE GARAGE GLASGOW, FROM 19:00, £10

Presumably named after Voldemort, who can in fact be named. A

THE GARAGE GLASGOW, FROM 18:00, £23

Remember A’s song Nothing from 2002? Big hit. THE SPITFIRES

BROADCAST, FROM 19:00, £13.50 - £14.85

The Walford-based trio do their fiery and anthemic thing.

ST. PAUL AND THE BROKEN BONES

BARROWLANDS, FROM 19:00, £25.45

Alabama sextet with a gospel neo-soul garage sound. TRICOT

STEREO, FROM 19:00, £10

Experimental math rock band from Kyoto, formed in 2010. WET WET WET

ST LUKE’S, FROM 19:00, £42

Scotland’s soft-rock favourites, famous for their connections with Hugh Grant’s particularly floppyhaired era. THE GREAT OLD ONES & AUÐN

AUDIO, FROM 18:30, £13

A night of quality European black metal. EMMA MURDOCH

JESS GLYNNE

THE SSE HYDRO, FROM 18:30, £36.90

The wild-haired North London gal, continually making chart history with her pop hits.

AMY RIGBY (BIG RUSS WILKINS + LIGHTNIN’ HOLLING)

THE HUG AND PINT, FROM 19:30, £10

Amy Rigby has made a life out of writing and singing about life, in bands Last Roundup and The Shams and alone. THE BLUE ARROW BIG BAND

THE BLUE ARROW, FROM 19:30, £5 - £8

Josh Elcock presents The Blue Arrow Big Band.

Fri 16 Nov

GERRY JABLONSKI & THE ELECTRIC BAND

ORAN MOR, FROM 19:00, £15

The Perth alt-rockers return to Glasgow.

STRATA play original music fusing jazz, rock and classical minimalism. THE MUSIC OF JOHN DENVER

Chris Bannister recreates the sound of John Denver. THE PROCLAIMERS

O2 ACADEMY GLASGOW, FROM 19:00, £36.25

Expect to hear the classics Sunshine on Leith, I’m Gonna Be (500 Miles) and Letter From America. JUNIORE (LYLO + TOMORROW SYNDICATE)

MONO, FROM 19:30, £8 - £10

New French pop sensations, Juniore play an exclusive debut show in Scotland. PART CHIMP (CARTILAGE)

NICE ‘N’ SLEAZY, FROM 19:30, £10 - £13

Noise-rock four-piece. EASTERN PROMISE

PLATFORM, FROM 17:00, £7.50 - £15

Annual multi-arts festival bringing a thrilling mix of live music, performance and visual art to the East End of Glasgow. THE SOUTHMARTINS

SWG3 GLASGOW, FROM 19:00, £14.65

The Housemartins and Beautiful South tribute act. TALOS

SWG3 GLASGOW, FROM 19:00, £9.90

The musical project of Eoin French, an artist and architect hailing from Cork, Ireland. THE ALGORITHM

THE GLAD CAFE, FROM 19:30, £5

Local roots-meets-blues outfit. FLORENCE AND THE MACHINE

THE SSE HYDRO, FROM 18:30, £39.75 - £62.45

Florence Welch and her merry band do their much-loved indiepop thing in the not-so-intimate surrounds of the Hydro. RHYTHM OF THE 90S

THE HUG AND PINT, FROM 19:30, £15

A seven-piece band bring the best dance hits from the 90s and perform them fully live. KIRK STRACHAN AND SEAN MCGARVEY

PIE & BREW, FROM 19:00, FREE

Singer-songwriters based in Glasgow, both known for their melodic rock style and eclectic range of influences.

Sun 18 Nov

THE CLASSIC ACOUSTIC SONGBOOK WITH RONNIE & OLIVIA

ORAN MOR, FROM 17:00, FREE

Ronnie and Olivia play tunes from their Classic Acoustic Songbook in the cosy bar.

TIN PIGEONS

THE GARAGE GLASGOW, FROM 19:30, £6.25

Four-piece indie-folk band from the East-Midlands. CHORUSGIRL (LIFE MODEL)

BROADCAST, FROM 19:00, £5 - £5.50

London-based Chorusgirl have previously supported the likes of Spinning Coin, Martha and Joanna Gruesome, but now they’re taking on headlining duties. TONY WRIGHT

THE HUG AND PINT, FROM 19:30, £13

The Terrorvision frontman plays with a full band.

Tue 20 Nov

ORCHID COLLECTIVE (PEPLO + ATTIC CHOIR)

BLOC+, FROM 21:00, FREE

Orchid Collective mix a combination of vocal harmonies and ambient soundscapes. SAMANTHA HARVEY

KING TUT’S, FROM 20:00, £12.10

Virgin EMI-signee, whose success rose from YouTube covers, as is often the case these days. HONNE

ST LUKE’S, FROM 19:00, £15.40

East London duo mixing classic soul with synths. KISSISSIPPI & TANCRED (THE WINTER PASSING)

THE HUG AND PINT, FROM 19:30, £12

Co-headline tour from the two musicians.

Wed 21 Nov SEASICK STEVE

O2 ACADEMY GLASGOW, FROM 19:00, £34.25

Weekly Open Mic with host Jamie Stuart and friends.

Storytelling country-rockin’ bluesman whose tunes are rich with raspy vocals and personalised guitar.

KING TUT’S, FROM 20:30, £11

NICE ‘N’ SLEAZY, FROM 19:30, £7

BLOC+ JAM OPEN MIC

BLOC+, FROM 21:00, FREE

NOAH KAHAN (ETHAM)

Folk-infused pop from ‘Murica. KABOBO

NICE ‘N’ SLEAZY, FROM 19:30, TBC

Alt-rock five-piece. METRIC

QUEEN MARGARET UNION, FROM 19:00, £19.80

The Broken Social Scene affiliated rockers return with another new album. THE FOUR TOPS & THE TEMPTATIONS

SEC, FROM 18:30, £45.40 - £53.90

SUNDAY (CYBELE)

Live music at Sleazys. SZUN WAVES

BROADCAST, FROM 19:00, £7 - £8

Szun Waves is comprised of electronic producer Luke Abbott, Laurence Pike of PVT and Jack Wyllie of Portico Quartet. NOTHING BUT THIEVES

BARROWLANDS, FROM 19:00, £25

RCA Records-signees from Southend. HMLTD (DAS PLASTIXX)

STEREO, FROM 19:30, £10

English rock unit who returned from brief hiatus in 2014.

Stands for Happy Meal Ltd. (not to be confused with Happy Meals, that’s a whole ‘nother thing). Expect a massive 80s glamrock live show experience.

THE GARAGE GLASGOW, FROM 19:00, £10

AUDIO, FROM 18:30, £8

BASEMENT

CAVETOWN

19-year-old Robin Skinner, who claims to want to make music forever. Well, you’ve still got plenty of years ahead of you Robin.

ECHO LADIES (THE CHERRY WAVE + BOBBY KAKOURIS)

BROADCAST, FROM 19:00, £7 - £8

Swedish shoegaze trio, who released their debut album Pink Noise in 2018. MIDDLE KIDS

STEREO, FROM 19:00, £9

Indie Sydney trio, made up of husband and wife, Tim Fitz and Hannah Joy, and third-wheel drummer Harry Day. THE JAPANESE HOUSE

ST LUKE’S, FROM 19:00, £12 - £13.20

Dark and dreamy synth-heavy soundscapes from the young solo artist less cryptically known as Amber Bain. JEALOUS OF THE BIRDS

THE GLAD CAFE, FROM 19:30, £7 - £10

The musical project of Belfast’s Naomi Hamilton. DANNY GOFFEY

THE HUG AND PINT, FROM 19:30, £12.50

Former Supergrass drummer and Babyshambles touring drummer, Danny Goffey returns with more solo material.

Mon 19 Nov JESSICA MOSS (WOLF)

BLOC+, FROM 21:00, FREE

NERVUS (GREAT WRIGHT)

Walford-based rock band, signed to Big Scary Monsters. THE JELLYMAN’S DAUGHTER

THE HUG AND PINT, FROM 19:30, £8 - £10

2015 nominees for best acoustic act at the Scottish Alternative Music Awards, The Jellyman’s Daughter celebrate the release of their new album Dead Reckoning.

Thu 22 Nov

DAVE ARCARI (ANDREW ROBERT EUSTACE)

KING TUT’S, FROM 20:30, £8.80

SLIDE guitarist and songwriter Dave Arcari’s alt-blues sounds owe as much to trash country, punk and rockabilly as they do pre-war Delta blues.

VAGABOND VOICES (DEAN OWENS + YVONNE LYONS) NICE ‘N’ SLEAZY, FROM 19:30, £10 - £12

A double bill with two of Scotland’s finest voices. THE CABEYTU BROTHERS

QUEEN MARGARET UNION, FROM 19:00, £15

Internationally-acclaimed, multiinstrumental duo from Benidorm. MICHAEL CASSIDY

SWG3 GLASGOW, FROM 19:00, £8 - £9.25

Paisley musician Michael Cassidy swings by for an eve of contemporary pop-folk. MATT MALTESE (FUR)

BROADCAST, FROM 19:00, £10 - £11

The musical project of French musician and knob-twiddler Rémi Gallego from Perpignan.

Montreal violinist, best known as a permanent member of Thee Silver Mt. Zion Memorial Orchestra.

Crooner of King Krule proportions, Matt Maltese takes to the road.

THE GARAGE GLASGOW, FROM 19:00, £11

KING TUT’S, FROM 20:30, £11

The non-Arctic Monkey half of the Last Shadow Puppets does his nostalgic Merseybeat thing.

THE GARAGE GLASGOW, FROM 19:00, £10

KING NO-ONE

Yorkshire indie rock quartet.

November 2018

THE RULERS OF THE ROOT

GRAHAM COSTELLO’S STRATA

THE BLUE ARROW, FROM 19:30, £8

ORAN MOR, FROM 19:00, £14

Swedish esoteric black metallers Hypothermia make their debut appearance in Scotland alongside the experimental noise outfit Gnaw Their Tongues.

The Irish neo-psychedelic punk-grunge five-piece return to Glasgow for the second time.

THE GARAGE GLASGOW, FROM 19:00, £16

Emma is a singer/songwriter based in Glasgow.

Sat 17 Nov

AUDIO, FROM 18:30, £15

13TH NOTE, FROM 19:30, £5

PIE & BREW, FROM 20:00, FREE

CCA: CENTRE FOR CONTEMPORARY ART, FROM 20:00, £14 - £17

DARKNESS GUIDES US VOL. 1: HYPOTHERMIA & GNAW THEIR TONGUES

THE BARBITURATES (NAE JOY + HACHIKO + DEATH TO NOODLES)

Classic Motown hitmakers, times two.

ADAM HOLMES & THE EMBERS (BASKERY)

The Fallen Angels Club brings you this fantastic bill featuring one of the rising stars of the UK roots scene, Edinburgh’s Adam Holmes, plus Swedish sisters Baskery.

Mattiel Brown currently juggles her life as a musician with a job as an ad designer and illustrator at Mailchimp. And you thought you were busy.

NICE ‘N’ SLEAZY, FROM 20:00, FREE

JUANITA STEIN (JOHN J PRESLEY)

Howling Bells frontwoman, heading out with her solo tracks.

MILES KANE

BARROWLANDS, FROM 19:30, £22.50

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

STEREO, FROM 19:00, £11

CLEAN CUT KID (ZUZU)

TRIBE ANIMAL SANCTUARY FUNDRAISER (BRATAKUS + GAY PANIC DEFENCE)

CRYPTIC SHIFT (KINGPIN + TEMPERED + BHÀS)

Fundraiser gig for Tribe Animal Sanctuary.

English singer-songwriter who lent vocals to Clean Bandit’s Rockabye.

SEC, FROM 19:30, £46.55

AUDIO, FROM 18:00, £20

New Liverpool fuzz-pop band out on their UK headline tour. 13TH NOTE, FROM 19:00, £5

The sci-fi death-trash act return. KYLE FALCONER

ST LUKE’S, FROM 19:00, £16.50

The riotous frontman of The View tours solo.

65DAYSOFSTATIC: DECOMPOSITION THEORY CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:00, £18 - £22

65daysofstatic is an instrumental experimental rock band from Sheffield, England. Formed in 2001, the band is composed of Paul Wolinski, Joe Shrewsbury, Rob Jones and Simon Wright. CULTURE CLUB

THE SSE HYDRO, FROM 18:00, £53.90 - £82.30

Boy George and co are back, and you don’t want to hurt them so you may as well go. PAUL SMITH

THE HUG AND PINT, FROM 19:30, £15

The Maximo Park frontman goes it alone.

NICE ‘N’ SLEAZY, FROM 19:30, TBC

JOOLS HOLLAND (MARC ALMOND)

Scottish hardcore punk band from Edinburgh.

SWG3 GLASGOW, FROM 19:00, £16 - £18

Six art school students from Tallinn, Estonia, who went on to form a band. Revolutionary.

STEFFLON DON

Fast becoming a huge name in the UK’s rap scene, and with huge collaborations with the likes of French Montana and Demi Lovato, Stefflon Don is the real ting. DINOSAUR PILE UP

CATHOUSE, FROM 19:00, £12.50

Leeds-based alternative rock lot led by singer and guitarist Matt Bigland. SAINTSENECA

BROADCAST, FROM 19:00, £7 - £8

Columbus folk-punk band whose fourth album, Pillar of Na, is all about memory. LISTENER

STEREO, FROM 19:00, £10

Fri 23 Nov ORAN MOR, FROM 19:00, FREE

13TH NOTE, FROM 19:30, £6

Sunday Jazz in the main bar with saxophonist Gordon Dickson and guitarist Graham Mackintosh. THE MUSIC OF CREAM

O2 ACADEMY GLASGOW, FROM 19:00, £30.90 - £39.90

Kofi Baker, Malcolm Bruce and Will Johns are reuniting to pay homage to Cream’s extraordinary legacy. BEERJACKET (ANNIE BOOTH)

KING TUT’S, FROM 20:30, £11

The one-man alternative folk band that is Peter Kelly plays an intimate show. FRESCHARD & STANLEY BRINKS

NICE ‘N’ SLEAZY, FROM 19:30, £6

A night of warmth, wit and wisdom.

JOOLS HOLLAND (MARC ALMOND)

SEC, FROM 19:30, £46.55

The former Squeeze piano tinkler does his thing, accompanied by Soft Cell’s Marc Almond. THIS FEELING (SWAY + TWENTY FOUR + WEEKEND DEBT + NEW REBEL CULT)

BROADCAST, FROM 19:00, £6 - £7

The indie club night returns.

SUNDAY MORNING ELVIS (THIRTY BELOW)

STEREO, FROM 19:00, £6

Glasgow three-piece, who formed in early 2016 and set out to write a set of huge unashamedly anthemic indie tunes. ERRANT BOY (PETER CAT + STEPHEN MCLAREN)

13TH NOTE, FROM 19:30, TBC

Errant Media celebrate the release of Errant Boy’s second full-length album, Memory Fractures.

SOFT RIOT (VIEON + SHAM GATE)

THE OLD HAIRDRESSERS, FROM 19:30, £6

Using an arsenal of synthesizers and effects, Soft Riot’s sound is an amalgamation of JJD’s personal experience with music. MS. LAURYN HILL (SHABAZZ PALACES)

THE SSE HYDRO, FROM 18:30, £44.85 - £56.75

The former Fugees singer on tour celebrating the 20th anniversary of her seminal album The Miseducation of Lauryn Hill.

THE OTHER TWO SIDES (GREENBACK + ANGUS MUNRO + GARY DEVENEY) THE HUG AND PINT, FROM 19:30, £5

The Other Two Sides perpetuate noisy, soulful, groove-laden, punk-tinged rock’n’roll. EMMA MURDOCH

PIE & BREW, FROM 20:00, FREE

Emma is a singer/songwriter based in Glasgow.

Sat 24 Nov THE JERSEY NOTES

ORAN MOR, FROM 19:00, £16

Tribute to Frankie Valli & the Four Seasons. PLEASURE POOL & DOUBLE DISCONE

MONO, FROM 20:00, FREE

Mono invites some pals along to celebrate their 16th birthday.

THE EXPLOITED

The former Squeeze piano tinkler does his thing, accompanied by Soft Cell’s Marc Almond.

Spoken word rock from the Arkansas outfit, who initially started out as Dan Smith’s solo underground hip-hop project.

GG JAZZ DUO

ANNE-MARIE BARROWLANDS, FROM 19:00, £23.50 - £25.85

THE ASURAS

The Asuras are a five-piece indie rock band hailing from the West of Scotland. BEAK

THE ART SCHOOL, FROM 19:00, £16

Bristol-based trio of made up of Geoff Barrow (him from Portishead!), Matt Williams and Billy Fuller.

COURTEENERS (GERRY CINNAMON + ZU ZU) THE SSE HYDRO, FROM 18:30, £25.55 - £36.90

The Mancunian group who once told us we’re not 19 forever, shockingly still going and still drawing huge crowds. KITTY

PIE & BREW, FROM 19:00, FREE

20-year-old songwriter from Glasgow mixing jazz and funk sounds with her soulful voice and lyrics beyond her years. MANDULU AND HEPHZIBAH

PIE & BREW, FROM 21:00, FREE

High octane contemporary folk harmony duo, whose songs are dark but upbeat and lyrically mature. KLEMENS MARKTL FOUR

THE BLUE ARROW, FROM 19:30, £8 - £10

The new project from the renowned drummer and composer.

Sun 25 Nov BLOC+ JAM OPEN MIC

BLOC+, FROM 21:00, FREE

Weekly Open Mic with host Jamie Stuart and friends.

BROTHERS OSBORNE (LUCIE SILVAS)

O2 ACADEMY GLASGOW, FROM 19:00, £25.85

Country brother duo Brothers Osborne have been jamming together since they were young, perfecting the southern guitar licks and crooning vocals. ARKELLS

KING TUT’S, FROM 20:30, £11

Canadian rockers who’ve a major label deal under their belts.

VIC GODARD & JOHNNY BRITTON W/ THE SUBWAY SECT (SPECTORBULLETS + WETLOOK) MONO, FROM 19:30, £12 - £13.50

Punk legend Vic Godard returns with the latest incarnation of the Subway Sect, including ex-Sex Pistol Paul Cook on drums. WHOLLY CATS

NICE ‘N’ SLEAZY, FROM 17:00, £4

Glasgow cowboy jazz, boogie rock’n’roll trio. THE HUMAN LEAGUE

SEC, FROM 18:30, £38 - £43.70

The Human League are ready for another tour of their oncepioneering new wave. THE HUBBARDS

THE GARAGE GLASGOW, FROM 19:00, £8.80

Four-piece indie pop band based between Leeds and Hull. THE INTERRUPTERS

THE GARAGE GLASGOW, FROM 19:00, £16.50

Ska and 2-Tone indebted four-piece. MODERATE REBELS

BROADCAST, FROM 19:00, £5 - £6

London-four piece with a pretty great name.

PIA FRAUS (SPINNING COIN)

THE GLAD CAFE, FROM 19:30, £7 - £9

BRING ME THE HORIZON

THE SSE HYDRO, FROM 18:30, £36.90 - £44.85

Yorkshire lads known for their rock and metal musical stylings. DAN STUART (TOM HEYMAN)

THE HUG AND PINT, FROM 19:30, £13

The former frontman of 80s post-punk country-rock group Green on Red tours his most recent solo material. SWEATY PALMS & LYLO

THE BLUE ARROW, FROM 19:30, £7.50

Co-headline show from two of Glasgow’s finest young bands.

Mon 26 Nov THE BLAS COLLECTIVE

BLOC+, FROM 21:00, FREE

Celtic Connections glitterati perform a night of inspiring covers, originals and classics. DEVOTCHKA

PETE TONG PRESENTS IBIZA CLASSICS THE SSE HYDRO, FROM 18:30, £39.75 - £73.80

Anthems of the Balearic Isles are performed by The Heritage Orchestra and conducted by Jules Buckley. THOM ARTWAY

THE HUG AND PINT, FROM 19:30, £5

Rising folk-pop artist from the Czech Republic.

Wed 28 Nov WALTER TROUT

ORAN MOR, FROM 19:00, £25

The former lead guitarist with Canned Heat et al returns to the touring circuit. JESSIE J

O2 ACADEMY GLASGOW, FROM 19:00, £37.10

The feisty popstress (aka Jessica Ellen Cornish) continues on her quest for world domination. PARDANS

NICE ‘N’ SLEAZY, FROM 19:30, £6

Alumni of Copenhagen’s Mayhem collective, this Danish jazz-punk outfit are one of the region’s most exciting exports. GENTLY TENDER

BROADCAST, FROM 19:00, £7.50 - £8.50

London indie project featuring Sam Fryer, Pete Mayhew and Will Doyle, who are joined by The Big Moon’s Celia Archer and guitarist Adam Brown. YOU ME AT SIX

BARROWLANDS, FROM 19:00, £21

KING TUT’S, FROM 20:30, £16.50

The pop-punk icons celebrate the 10 year anniversary of their debut album Take Off Your Colours.

JIGS & REELZY

STEREO, FROM 19:00, £13

Four-piece multi-instrumental and vocal ensemble from Colorado. NICE ‘N’ SLEAZY, FROM 20:00, FREE

Trad/folk open floor with Neil McDermott. BARBARA MORGENSTERN

PLATFORM, FROM 19:00, £7.50 - £10

German electronic music artist, keyboardist and singer from Berlin who has made some of the most interesting and absorbing electronic records over the last 20 years. UNKNOWN MORTAL ORCHESTRA

SWG3 GLASGOW, FROM 19:00, £18.50 - £20.35

Portland-based three piece making alternative indie-rock with a healthy dose of electronic influence. SILENT PLANET

THE GARAGE GLASGOW, FROM 19:00, £12

Californian metalcore band. SELF ESTEEM

BROADCAST, FROM 19:00, £7 - £8

Self Esteem is the brand new project from Rebecca Taylor of Slow Club. Her new sound is dramatic, direct, charming and deafeningly exciting. ANNE-MARIE

BARROWLANDS, FROM 19:00, £23.50 - £25.85

English singer-songwriter who lent vocals to Clean Bandit’s Rockabye. SUNFLOWER BEAN

THE ART SCHOOL, FROM 19:00, £13.50

The low-slung psyche punk band that had Brooklyn in a spin in 2015 head on over to UK shores. CONAN

AUDIO, FROM 18:30, £14

The Merseyside doom metal trio return to Scotland.

THE VIRGINMARYS

Macclesfield-born rock trio with their sights set on America. MALCOLM MIDDLETON

ST LUKE’S, FROM 19:00, £15

Scottish-brogued miserablist, best known for his work with cult Scottish indie rock band Arab Strap. YEARS & YEARS

THE SSE HYDRO, FROM 18:30, £29.50 - £34.05

Electro-pop trio from London, fronted by the wonderful Olly Alexander, who’s also known to dabble in the acting circuit. DALLAHAN

DRYGATE BREWING CO., FROM 19:30, £10

A thrilling force in the international folk music scene; heavily rooted in traditional Irish music, but with hugely diverse backgrounds. COLOURWORKS (MATT CARMICHAEL DUO)

THE BLUE ARROW, FROM 19:30, £7

Colourworks launch their new EP.

Thu 29 Nov BEN POOLE

ORAN MOR, FROM 19:00, £15

Young blues guitarist infused with a hard-hitting in yer face rock approach.

THE ABCD TOUR (ADORE DELANO + BIANCO DEL RIO + COURTNEY ACT + DARIENNE LAKE)

O2 ACADEMY GLASGOW, FROM 19:30, £39.90

Four RuPaul’s Drag Race alumni head out on a joint tour. JADE BIRD

KING TUT’S, FROM 20:30, £11

Tue 27 Nov

London-based singer-songwriter, who emphasizes melodic craft and emotional subtlety.

NICE ‘N’ SLEAZY, FROM 19:30, £7

NICE ‘N’ SLEAZY, FROM 19:30, £6

FREAKENDER PRESENTS: PAUL JACOBS

Previously performing as a one-man army, Jacobs is now performing as a four-piece which renders his catchy melodic garage even more incendiary. YOU ME AT SIX

BARROWLANDS, FROM 19:00, £21

The pop-punk icons celebrate the 10 year anniversary of their debut album Take Off Your Colours. IGNITE #004 (WALT DISCO + BETA WAVES + NOVEMBER LIGHTS + CARA ROSE)

ST LUKE’S, FROM 19:00, £6 - £6.75

SEPRONA (AVANTE + THE PONTANGZ)

Five-piece band emerging from Liverpool. TESSERACT

THE GARAGE GLASGOW, FROM 18:30, £20

Prog-metal from the musical hotspot that is, yep, none other than Milton Keynes. ASHTON LANE

ST LUKE’S, FROM 19:30, £12 - £15

UK country band Ashton Lane celebrate the launch of their new album, Travelling Mercies. JULIA JACKLIN

THE GLAD CAFE, FROM 19:30, £13.20

Ignite Scotland showcase their fourth lot of artists.

Aussie singer-songwriter crafting rich Americana.

THE GLAD CAFE, FROM 19:30, £7 - £10

Frankie Valli and his touring mainstays, The Four Seasons, head out on another tour.

SUNDOWN SONG NIGHTS (RANDOLPH’S LEAP (SOLO) + CLAIRE HASTINGS)

A brand new series of gigs in the Southside of Glasgow, exploring the broad genre of folk.

FRANKIE VALLI & THE FOUR SEASONS

THE SSE HYDRO, FROM 18:30, £51.10 - £73.80

Listings

CURSE OF LONO THE HUG AND PINT, FROM 19:30, £8.50

London five-piece, whose songs cover themes including infidelity and sexual jealousy, the death of friends and frontman Felix Bechtolsheimer’s personal struggle with heroin addiction. PHOENICIAN BLINDS

THE BLUE ARROW, FROM 19:30, £8 - £10

Jazzy instrumental quartet blending jazz with hip-hop and cinematic soundscapes.

Fri 30 Nov GG JAZZ DUO

ORAN MOR, FROM 19:00, FREE

Sunday Jazz in the main bar with saxophonist Gordon Dickson and guitarist Graham Mackintosh.

LONDON CALLING PLAY THE CLASH

ORAN MOR, FROM 19:00, £12.50

The UK’s premiere tribute to The Clash. YOUNG FATHERS (PETITE NOIR)

O2 ACADEMY GLASGOW, FROM 19:00, £20 - £22.50

The Scottish hip-hop trio return with their rather glorious line in DIY rap and synchronised dance moves.

MARK SULTAN AKA BBQ (THE BUCKY RAGE + THE RAPTORS)

MONO, FROM 20:00, £8 - £10

The Man With The Golden Voice is back again. NEON HURRICANE (THE STATLER PROJECT)

NICE ‘N’ SLEAZY, FROM 19:30, £6 - £7

Four-piece alternative rock band from all corners of Glasgow. GROOVE ARMADA (LIVE)

SWG3 GLASGOW, FROM 19:00, £28.50 - £32.06

A not-to-be-missed live set from dance music legends Groove Armada. SNEAKBO

SWG3 GLASGOW, FROM 19:00, £10 - £11.25

South London rapper, Agassi Babatunde Odusina made the wise decision to abbreviate his name for the music biz to the much more memorable Sneakbo. PALE GREY

THE GARAGE GLASGOW, FROM 19:00, £8.80

Fresh indie-pop band from Belgium.

LUSTS (STATIC UNION + THE PLASTIC YOUTH)

BROADCAST, FROM 19:00, £7 - £8

The Leicestershire brothers Andy and James Stone tour off the back of new single Waves. INYAL

STEREO, FROM 19:00, £8

Local folktronica five-piece.

START STATIC (THE HOT SOLES + QUOTES OF THE DEAD + TAPED LIVE)

13TH NOTE, FROM 19:30, £6 - £7

Blend of indie, pop and rock hailing from Glasgow. BROKEN20

THE OLD HAIRDRESSERS, FROM 19:00, TBC

Glasgow’s “eroded electronics” label, Broken20 take over two floors of The Old Hairdressers. ABORTED & CRYPTOPSY

AUDIO, FROM 18:30, £18

Co-headline tour from Belgium’s Aborted and Canada’s Cryptopsy.

MODERN STUDIES (BROKEN CHANTER)

THE GLAD CAFE, FROM 19:30, £8 - £10

Chamber pop band from Glasgowvia-Yorkshire whose quietly experimental landscape songs are played on multiple instruments. KIRAN LEONARD (UBALDO)

THE HUG AND PINT, FROM 19:30, £10

A mercurially talented 23-year-old musician from Oldham, Greater Manchester. EMMA MURDOCH

PIE & BREW, FROM 20:00, FREE

Emma is a singer/songwriter based in Glasgow. WERKHA

THE BLUE ARROW, FROM 19:30, £10

Werkha provides an intimate taster of brand new material from a forthcoming new album via Tru Thoughts, joined by a full live band.

Thu 01 Nov JONAH MATRANGA

BANNERMANS, FROM 19:30, £11 - £13

FAR front man tours to support new book and 20 years of Water & Solutions.

Edinburgh Music

Listings

OPEN MIC

BANNERMANS, FROM 15:00, FREE

Free music all day from acoustic to blues and rock. EX REVERIE + BURD ELLEN

CALLAGHAN

MAX & HARVEY (JENNA RAINE)

BLANCMANGE

THE VOODOO ROOMS, FROM 19:30, £14

THE MASH HOUSE, FROM 19:00, £20

THE VOODOO ROOMS, FROM 19:00, £20

Originally from Lincolnshire, Callaghan moved to the USA in summer 2010 to record and tour with Grammy-Nominee Shawn Mullins. Since then she’s been performing and winning fans all across the USA.

Young pop duo who rose to fame on the social app musical.ly. So fresh, so modern.

The 80s superstars are coming to Edinburgh. Don’t panic, just get down.

LEITH DEPOT, FROM 19:30, £8

SNEAKY PETE’S, FROM 19:00, £13

SNEAKY PETE’S, FROM 19:00, £8

OK PAL RECORDS LAUNCH PARTY (FAITH ELIOTT + HAILEY BEAVIS + BLUE TIGER + DJ SPILLRISK)

BLOXX

Indie-pop band, who played to a huge, elated crowd at this year’s The Great Escape festival.

SECRET ADMIRER + DOPSICKFLY + LOS TORNILLOS

LEITH DEPOT, FROM 19:30, £5

Showcasing three of Edinburgh’s finest bands.

HALLOWEERD 2018 (MEOW + DANGERMULE + THE SPOOKY BLUE)

BRIG BELOW, FROM 19:30, £6 - £8

Returning for 2018, the demonic gonzo music fest that is HALLOWEERD.

Fri 02 Nov AFTER THE END

BANNERMANS, FROM 20:00, £8 - £10

Tribute to Black Sabbath.

RUSSEL WATSON: CANZIONE D’AMORE

FESTIVAL THEATRE, FROM 19:30, £35 - £45

The popular classical crossover artist does his thing. EAR CANDY FESTIVAL

TRAVERSE THEATRE, FROM 19:00, £5 - £12

Grassroots music festival for Edinburgh’s up and coming bands. Their aim is to provide an inclusive and diverse event, with a broad range of musical styles.

DUDS

A tight Mancunian five-piece that is centred around sharp bursts of rhythmical energy.

BRIG BELOW, FROM 19:30, £3.65 - £4.53

Hailey Beavis and Faith Eliott launch their new label OK PAL Records. ALTERNATIVE PEERS BALL

THE ASSEMBLY ROOMS, FROM 17:00, £27.50

The Alternative Peers Ball returns, following its inaugural outing last year, with a stellar lineup of contemporary Scottish talent.

Sun 04 Nov

PAPER BEATS ROCK (DEGRASSI + SIXTY CYCLE HUM)

BANNERMANS, FROM 19:30, FREE

The final hurrah from PBR.

THE WHITNEY HOUSTON SHOW

FESTIVAL THEATRE, FROM 19:30, £32.50 - £37.50

A critically acclaimed live concert honouring the talent, music and memory of Whitney Houston.

HALLOWEEN (ALMOST) ALL DAYER

HENRY’S CELLAR BAR, FROM 16:00, £0 - £4

Punk, noise and experimental Halloween all-dayer at Henry’s. NEW PURPLE CELEBRATION

THE QUEEN’S HALL, FROM 19:30, £22.50 - £24.50

WEE RED BAR, FROM 19:00, £5 - £6

A world class live celebration of the life, legacy and music of Prince.

THE CHURCH

THE VOODOO ROOMS, FROM 19:30, £13

COLUMBIA

Oasis tribute act.

THE LIQUID ROOM, FROM 19:00, £20.25

The iconic Australian band are back with new music. NIGHT MUSIC: SAM GELLAITRY

SNEAKY PETE’S, FROM 19:00, £10

Turbo Stirling XL Recordings signing, Sam Gellaitry returns for the Night Music series. THE SESHEN

THE MASH HOUSE, FROM 19:00, £9 - £11

Electro-popping seven-piece from San Francisco Bay, led by singer/ lyricist Lalin St. Juste and bassist/ producer Akiyoshi Ehara. LONG DISTANCE + SPLENDID SUNS + CHRIS MOSSOP

LEITH DEPOT, FROM 19:30, TBC

Haunting, ambient, emotional pop.

MARTIN SEXTON

American singer-songwriter, who has released nine studio albums blending soul, gospel, country, rock, blues and R’n’B. BLIND CIRCUITS (SPYLAW + DINOSAUR 94)

SNEAKY PETE’S, FROM 19:00, £5

Blind Circuits are an Edinburghbased duo fusing rock, pop and funk with an electronic twist. Big beats, big riffs and even bigger basslines. EWAN MACINTYRE

LEITH DEPOT, FROM 19:30, TBC

Road Junkie album launch.

Mon 05 Nov JUNKYARD (THE JOKERS)

BANNERMANS, FROM 19:30, £15 - £18

Sat 03 Nov

Hollywood legends return and have The Jokers along with them.

BANNERMANS, FROM 20:00, £6

TRAVERSE THEATRE, FROM 20:00, £11

CORRUPT THE SYSTEM (DYCHOSIS + IFREANN)

High energy, riff loaded four-piece metal band from Glasgow.

HELLO AGAIN NEIL DIAMOND (BROOKLYN CREED & THE SALVATION BAND)

THE QUEEN’S HALL, FROM 19:00, £22 - £24

Celebrating 50 years of the legendary Neil Diamond. BAD NAME

THE VOODOO ROOMS, FROM 19:00, £10

Bon Jovi tribute act.

EAR CANDY FESTIVAL

TRAVERSE THEATRE, FROM 16:00, £5 - £12

Grassroots music festival for Edinburgh’s up and coming bands. Their aim is to provide an inclusive and diverse event, with a broad range of musical styles. THE FAKES + THE VALVES + THE FERRAMOANS

WEE RED BAR, FROM 19:00, £4 - £5

A night of feedback, punk and reverb. SKINDRED

THE LIQUID ROOM, FROM 18:30, £21.50 - £24

Longstanding Welsh rockers mixing heavy metal, alternative rock, punk rock and reggae.

WHAT’S THE NOISE PRESENTS (STATIC SUNS + THE COMMON PEOPLE + STEAL THE SUN + THE ORANGE TILES) SNEAKY PETE’S, FROM 19:00, £6

Killer local lineup brought to you by What’s The Noise.

THE DIME NOTES & VIPER SWING

Double bill of jazz from the 20s, 30s and 40s, featuring Edinburgh’s premier swing band Viper Swing and London’s New Orleans combo The Dime Notes.

Tue 06 Nov

PRESSURE VALVE UNPLUGGED

BANNERMANS, FROM 17:00, FREE

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

Wed 07 Nov BRUCE COCKBURN

THE QUEEN’S HALL, FROM 19:30, £12 - £45

As both a songwriter and a guitarist, Bruce Cockburn is considered among the world’s most coveted live performers. ACID MOTHERS TEMPLE

THE MASH HOUSE, FROM 19:00, £12 - £14

Kawabata Makoto and his band of sonic outlaws, mixing traditional melody with hyper-aggressive playing techniques and plenty of improvisation. ARRESTED DEVELOPMENT

THE LIQUID ROOM, FROM 19:00, £23.50 - £25.85

The 1988-founded hip hop group from Atlanta dust off the hits for another tour. LEONARD COHEN TRIBUTE NIGHT

LEITH DEPOT, FROM 19:30, TBC

BOB FEST: FIRST BLOOD PART 13 (ABADDON + DOG TIRED + FORGOTTEN REMAINS + KING WITCH + PERPETUA + FLAT IRON + IRON ALTAR + TOMBSTONE CROW + THRESHOLD SICKS + HAMMER)

An evening celebrating the late Leonard Cohen.

LA BELLE ANGELE, FROM 14:00, £10

Psychedelic legends returning for another hallucinogenic evening.

A full day of metal m/.

Sun 11 Nov

Thu 08 Nov HAWKLORDS

BANNERMANS, FROM 19:30, £15 - £18

ORPHAN COLOURS

Americana supergroup fronted by Sam Llewellyn of ahab, as well as members from Noah & the Whale and Danny and The Champions of the World.

Fri 09 Nov

HENRY’S CELLAR BAR, FROM 19:30, £6 - £7

Two great acts are coming together for the first time to perform songs inspired by powerful woman in Scottish folk lore. RAT BOY

THE QUEEN’S HALL, FROM 19:00, £16.50 - £18.50

Parlophone Records mischief maker Rat Boy (AKA Jordan Cardy) brings his Jamie T vibes to the stage. DALLAHAN

THE VOODOO ROOMS, FROM 19:30, FREE

THE PROCLAIMERS

A thrilling force in the international folk music scene; heavily rooted in traditional Irish music, but with hugely diverse backgrounds.

THE EDINBURGH PLAYHOUSE, FROM 19:00, £35.15 - £37.65

TRAVERSE THEATRE, FROM 20:00, £11

WRONG JOVI (SHE BURNS RED)

BANNERMANS, FROM 20:00, £8 - £10

Bon Jovi tribute and killer support.

Expect to hear the classics Sunshine on Leith, I’m Gonna Be (500 Miles) and Letter From America. DEAD OR AMERICAN (GET IT TOGETHER + BRATAKUS)

HENRY’S CELLAR BAR, FROM 19:00, £5

The first Scottish gigs by the posthardcore/post-punk/post-20s quartet in nearly a decade. THE HITS OF BEYONCÉ AND DESTINY’S CHILD

THE QUEEN’S HALL, FROM 19:00, £15 - £22

A 13-piece live band with a full string section and three female vocalists perform the hits of Beyoncé and Destiny’s Child. SMALL FAKERS + WHO’S WHO

THE BONGO CLUB, FROM 18:30, £18

Double dose of tribute acts, taking on Small Faces and The Who, respectively. GYPSYFINGERS

THE VOODOO ROOMS, FROM 20:00, £9

Gypsyfingers return with their unique blend of ethereal folk-rock.

JOHN EDGE & THE KINGS OF NOWHERE (HAMISH HAWK & THE NEW OUTFIT + HEIR OF THE CURSED)

SNEAKY PETE’S, FROM 19:00, £7

SHEELANAGIG

Feel-good, groove-heavy arrangements from the high-energy five-piece. AN EVENING OF TEMPERAMENTAL GUITAR MUSIC (MY ELECTRIC LOVE AFFAIR + RODNEY RELAX + D COURTNEY)

THE SAFARI LOUNGE, FROM 20:00, FREE

Exactly what it says on the tine, an evening of temperamental guitar music. THEE RAG N BONE MAN

LEITH DEPOT, FROM 19:30, TBC

One man band brutal noise blues.

Mon 12 Nov SUPERSUCKERS

BANNERMANS, FROM 19:30, £18 - £20

Acetate Records-signed Seattle rockers on their 31st anniversary tour.

0161 FESTIVAL PRESENTS MOSCOW DEATH BRIGADE HENRY’S CELLAR BAR, FROM 19:00, £10 - £12

Moscow Death Brigade’s only Scottish date on their UK and Ireland tour. THE PARLOTONES

THE VOODOO ROOMS, FROM 19:30, FREE

John Edge & The Kings of Nowhere provide an energetic live show with songs about love, life, death and all else in between.

South African rockers who have achieved multi-platinum status in their own country – go them!

Sat 10 Nov

TRAVERSE THEATRE, FROM 20:00, £11

CHRIS WOOD

THE PROCLAIMERS

A self-taught musician, composer and songwriter, whose music reveals his love for the unofficial history of the English-speaking people.

THE EDINBURGH PLAYHOUSE, FROM 19:00, £35.15 - £37.65

Tue 13 Nov

VOLTS

BANNERMANS, FROM 20:00, £10 - £12

AC/DC tribute act that cover the Bon & Brian era’s.

Expect to hear the classics Sunshine on Leith, I’m Gonna Be (500 Miles) and Letter From America.

EBB (KRYORA + DEVILS IN SKIRTS)

HENRY’S CELLAR BAR, FROM 19:00, FREE

A hard prog-rock band based in Edinburgh, known for rocking the room and stealing the show. HORSE

THE QUEEN’S HALL, FROM 19:30, £16.50 - £20.50

God’s Home Movie 25th anniversary tour. THE FIRRENES

THE VOODOO ROOMS, FROM 19:30, £9

New five-piece band from Edinburgh, drawing on influences from folk, soul, 70s rock and classical. LUKE CAREY (LESTER CLAYTON + CRAIG MCMORROW)

SNEAKY PETE’S, FROM 19:00, £6

Relatable, honest and truly talented acoustic music from 23-year-old North Londoner Luke Carey.

BANG THE DRUM: A SAVE LEITH WALK FUNDRAISER (MEURSAULT + FUTURE GET DOWN + RITUALS + MARANTA) SUMMERHALL, FROM 19:30, £14 - £16

Bang The Drum is a big fundraising party to help support Save Leith Walk. HALF FORMED THINGS + LOUISE MCCRAW (LOUISE MCCRAW)

LA BELLE ANGELE, FROM 19:00, £8

Half Formed Things celebrate the launch of their new single. THE MOUSE OUTFIT

THE MASH HOUSE, FROM 19:00, £13 - £15

Fronted by UK hip-hop legend Dr Syntax and verbal acrobat Sparkz, this eight-piece band’s horn-heavy and funk-driven live show combines original grooves with classic hip-hop, b-boy and funk breaks.

WOMAN TO WOMAN

AMY RIGBY

IDEAL

THE QUEEN’S HALL, FROM 19:30, £27.60 - £62

THE VOODOO ROOMS, FROM 19:30, £10

LEITH DEPOT, FROM 19:30, TBC

Judie Tzuke, Beverley Craven and Julia Fordham perform their classic hit singles and album tracks alongside their sensational fivepiece band. JAMMIN’ AT VOODOO

THE VOODOO ROOMS, FROM 21:00, FREE

Monthly Live Jam Session with some of Scotland’s leading musicians playing lounge grooves from many genres.

ELLA’S BROTHER

BANNERMANS, FROM 18:00, FREE

NUBIYAN TWIST (SAMEDIA SHEBEEN)

Local boy, Raff Eragona, aka Ella’s Brother, headlines Sneaky’s with a full band, playing material from his debut EP, Mere Exposure.

Singer/songwriter brings his debut tour to Sneaky Pete’s. LA BELLE ANGELE, FROM 19:00, £13

Ten-piece live show featuring a four-piece horn section, two vocalists, electronics and an international rhythm section.

SAVE LEITH WALK ALBUM LAUNCH (MARTINA CANNON BAND + ILL FITTING THOUGHTS) LEITH DEPOT, FROM 19:30, TBC

An album launch celebrating all the bands and artists that support the Save Leith Walk Campaign.

Thu 15 Nov

IKE WILLIS & ZAPPATIKA

BANNERMANS, FROM 19:30, £10 - £12

Tribute to Frank Zappa, which often features Zappa members as guests. DEADMAU5

EDINBURGH CORN EXCHANGE, FROM 19:00, £28.95

An audio-visual spectacular from one of the biggest names in global dance music.

ZED PENGUIN (THE LEG & LITTLE LOVE)

HENRY’S CELLAR BAR, FROM 19:00, £5

Alternative Edinburgh trio led by Matthew Winter, with strong local support. THE EASTERN SWELL

THE VOODOO ROOMS, FROM 19:30, £8

All their influences, musical stylings and concepts are in place, the flaws ironed out, right through to the final execution. BROKEN RECORDS

THE VOODOO ROOMS, FROM 19:30, £16

Edinburgh band, who use their different musical backgrounds and a wide variety of instrumentation to compliment the eclectic sound they create. PIP BLOM (HAZE + MOONSOUP)

SNEAKY PETE’S, FROM 19:00, £9

20-year-old Amsterdam native, Pip Blom makes droll super cool slacker grunge with killer tunes.

AN EVENING WITH KING CRIMSON

The London-formed rock troupe return to active duty in what is now their eighth incarnation. THE MEKONS 77

THE VOODOO ROOMS, FROM 19:30, £20

Formed in the late 1970s as an art collective, The Mekons are one of the longest-running and most prolific bands of the first-wave of British punk.

BROOKLYN SOUND: !!! (CHK CHK CHK)

SNEAKY PETE’S, FROM 19:00, £5

The final Brooklyn Sound tour of the year sees us going wild with New York City dance-punk legends, !!!

KURUPT FM (SCOTT GARCIA + KING P MONEY ) LA BELLE ANGELE, FROM 19:00, £22

People Just Do Nothing - Kurupt FM on what will “probably” be their last ever tour as the garage group. OVERLAPS

LEITH DEPOT, FROM 19:30, TBC

Open experimental improvisational jam session. All welcome, bring yer instruments and get cosmic.

Wed 14 Nov BUGZY MALONE

EDINBURGH CORN EXCHANGE, FROM 19:00, £19.50

The Manchester rapper continues his rise as one of the UK’s most promising new artists.

THE MACC LADS

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

SNEAKY PETE’S, FROM 19:00, £10

A night in aid of the Refugee Community Kitchen, helping feed displaced people in the UK and abroad.

THE EDINBURGH PLAYHOUSE, FROM 19:30, £60.15 - £75.15

WEE RED BAR, FROM 19:00, £5

Eight-piece group, with no member called John McIain. Mysterious.

SIXTIES ON A SUNDAY (FAYE AND THE CRUISERS)

THE BASEMENT THEATRE, FROM 14:00, £7.50

Mon 19 Nov

BEN MCKELVEY

RCK BENEFIT (SHOOGELNIFTY + SWAMPFOG + THE SHUNPIKE SOCIAL CLUB)

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

THE JOHN MCIAIN BAND (ARCHANGEL)

Accidental Gold bring Ideal to the Depot.

THE LIQUID ROOM, FROM 19:00, £20 - £22

BANNERMANS, FROM 17:00, FREE

PRESSURE VALVE UNPLUGGED

Amy Rigby has made a life out of writing and singing about life, in bands Last Roundup and The Shams and alone.

LA BELLE ANGELE, FROM 19:00, £5 - £7

BZOMB

LEITH DEPOT, FROM 19:30, TBC

Argentinian one man band.

Fri 16 Nov MARION (DEGRASSI )

BANNERMANS, FROM 19:30, £15 - £18

Britpop ensemble formed in 1993, disbanded and then reformed in 2006, and again in 2011 (got that?), now touring with the original line-up.

SLOTH METROPOLIS (DR. VZX MOIST + JOY & STRUGGLE) HENRY’S CELLAR BAR, FROM 19:00, TBC

Story-driven indie-folky-jazzy excellence hailing from our own fine shores. SOUNDHOUSE BENEFIT GIG

THE QUEEN’S HALL, FROM 18:30, £15 - £17

A night of music in aid of sustaining Edinburgh’s popular musicianled charity The Soundhouse Organisation.

SCOTS FIDDLE FESTIVAL 2018 (RYAN YOUNG & JENN BUTTERWORTH + MIKE VASS & FRIENDS)

THE PLEASANCE, FROM 19:30, £16 - £18

Featuring over 40 musicians and 50 events across one weekend in Edinburgh, the Scots Fiddle Festival celebrates its 22nd year with a wealth of distinguished and upcoming talent. THE RETROPHONES

THE VOODOO ROOMS, FROM 19:30, £10

Edinburgh’s full-on funk band are back, straight from from the Belladrum Tartan Heart festival.

Rock band from Macclefield, hence the name.

MUSICIANS CIRCLE

SNEAKY PETE’S, FROM 19:00, £6.60

A mass gathering of musicians playing together in an off the cuff fashion.

JIMMY FLOYD HASSELBAIND + GAY PANIC DEFENCE + REGRETA GARBO

Wardruna shall be drawing upon their Runaljod trilogy, interpreting the 24 ancient Nordic runes as music.

LEITH DEPOT, FROM 19:30, TBC

City of Glass bring three more bands to the Depot.

Sat 17 Nov

DUNCAN REID & THE BIG HEADS (REACTION + POWDERKEG) BANNERMANS, FROM 19:30, £10

Punk rock heavy on the melody.

ADAM HOLMES & THE EMBERS (BASKERY)

CABARET VOLTAIRE, FROM 19:00, £16

The Fallen Angels Club brings you this fantastic bill featuring one of the rising stars of the UK roots scene, Edinburgh’s Adam Holmes, plus Swedish sisters Baskery. CHARITY SOUL NIGHT

EDINBURGH CORN EXCHANGE, FROM 19:30, £10

The Corn Exchange hosts a night of soul music in aid of Marie Curie Hospice in Fairmilehead. JAMES GRANT & THE HALLELUJAH STRING QUARTET

THE QUEEN’S HALL, FROM 19:00, £25 - £27

The Love & Money frontman will play a very special concert at The Queen’s Hall with The Hallelujah String Quartet. OFF THE RECORD

THE BONGO CLUB, FROM 19:00, FREE

Youth music project Off the Record stage their first live music showcases.

SCOTS FIDDLE FESTIVAL 2018 (SALTFISHFORTY + KINNARIS QUINTET + SCOTS FIDDLE FESTIVAL YOUTH ENGAGEMENT PROJECT) THE PLEASANCE, FROM 19:30, £16 - £18

Featuring over 40 musicians and 50 events across one weekend in Edinburgh, the Scots Fiddle Festival celebrates its 22nd year with a wealth of distinguished and upcoming talent. THE KITCHEN STOOLS

WEE RED BAR, FROM 19:00, £5

CD launch of After the Rain by The Kitchen Stools. DEFINITELY OASIS

THE LIQUID ROOM, FROM 19:00, £15 £16.75

Oasis tribute band.

TANGERINECAT (EARTH WIRE + W O L F N O T E)

SNEAKY PETE’S, FROM 19:00, £6

Ukrainian outfit, tAngerinecAt play raw, powerful, cinematic and deeply atmospheric electronica with punk attitude. THE ABSOLUTE JAM

LA BELLE ANGELE, FROM 19:00, £13

WARDRUNA

THE QUEEN’S HALL, FROM 19:00, £23.50

FOCUS (JUNKY FAM + RIPL)

THE CAVES, FROM 19:00, £21

Fronted by founding member Thijs Van Leer, the iconic Dutch music masters best known for hits Hocus Pocus, House of The King and Sylvia are back. ALISON RAYNER QUINTET

TRAVERSE THEATRE, FROM 20:00, £11

A vital and creative jazz quintet led by bass player Alison Rayner.

Tue 20 Nov

TONY WRIGHT (TERRORVISION)

BANNERMANS, FROM 19:30, £12 - £15

The legendary Brit rocker performs a special acoustic show.

ALI ROBERTSON (CALLUM ROSS)

SNEAKY PETE’S, FROM 19:00, £5

Influenced by Alt-J, Jack Garratt and Dan Croll, this singer-sonwriter specialises in disco-tinged electro pop.

Wed 21 Nov

SYTERIA (GOTHZILLA + THE GOAT BOY)

BANNERMANS, FROM 19:30, £8 - £10

Jax Chambers of Girlschool returns back with her Band Syteria (who kick ass). THE WHITE ALBUM LIVE

THE VOODOO ROOMS, FROM 19:30, £12

On the eve of the 50th Anniversary of its release, Dr Ruby’s presents a unique concert celebrating The Beatles’ most eclectic, and for many fans their finest, album. 808INK

SNEAKY PETE’S, FROM 19:00, £9

808INK are deeply influenced by UK sounds. Rooted in psychedelia, reggae and hip-hop, their beats span a range of textures, sounds, killer hooks and flows to rap. NAVIGATE THE BLOOD

SUMMERHALL, FROM 19:30, £15

A new opera by indie folk-rock band Admiral Fallow and Gareth Williams.

Thu 22 Nov

GEOFF TATE (QUEENSRYCHE)

BANNERMANS, FROM 19:30, £17.50 - £20

Special performance of Operation Midcrime. BONES CARNIVAL

WEE RED BAR, FROM 19:00, £5

Psychedelic indie rock band from Edinburgh formed in 2013. MAGNUM

THE LIQUID ROOM, FROM 19:00, £26.44

Tribute band capturing the authentic raw energy and sound of The Jam’s early punk roots.

70s rockers with an ever-rotating lineup, founded by core members Tony Clarkin and Bob Catley.

BRIG BELOW, FROM 19:30, £7 - £8

Bearcubs is the immersive solo project from 25-year-old electronic artist Jack Ritchie.

LILAC MELT EP RELEASE PARTY (THE TRACKS + SEAN FINDLAY)

Indie dream pop band Lilac Melt celebrate the release of their new EP on Infinite Hive.

Sun 18 Nov OPEN MIC

BANNERMANS, FROM 15:00, FREE

Free music all day from acoustic to blues and rock.

SCOTS FIDDLE FESTIVAL 2018 (SARAH-JANE SUMMERS & JUHANI SILVOLA + THE POOZIES) THE PLEASANCE, FROM 19:30, £16 - £18

Featuring over 40 musicians and 50 events across one weekend in Edinburgh, the Scots Fiddle Festival celebrates its 22nd year with a wealth of distinguished and upcoming talent. AVELEEN ROSE (RUMRUNNERS + FIRE FENCES)

THE LIQUID ROOM, FROM 19:00, £18

Singer/songwriter of the modern rock/alternative ilk.

BEARCUBS

SNEAKY PETE’S, FROM 19:00, £9

BRATAKUS + GAY PANIC DEFENCE + FIT TO WORK + ACID CANNIBALS

LEITH DEPOT, FROM 19:30, TBC

Accidental Gold present four bands at the Depot.

Fri 23 Nov CONFLICT

BANNERMANS, FROM 19:30, £10 - £12

Anarchic punks hit Bannermans for a night of killer songs. HANLEY & THE BAIRD

CABARET VOLTAIRE, FROM 20:00, £8

Hanley & the Baird band performing original songs and covers. REV MAGNETIC (GAZE IS GHOST + BURNT PAW)

HENRY’S CELLAR BAR, FROM 19:00, TBC

Glasgow four-piece combining elements of dream pop, R’n’B, shoegaze and post rock.

THE SKINNY

BREABACH

FEELIN’ GOOD

MARK SULTAN AKA BBQ

THE QUEEN’S HALL, FROM 20:00, £14.50 - £23.50

ASSEMBLY ROXY, FROM 20:00, £13

LEITH DEPOT, FROM 19:30, TBC

Breabach continue to build their reputation of being at the forefront of the UK’s world and roots music scene.

Edinburgh’s Voice of the Town are back, fusing gospel, soul, funk, R’n’B, pop and rock with exciting vocal arrangements and funky grooves.

THE LIQUID ROOM, FROM 19:00, £30

Mon 26 Nov

ABBA GOLD

Celebrating all things ABBA. MALKA

FEDERICO ALBANESE

THE QUEEN’S HALL, FROM 19:00, £10 - £12

Alt-pop music from former 6 Day Riot frontwoman Tamara Schlesinger.

Be swept away on waves of meditative sound by genre-fusing Italian composer and pianist Federico Albanese.

SUMMERHALL, FROM 20:00, £12

TRAVERSE THEATRE, FROM 20:00, £11

SNEAKY PETE’S, FROM 19:00, £5

MODERN STUDIES

Chamber pop band from Glasgowvia-Yorkshire whose quietly experimental landscape songs are played on multiple instruments. NASHVILLE PUSSY (ANAXOR + TANTRUM)

LA BELLE ANGELE, FROM 19:00, £8

Atlanta outfit still trying to extract every last drop of longevity from the tattered cliche sex, drugs and rock’n’roll. REFUGEE BENEFIT GIG

LEITH DEPOT, FROM 19:30, TBC

Benefit gig, raising money for refugees.

Sat 24 Nov

VIC GODARD & JOHNNY BRITTON W/ THE SUBWAY SECT (CALLUM EASTER + SPECTORBULLETS) CABARET VOLTAIRE, FROM 19:30, £12 - £13.50

Punk legend Vic Godard returns with the latest incarnation of the Subway Sect, including ex-Sex Pistol Paul Cook on drums.

JOCK’S JUKE JOINT LAUNCH (REDFISH + MIKE BOWDEN AND THE A917 BAND + THE LYNSEY DOLAN BAND + STONY BROKE, USED BLUES) THE VOODOO ROOMS, FROM 19:00, £12

CAM PENNER & JON WOOD

Cam Penner and Jon Wood are renowned for both their powerful live shows and recordings. AS IT IS

THE LIQUID ROOM, FROM 19:00, £30

THIS FEELING (SWAY + CAEZIUM + SPYYN + SHIVA )

SNEAKY PETE’S, FROM 19:00, £6

The indie club night returns. THE HUBBARDS

THE MASH HOUSE, FROM 19:00, £8 - £10

Four-piece indie pop band based between Leeds and Hull. 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. DRUNK GODS

LEITH DEPOT, FROM 19:30, TBC

Dark and visceral pre-post-punk rock music.

Sun 25 Nov

BERNIE TORME (KATALINI KICKS)

BANNERMANS, FROM 19:30, £13 - £15

The legendary guitarist returns to Edinburgh with full band. MADELEINE PEYROUX

FESTIVAL THEATRE, FROM 20:00, £24.50 - £34.50

The acclaimed French-American jazz singer, songwriter and guitarist takes to a live setting for a set of her reworked and contemporary classics. HENGE

THE VOODOO ROOMS, FROM 19:30, £8

Intergalactic funk from "the world's leading exponents of Cosmic Dross", apparently.

BEERJACKET ‘SILVER CORDS’ ALBUM LAUNCH

SNEAKY PETE’S, FROM 19:00, £10

Scottish Fiction Records are proud to present Silver Cords, the long awaited new album from Beerjacket. SARAH MCQUAID

ASSEMBLY ROXY, FROM 19:30, £12 - £15

Sarah returns to the Roxy following the release of her new album, hailed as an early contender for folk album of 2018.

SNEAKY PETE’S, FROM 19:00, £6

Rising folk-pop artist from the Czech Republic. WASHBOARD RESONATORS

LEITH DEPOT, FROM 19:30, TBC

Duo playing foot-stomping blues, vaudeville, ragtime, hokum, skife, swing and folk like it was in the 1920s, 30s and 40s.

Tue 27 Nov

DUCKING PUNCHES (SPANISH LOVE SONGS + BLESS THIS MESS)

BANNERMANS, FROM 19:30, £10 - £12

Four-piece rock band from Norwich. MALCOLM MIDDLETON

THE CAVES, FROM 19:00, £15

Scottish-brogued miserablist, best known for his work with cult Scottish indie rock band Arab Strap. CHRIS STILLS

THE VOODOO ROOMS, FROM 19:30, £20

BOWLING FOR SOUP (PATENT PENDING)

Pearl Jam tribute act.

DAVE ARCARI (LEE PATERSON)

SNEAKY PETE’S, FROM 19:00, £8

SLIDE guitarist and songwriter Dave Arcari’s alt-blues sounds owe as much to trash country, punk and rockabilly as they do pre-war Delta blues. LEITH DEPOT, FROM 19:30, TBC

PHIL COOPER & THE AWAY TEAM (THE SUPER MOONS + BURNT PAW) BRIG BELOW, FROM 20:00, £7 - £8

Travelling singer/songwriter Phil Cooper returns to Edinburgh and borrows musicians from local band MEOW to pad out his live set.

Dundee Music Thu 01 Nov

AN EVENING WITH LANGUID GOATS & FRIENDS CLARKS ON LINDSAY STREET, FROM 19:00, £5 - £7

An evening for acoustic lovers, with selected guests from Dundee’s Music scene playing a range of originals and covers.

Fri 02 Nov SIXTIES GOLD

CAIRD HALL, FROM 19:30, £32.50 - £35

60’s package tour promising an all-out nostalgia fest.

THE LIQUID ROOM, FROM 19:00, £26

MONÉT X CHANGE

THE DAMNED (JOHNNY MOPED)

The seminal punk foursome take to the road again, now rather impressively celebrating over 40 years of being. SELF ESTEEM

SNEAKY PETE’S, FROM 19:00, £8

Self Esteem is the brand new project from Rebecca Taylor of Slow Club. Her new sound is dramatic, direct, charming and deafeningly exciting. CONNIE CONSTANCE

THE MASH HOUSE, FROM 19:00, £8 - £10

Connie Constance makes indie rock-influenced, off-kilter soul with poetic narratives. SUZUKI JUNZO

LEITH DEPOT, FROM 19:30, £7

Tokyo-based Japanese underground guitarist and vocalist.

Wed 28 Nov ASTRO CHILDREN

BANNERMANS, FROM 20:00, £5

Shoegaze pop from new Zealand with a fuzz. HINDS (SPORTS TEAM)

THE CAVES, FROM 19:00, £15

Since bursting onto the Madrid DIY scene, Hinds have mastered a raw and playful sound all their own. DRAHLA (SLEEP EATERS)

SNEAKY PETE’S, FROM 19:00, £8

Leeds trio blending wiry post-punk with unpredictable art-rock. PALE GREY

THE MASH HOUSE, FROM 19:00, £8 - £10

Fresh indie-pop band from Belgium. KAPUTT (BUFFET LUNCH)

LEITH DEPOT, FROM 19:30, £7

Wed 14 Nov

AMERICAN BLUES LEGENDS: OTIS TAYLOR BAND + ALVIN YOUNGBLOOD HART SOLO

THE GARDYNE THEATRE, FROM 19:30, £20

Blues fans mark the date for this unmissable double bill of American blues from two celebrated blues legends. GRAHAM COSTELLO’S STRATA

CLARKS ON LINDSAY STREET, FROM 20:00, £10

STRATA play original music fusing jazz, rock and classical minimalism.

Thu 15 Nov CELEBRATING MILES DAVIS: BIRTH OF THE COOL ENSEMBLE + COLIN STEELE BAND THE GARDYNE THEATRE, FROM 19:00, £17

Two acclaimed bands celebrate one of jazz’s greats. HUGH CORNWELL

BEAT GENERATOR LIVE!, FROM 20:00, £20

The Stranglers frontman heads out on his own, joined by a select batch of musical pals. QUEENS OF THE BLUES

CLARKS ON LINDSAY STREET, FROM 20:00, £10

Joyously celebrating the trials, tribulations and fortunes of the best female singers of the blues genre. AKU!

UNDERWORLD CAFE, FROM 19:30, £5

A night of post-punk from a 90s fave. They embarked on a farewell tour in 2013, but seem to have changed their minds and are back for another stab. Well, how’s about it?

THE CLASHED

SATAN’S EMPIRE (VICTORIOUS + CATALYSIS + HOUDINI SAID NO)

CHURCH, FROM 19:00, £15

Dundonian outfit currently comprising Paul Lewis and Alex Mcritchie Guitar, Wayne Hudson on bass, Magpie on drums and Derek Lyon on vocals. GYPSY JAZZ NIGHT (GONZALO BERGARA QUINTET + ROSE ROOM WITH LAURA MACDONALD)

THE GARDYNE THEATRE, FROM 19:30, £17

A gypsy jazz double bill packed with charm and musical fireworks. THE COMPLETE STONE ROSES V DEFINITELY OASIS

FAT SAM’S, FROM 19:00, £15 - £16.75

RITUAL KING (SOLAR SONS)

Manchester’s Ritual King bring a night of heavy tones and riffs. JED POTTS & THE HILLMAN HUNTERS

UNDERWORLD CAFE, FROM 20:00, £5

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

Sting and The Police tribute act.

Sat 17 Nov

BEAT GENERATOR LIVE!, FROM 20:00, £8

CAIRD HALL, FROM 19:30, £26 - £27

AKA-SKA

Aberdonian ska and 2-tone band. WET WET WET’S GRAEME CLARK

CLARKS ON LINDSAY STREET, FROM 15:00, £12

Graeme Clark is taking his collection of thoughts and songs to a wider audience around the UK.

Sun 04 Nov

WHEN I TRIED TO SPEAK (HAILEY BEAVIS + AMY DUNCAN + ANA HINE + SUKY GOODFELLOW) CLARKS ON LINDSAY STREET, FROM 19:00, £3 - £5

A night of music and spoken word for female and non-binary performers.

Thu 08 Nov CHRIS DIFFORD & BOO

CLARKS ON LINDSAY STREET, FROM 15:00, £15

As a member of one of London’s best-loved bands, the Squeeze co-founder has made a lasting contribution to English music. CHRIS DIFFORD & BOO

CLARKS ON LINDSAY STREET, FROM 19:15, £15

As a member of one of London’s best-loved bands, the Squeeze co-founder has made a lasting contribution to English music.

A COUNTRY NIGHT IN NASHVILLE

A Country Night In Nashville recreates the scene of a buzzing Honky Tonk in downtown Nashville, perfectly capturing the energy and atmosphere of an evening in the home of Country Music. THE SCOTTISH SWING ORCHESTRA SALUTES BENNY GOODMAN AND GLENN MILLER (THE FLYRIGHT DANCERS + LORNA REID)

THE BOB DYLAN BAND

BEAT GENERATOR LIVE!, FROM 20:00, £10

Bob Dylan tribute act.

ACOUSTIC AFTERNOON (KRYSTLE WARREN + MELISA KELLY DUO)

CLARKS ON LINDSAY STREET, FROM 16:00, TBC

A relaxing Saturday afternoon featuring a double bill of outstanding singer-songwriters from home and abroad. MATT CARMICHAEL’S ORGAN TRIO

UNDERWORLD CAFE, FROM 20:00, £5

A BAND CALLED MALICE

Sun 18 Nov

BANNERMANS, FROM 20:00, £6

Electro-pop/funk duo, formed in 2016. WORBEY AND FARRELL

The internationally acclaimed piano duo bring their unique touch to the world’s greatest music

The definitive tribute to The Jam. RESURRECTION

BEAT GENERATOR LIVE!, FROM 20:00, £10

The Stone Roses tribute act.

CHURCH, FROM 19:00, £15

A seven-piece band bring the best dance hits from the 90s and perform them fully live.

Sun 25 Nov PORKPIE

CLARKS ON LINDSAY STREET, FROM 15:00, £5

This eight-piece band recreate the classic songs of two tone and rocksteady ska.

Wed 28 Nov THOM ARTWAY

CLARKS ON LINDSAY STREET, FROM 20:00, £6

Rising folk-pop artist from the Czech Republic. BOOK YER ANE FEST

ABERTAY STUDENT CENTRE AND CONROY'S BASEMENT, FROM 4:00PM, £30

DAVE ARCARI

CLARKS ON LINDSAY STREET, FROM 19:00, £8 - £10

SLIDE guitarist and songwriter Dave Arcari’s alt-blues sounds owe as much to trash country, punk and rockabilly as they do pre-war Delta blues.

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

Glasgow Clubs TIGHT RED AFRO PRESENTS TRISTAN DA CUNHA STEREO, FROM 23:00, £5 - £6

Unsung hero of the UK house scene, Tristan da Cunha joins Tight Red Afro for their first party at Stereo. MISSING PERSONS CLUB (DANNY DAZE + MOR ELIAN)

LA CHEETAH CLUB, FROM 23:00, £8 - £10

Omnidisc head honcho Danny Daze and the effervescent Mor Elian join MPC for a double guest bonanza.

ERA SUITE & SUB CLUB PRESENTS (ORION: AKU COLLECTIVE + NIMBUS SEXTET + REBECCA VASMANT) SUB CLUB, FROM 19:00, £5 - £6

Sub Club and Rebecca Vasmant team up to bring Glasgow a new regular party focusing on bringing the best in live and electronic music. GILLES PETERSON (REBECCA VASMANT)

SUB CLUB, FROM 23:00, £12 - £15

Disco, house, jazz, latin, Brazilian, Afrobeat, soul, techno, classics or future classics – as long as it’s great music, Gilles plays it.

Sat 03 Nov

SATURDAY SHAKEDOWN

ORAN MOR, FROM 23:00, £8

Resident DJ Bobby Bluebell mixes up the house, R’n’B and chart. DAMMIT ALL TO HELL

BLOC+, FROM 23:00, FREE

Big chorus club extravaganza where punk meets pop hits. GLITTERBANG

Thu 01 Nov DJ NICK(ERS)

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Highly accessible hits from heaven. 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

Ross MacMillan plays chart, house and anthems with giveaways, bouncy castles and, most importantly, air hockey. 12TH ISLE (ADAM FINEGOLD AKA EX-TERRESTRIAL) LA CHEETAH CLUB, FROM 23:00, £5

Label running DJ mavericks with outer limit vinyl selections of dub, wave, jungle, house and erratic synth sounds. BONOBO (DJ SET)

SUB CLUB, FROM 23:00, £15 - £18

Musician, producer and DJ associated with Ninja Tune and Tru Thoughts, making downtempo trip-hop and electronic sounds. WALK N SKANK (DREADSQUAD + MUNGO’S HIFI + TOM SPIRALS)

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

A weekly club night focused on reggae, dancehall and bass music.

Fri 02 Nov FRESH! FRIDAYS

ORAN MOR, FROM 23:00, £6

FAT SAM’S, FROM 19:00, £29.95

The Coatbridge duo celebrate the 30th anniversary of the release of their critically-acclaimed album, Remote.

Thu 29 Nov

CHURCH, FROM 19:00, £9

RHYTHM OF THE 90S

BLOC+, FROM 21:00, FREE

HUE AND CRY

CAIRD HALL, FROM 19:30, £25 - £26

A tribute show to The Rolling Stones.

Sat 24 Nov

Combining live music, visuals and dancing with a narrative that pieces together the history of swing music.

Sat 10 Nov

ROMARZS (MINCHES + BEFORE STORIES + SIMON PATCHETT)

The indie club night returns.

Resident DJ John McLean brings you the biggest tunes and best deals to make your weekend one to remember.

THE GARDYNE THEATRE, FROM 20:00, £17

Alternative, indie four-piece band from London.

THE ROLLING STONES STORY

THIS FEELING (SWAY + THE GOOD DOCTOR + SAINT LOUIE)

CONROY’S BASEMENT, FROM 19:30, £6 - £7

CHURCH, FROM 19:30, £6

Sat 03 Nov

THE POLICE STING SHOW

Thu 22 Nov

Fri 16 Nov

CONROY’S BASEMENT, FROM 19:00, £6 - £7

CHURCH, FROM 18:00, £20 - £35

Fronted by founding member Thijs Van Leer, the iconic Dutch music masters best known for hits Hocus Pocus, House of The King and Sylvia are back.

Make-That-A-Take's annual celebration of DIY music returns to Dundee, bigger and brighter than ever.

Two tribute acts go head to head.

SLAY! presents Monét X Change, fresh from the tenth season of RuPaul’s Drag Race.

FOCUS

CHURCH, FROM 19:00, £20

Fri 30 Nov

BEAT GENERATOR LIVE!, FROM 20:00, £8

Tribute to The Clash.

Wed 21 Nov

Doom-jazz trio, playing a mix of their own songs and covers of artists including Fela Kuti and Young Fathers.

Rising star saxophonist, Matt Carmichael produces beautiful, atmospheric soundscapes.

USHER HALL, FROM 18:30, £16 - £26

November 2018

PEARL JAM UK

THE LIQUID ROOM, FROM 19:30, £16.88

THOM ARTWAY

USHER HALL, FROM 19:00, £27.50

Celebrating all things ABBA.

The best Iron Maiden tribute act out there return to play a cracker of the hits.

Errant Media celebrate the release of Errant Boy’s second full-length album, Memory Fractures.

Pop-punk/emo lot with such uplifting song titles as Never Happy and The Great Depression.

USHER HALL, FROM 19:00, £41.25 - £49.50

ABBA GOLD

MAIDEN SCOTLAND

BANNERMANS, FROM 20:00, £10

ERRANT BOY

Chris Stills returns with a new album, his first in over 10 years and some accompanying live shows.

The gender-queer electro-pop alter-ego of French singer-songwriter Héloïse Letissier.

Fri 30 Nov

THE LIQUID ROOM, FROM 19:00, £15.40

Over five years since the last release, there will be a long awaited fourth volume of the series and a launch night promoted by the Edinburgh Blues Club. CHRISTINE AND THE QUEENS

The Man With The Golden Voice is back again.

SISTERS IN DISTRESS

80s buzz, non-binary, hedonistic queer fun shit. HARSH TUG

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

OG Kush + hip-hop bangers with Notorious B.A.G. CIRQUE DU MORT: HALLOWEEN

SWG3 GLASGOW, FROM 21:00, £25.31

Cirque Du Mort returns at Halloween, with Djs, dancing, walkabout ghoulish entertainers, snake charmers, sirens of the sea and much more. HOT SINCE 82

SWG3 GLASGOW, FROM 22:00, £19.13 - £21.38

House DJ and producer Hot Since 82 (aka Daley Padley) drops by for a guest set. TRAX

CATHOUSE, FROM 22:30, £5 - £6

NICE ‘N’ SLEAZY, FROM 23:30, £3

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

SHOOT YOUR SHOT (WES BAGGALEY + BONZAI BONNER) SWG3 GLASGOW, FROM 22:00, £6

ARCADE 005: SOFAY (ADLER)

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

Arcade celebrate their first birthday with Subcity Radio host and top selector Sofay.

Mon 05 Nov

LA CHEETAH CLUB, FROM 23:00, £0 - £10

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 06 Nov CRATER COVE

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Funk, disco, boogie and house. #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.

Wed 07 Nov BUCKFAST SUPERNOVA

NICE ‘N’ SLEAZY, FROM 23:30, FREE

STEREO, FROM 23:00, £4 - £5

CRAIGIE KNOWES X SOLID STATE

Craigie Knowes and Solid State join forces to pay homage to the sound that changed UK club music forever, bleep, bass and breaks. RETURN TO MONO: SLAM + PAULA TEMPLE

SUB CLUB, FROM 23:00, £10 - £12

A self-confessed Noisician, Paula Temple will provide a blistering soundtrack, obliterating the audience with uncompromising techno in one of her hybrid live/DJ sets. HEALTHY (LENA WILLIKENS + NATHAN GREGORY WILKINS + JONNIE WILKES)

THE BERKELEY SUITE, FROM 23:00, £6 - £7

Three heavyweight DJs play together for the first time, despite their names being right next to each other in the DJ directory.

Pop bangers from Happy Spendy.

Sat 10 Nov

CATHOUSE, FROM 23:00, £4

ORAN MOR, FROM 23:00, £8

BEAST

DJ Jonny soundtracks your Wednesday with all the best in pop-punk, metalcore, house & EDM and there’s even beer pong. GLITTERED! WEDNESDAYS

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

SATURDAY SHAKEDOWN

Resident DJ Bobby Bluebell mixes up the house, R’n’B and chart. MONSTER HOSPITAL

BLOC+, FROM 23:00, FREE

Botch meets Beyonce DJ smash. A club night like no other.

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

CATHOUSE, FROM 23:00, £5 - £6

BROADCAST, FROM 23:00, FREE

A full on night of house, vocal anthems, special edits and disco edits.

SUNNY SIDE UP (INTERGALACTIC FUNK SMUGGLERS + LYLA)

CATHOUSE, FROM 23:00, £5 - £6

CATHOUSE SATURDAYS

BAXTER DURY AFTERPARTY W/ ALEXIS TAYLOR (DJ SET) (WORKY)

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.

The Hot Chip man plays a special DJ set at Broadcast, for the Baxter Dury gig afterparty.

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

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

I LOVE GARAGE

LA CHEETAH CLUB, FROM 23:00, £3

Thu 08 Nov SCIENCE FICTION

ANNA & HOLLY’S DANCE PARTY

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

Rock’n’roll, garage and soul. GROOVEJET

SWG3 GLASGOW, FROM 22:00, £10 - £11.25

CATHOUSE SATURDAYS

Or Caturdays, if you will. Two levels of the loudest, maddest music the DJs can muster; metal, rock and alt on floor one, and punky screamo upstairs. I LOVE GARAGE

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

As one half of world-renowned duo Orbital, Phil has helped to produce some of the most groundbreaking works in the history of electronic music.

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

THE GARAGE GLASGOW, FROM 23:00, TBC

LA CHEETAH CLUB, FROM 23:00, £6 - £8

LA CHEETAH CLUB, FROM 23:00, £10 - £12

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

ORBITAL’S PHIL HARTNOLL (SQYRE)

STEREO, FROM 23:00, £12 - £15

LA CHEETAH 9TH BIRTHDAY PT. 2 (BEN UFO + SOFAY + WARDY)

The second in La Cheetah’s four part 9th birthday party series rolls around with a dream team lineup in the shape of Ben UFO and Sofay. SUBCULTURE: ÂME

SUB CLUB, FROM 23:00, £15

Innervisions head honcho, Âme is sure to bring with him plenty of Detroit-influenced deep house and music with soul. NUMBERS: HELENA HAUFF (BATU + KLEIN + GIANT SWAN SPENCER + PERKO + SUE ZUKI)

THE ART SCHOOL, FROM 23:00, £15 - £17.50

Numbers return to The Art School, with Crack Magazine’s number one most exciting DJ in the world right now, and for good reason. SUPERMAX

THE BERKELEY SUITE, FROM 23:00, £8

DJ Billy Woods, start to finish, open to close. BASS INJECTION PRESENTS: SWEDGER B2B KOMADRONE

AUDIO, FROM 23:00, £5

The one and only bassline don, Swedger goes back-to-back with Komadrone, playing some dutty, dutty bass.

Sun 04 Nov

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

Industrial goth rock disco.

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

SESH

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

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.

Discotheque provocateurs SYS take you higher with a programme of Italo and synthetic house DJs, as well as live performances and surprises.

DJ Daryl kicks off the first weekend of the month, spinning hip-hop, grunge, trap and dance tunes. FRESH BEAT

CLIFFHANGER CATHOUSE, FROM 23:00, TBC

A hearty blend of emo, drive-thru, old school and new school pop punk, to see your Sunday through to the stars.

NULL / VOID

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Sci fi babes unite, with otherworldly vibes on the dancefloor. UNHOLY

CATHOUSE, FROM 23:00, £2 - £4

ELEMENT

FOUNDRY (MELANIA)

LA CHEETAH CLUB, FROM 23:00, £5

Foundry invite aufnahme + wiedergabe affiliate and exciting up-and-coming Berliner, Melania for her Scottish debut. SHOW: DUSKY

SUB CLUB, FROM 23:00, £8 - £10

London production duo Nick Harriman and Alfie Granger-Howell take the reigns on the Subbie decks

Fri 09 Nov FRESH! FRIDAYS

ORAN MOR, FROM 23:00, £6

Resident DJ John McLean brings you the biggest tunes and best deals to make your weekend one to remember. DEATHKILL4000

BLOC+, FROM 23:00, FREE

Ultra-cutting edge dark electro, hip-hop and post punk. SHAKA LOVES YOU

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

LET’S GO BACK (BOSCO + ROB MASON)

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

SUB CLUB, FROM 23:00, £10

Born in 2011, the Italian duo quickly gained support from DJs who like their dance music served raw, emotive and song-like. INTERROBANG

THE OLD HAIRDRESSERS, FROM 21:00, £5

Jamie Scott joins Interrobang for their party at The Old Hairdressers, with eclectic DJ sets featuring Yoko Ono, Nicola Roberts, The Fall and Lethal Bizzle. FUSE BY VAJ.POWER

THE ART SCHOOL, FROM 22:00, £6 - £9

FUSE is a project created by the Glasgow-based duo VAJ.Power, representing live electronic musicians, DJs and animators, especially those who identify as queer, trans, POC, BAME, womxn and femme.

Sun 11 Nov

TOM MCGUIRE & THE BRASSHOLES AFTERPARTY

NICE ‘N’ SLEAZY, FROM 23:30, TBC

Hip-hop and live percussion flanked by wicked visuals.

Afterparty for the Tom McGuire & The Brassholes gig.

SWG3 GLASGOW, FROM 22:00, £12 - £13.50

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

ABBA DISCO WONDERLAND

An extravaganza of soul shaking and body rocking disco classics alongside the greatest hits from the legendary ABBA.

SESH

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

RUCKUS

CATHOUSE, FROM 22:30, £5 - £6

Sarah Legatt’s monthly hip-hop, trap and R’n’B night.

Listings

Mon 12 Nov

BIGFOOT’S TEA PARTY: OBJEKT (ALL NIGHT LONG)

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

Celebrating the release of his second LP on PAN, Objekt takes the reigns for an all night session at Sub Club.

BARE MONDAYS

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

Tue 13 Nov OBZRV MUSIC

SUB CLUB, FROM 23:00, £10

MOUNT KIMBIE (DJ SET) (LOOSE JOINTS)

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

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Minimal electronic duo, made up of Dominic Maker and Kai Campos.

#TAG TUESDAYS

Sat 17 Nov

All the electronic dance.

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. I AM: DANIEL AVERY & HAAI

SUB CLUB, FROM 23:00, £10

Two pals and much-respected purveyors of techno drop into Subbie.

Wed 14 Nov

SMALL TALK W/ DJ ADIDADAS

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Free Love's Lewis seduces w/ Eurowave + Vaporbeat. BEAST

CATHOUSE, FROM 23:00, £4

DJ Jonny soundtracks your Wednesday with all the best in pop-punk, metalcore, house & EDM and there’s even beer pong. 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. BRAZILIAN WAX

STEREO, FROM 23:30, £4 - £5

Brazilian Wax, who have been cutting their teeth in the thriving Leeds club scene, are bringing their big Brazilian party to Glasgow. AFLOAT (DJ ASSAULT )

LA CHEETAH CLUB, FROM 23:00, £7 - £9

Afloat bring in Detroit-hailing, booty bass and ghetto tech legend, DJ Assault.

Thu 15 Nov PRAY 4 LOVE

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

Ross MacMillan plays chart, house and anthems with giveaways, bouncy castles and, most importantly, air hockey. ELECTRIC SALSA (MITCHELLMAN + MULLEN + BISSET)

LA CHEETAH CLUB, FROM 23:00, £3 - £5

Triple threat action, as Bisset welcomes two of his favourite selectors in for a full night of mayhem.

Fri 16 Nov FRESH! FRIDAYS

ORAN MOR, FROM 23:00, £6

Resident DJ John McLean brings you the biggest tunes and best deals to make your weekend one to remember. SUGO

BLOC+, FROM 23:00, FREE

Shake what you got to the sound of the best of the worst Italo/Euro trash from the last four decades. SHAKA LOVES YOU

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

Hip-hop and live percussion flanked by wicked visuals. HANNAH WANTS

SWG3 GLASGOW, FROM 22:00, £21 - £27.56

British DJ and producer hailing from Birmingham with serious credentials, bringing ‘dark and raw raves’ to her parties. 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.

NIGHTRAVE (LONE +NIGHTWAVE )

LA CHEETAH CLUB, FROM 23:00, £8 - £10

An unmissable rave workout from Lone and Nightwave all night long.

SATURDAY SHAKEDOWN

ORAN MOR, FROM 23:00, £8

Resident DJ Bobby Bluebell mixes up the house, R’n’B and chart. SINGLES NIGHT

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

Beans + Divine explore the hits on 7” vinyl. FLEETMAC WOOD PRESENTS GOLD DUST DISCO

SWG3 GLASGOW, FROM 22:00, £8 - £11.30

Remixes and edits of Fleetwood Mac, crafted for the dance floor with Fleetmac Wood DJs Roxanne Roll and Smooth Sailing. SONGS YA BASS XVII

BUFF CLUB, FROM 19:00, FREE

Pre-request early club night where you choose the tunes. 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. TAIKANO X POWERPLANT: ELECTRONIC COMMUNICATIONS (HYPNOSAURUS (LIVE) + HAPE (LIVE) + CUBUS LARVIK (LIVE) + DJ ILMAJAAM + AJAY C) STEREO, FROM 23:00, £9 - £10

A night of ambient, experimental, live hardware and techno. LA CHEETAH 9TH BIRTHDAY PT. 3 (HUNEE)

LA CHEETAH CLUB, FROM 23:00, £17 - £20

Crate digger extraordinaire, Hunee plays a special six-hour set for part three of La Cheetah’s 9th birthday party series. SUBCULTURE: PARAMIDA (HARRI & DOMENIC)

SUB CLUB, FROM 23:00, £10

Paramida’s colourful, tropical and Balearic-tinged house sound and party-starting DJ sets have seen her become one of Berlin’s most in-demand selectors.

MIND YER SELF (MAURICE FULTON + LECH & MAC)

THE BERKELEY SUITE, FROM 23:00, £7

MYS is a club night with bigger aims, raising awareness of mental issues among young people, with all profits going to Penumbra. JUNGLE TESTAMENTS: AUDIOMISSION (OH MY JOSH!)

AUDIO, FROM 23:00, £8 - £9

Another edition of Jungle Testaments, this time headlined by Bristol producer, Audiomission.

Sun 18 Nov CLIFFHANGER

CATHOUSE, FROM 23:00, TBC

A hearty blend of emo, drive-thru, old school and new school pop punk, to see your Sunday through to the stars. 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.

BEAST

THE LANCE VANCE DANCE

CATHOUSE, FROM 23:00, £4

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

DJ Jonny soundtracks your Wednesday with all the best in pop-punk, metalcore, house & EDM and there’s even beer pong. 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. ATTENTION PLEASE

LA CHEETAH CLUB, FROM 23:00, TBC

The Selectors Series is back, educating the floor with the best gems the fine line-up of selectors can get their hands on.

Thu 22 Nov

BREAKFAST CLUB W/ GERRY LYONS

NICE ‘N’ SLEAZY, FROM 23:30, FREE

80s themed party extravaganza. 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

Ross MacMillan plays chart, house and anthems with giveaways, bouncy castles and, most importantly, air hockey. PALA X SEEME CHARITY PARTY

LA CHEETAH CLUB, FROM 23:00, £3

Pala put on a charity night for the SeeMe charity, with all profits going to help mental health.

Fri 23 Nov FRESH! FRIDAYS

ORAN MOR, FROM 23:00, £6

Resident DJ John McLean brings you the biggest tunes and best deals to make your weekend one to remember. BALKANARAMA

CLASSIC GRAND, FROM 22:30, £9 - £10

SONNY FODERA

SWG3 GLASGOW, FROM 22:00, £14.06

Groove-driven, emotive dance from Australian artist Sonny Fodera. MISBEHAVIN

CATHOUSE, FROM 23:00, £5 - £6

Retro-pop, alt, dance and electro from DJ Drewbear. I LOVE GARAGE

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

STEREO, FROM 23:00, £16 - £20

The world’s biggest hardcore drum’n’bass brand, PRSPCT Recordings take over proceedings at Industrialize for one night only.

SWG3 GLASGOW, FROM 21:00, £15 - £27.50

Sensu continue to bring cutting edge electronic music from across the globe to their parties, this time with Maceo Plex and Tale Of Us. COLOURS PRESENTS: BLASTERJAXX

SWG3 GLASGOW, FROM 21:00, £16 - £27.20

Late night Colours show for the Holland DJ duo, aka Thom Jongkind and Idir Makhlaf. 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.

EZUP’S DISCO PARADISE VOL. V (NICKY + MARK + DEVLN)

LA CHEETAH CLUB, FROM 23:00, £0 - £6

Ezup’s residents take you on a four-hour journey through disco, with the fifth installment of their Disco Paradise series. EROL ALKAN (ALL NIGHT LONG)

SUB CLUB, FROM 23:00, £10

The Trash founder, Bugged Out resident and all-round DJ extraordinaire takes control for the evening, well-kent for his tight productions and damn good remixes.

MAKING THINGS HAPPEN (PHIBES)

THE ART SCHOOL, FROM 23:00, £6 - £10

Mon 19 Nov THE GARAGE GLASGOW, FROM 23:00, £3 - £4

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

CHAOS IN THE CBD (OOFT!)

The Detroit house legend plays a rare set, cherrypicking from his vinyl bag o’ tricks.

Mon 26 Nov 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 27 Nov ONLY THE SUBJECT

NICE ‘N’ SLEAZY, FROM 23:30, FREE

New wave of underground Glasgow DJ talent. #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.

Wed 28 Nov FREAK LIKE ME

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Soul, hip-hop and funk. BEAST

CATHOUSE, FROM 23:00, £4

DJ Jonny soundtracks your Wednesday with all the best in pop-punk, metalcore, house & EDM and there’s even beer pong. 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. EUTONY

Wed 21 Nov DON’T BE GUTTED

NICE ‘N’ SLEAZY, FROM 23:30, FREE

Hardstyle mad one at the O2 headed up by Kutski and a curated line-up.

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

ELISCO (MISTER SATURDAY NIGHT)

LA CHEETAH CLUB, FROM 23:00, £10 - £12

MYLO (DJ SET) (LEZZER QUEST)

Scottish DJ, specialising in sophisticated electro stabs, classy breaks and fat bottomed bass lines.

LA CHEETAH CLUB, FROM 23:00, £0 - £5

UNDERGROUND SOCIETY

CABARET VOLTAIRE, FROM 23:00, £3 - £4

HI-FI REBEL

THE HIVE, FROM 22:00, FREE

Your weekly dose of indie rock’n’roll. SILK

THE LIQUID ROOM, FROM 22:30, £0 - £5

Weekly Thursday chart, house, R’n’B and indie night with DJ Big Al, DJ E-Beatz and Bongo Dave. 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.

Fri 02 Nov

FLY PRESENTS AFTER DARK (SIGGERS + ASHMORE + MAKAZE) 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. ELECTRIKAL: WALL OF BASS

THE BONGO CLUB, FROM 23:00, £7 - £9.50

Wall Of Bass return to Electrikal, moving the DJ booth to the dancefloor to create a hot-bed of beats and bass. Expect house, bassline, grime and jungle. FLIP

THE HIVE, FROM 22:00, £0 - £4

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect. PROPAGANDA

THE LIQUID ROOM, FROM 22:30, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

Expect nothing less than acid, techno and Detroit house all night long.

MISS WORLD FEAT. NINA LAS VEGAS (EMILY + APHID) SNEAKY PETE’S, FROM 23:00, £5

SATURDAY SHAKEDOWN

O2 ACADEMY GLASGOW, FROM 21:00, £27.60 - £33.20

FRESH BEAT

Weekly party every Thursday with Residents Merlot and Dave Hill.

Tue 20 Nov

KEEPING THE RAVE ALIVE

CATHOUSE, FROM 22:30, £5 - £6

THE BERKELEY SUITE, FROM 23:00, £10 - £15

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

Resident DJ Bobby Bluebell mixes up the house, R’n’B and chart.

CATHOUSE FRIDAYS

Thu 01 Nov

Sat 24 Nov

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

MELLA DEE B2B BIG MIZ

SWG3 GLASGOW, FROM 23:00, £12 - £19.13

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

Two kindred spirits and musical peas in the pod, Joy O and Craig Richards go head to head.

UNHOLY

CATHOUSE, FROM 23:00, £2 - £4

ELEMENT

THE GARAGE GLASGOW, FROM 23:00, TBC

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

A hypnotising musical wonderland, transformed and ready to entice you into the dance. PMSC

PARADISE PALMS, FROM 21:00, FREE

Percy Main flings wide the doors to his social club this eveningwith melters, belters, boogies, woogies, sweat and daiquiris.

SWG3 GLASGOW, FROM 23:00, £25 - £28.13

WATB boss Alan Fitzpatrick is joined by some more huge names in techno for this party.

SUB CLUB, FROM 23:00, £10

JOY ORBISON & CRAIG RICHARDS

TRASH

THE HIVE, FROM 22:00, FREE

Funk, soul, beats and bumps from the Mumbo Jumbo gang and room two residents The GoGo.

CATHOUSE, FROM 23:00, TBC

SESH

CAPRI

THE MASH HOUSE, FROM 23:00, £3 - £5

Sat 03 Nov

WE ARE THE BRAVE (ALAN FITZPATRICK + GARY BECK + HARVEY MCKAY)

Sun 25 Nov SLIDE IT IN

Edinburgh Clubs

H+P’s Andrew and pals play tunes across the board.

NYC’s Mister Saturday Night joins Craig Moog in the booth.

Glasgow’s longest running drum and bass club night.

Thu 29 Nov

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

HUNTLEYS & PALMERS

NICE ‘N’ SLEAZY, FROM 23:30, FREE

AUDIO, FROM 23:00, FREE

SYMBIOSIS (JUNGLISM SCOTLAND DJS + CALACO JACK + HEX + ALCANE)

Chaos in the CBD is New Zealand brothers Ben and Louis HellikerHales.

ORAN MOR, FROM 23:00, £8

Resident DJ John McLean brings you the biggest tunes and best deals to make your weekend one to remember.

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

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

ORAN MOR, FROM 23:00, £6

SUBCULTURE: MARCELLUS PITTMAN

SUB CLUB, FROM 23:00, £10

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

SENSU (MACEO PLEX + TALE OF US)

FRESH! FRIDAYS

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

NICE ‘N’ SLEAZY, FROM 23:30, £0 - £3

Bangers ripe and ready for your enjoyment.

Fri 30 Nov

LA CHEETAH CLUB, FROM 23:00, £8 - £10

The final installment of Jon K’s Trip Noise residency sees an invite go out to his Pariahs cohort, Tom Boogizm.

Classic rock through the ages from DJ Nicola Walker.

EASY PEELERS

LA CHEETAH CLUB, FROM 23:00, £3 - £5

Cold Sweat Sound System head honcho DJ Mezcal steps up for his La Cheetah debut.

Two huge heavyweights on the scene, Mella Dee and Big Miz go back-to-back all night long.

TRIP NOISE PT. 4 (JON K + TOM BOOGIZM)

All singing, all dancing Balkan orgy, plus belly dancing and free brandy. As in, we’re sold.

Making Things Happen returns with real life brother duo Phibes, known for their high powered electric live shows and speaker shattering production.

BARE MONDAYS

Exotic dreamy disco.

RENEGADES OF FUNK (DJ MEZCAL + ALSHY + NOWICKI)

Australian DJ, producer and radio host Nina Las Vegas joins Miss World.

3 YEARS OF SHALL NOT FADE – EDINBURGH (ADRYIANO + HARRISON BDP + LK + KGW) LA BELLE ANGELE, FROM 23:00, £10

Label showcase with some of underground house and techno’s brightest talents. HAPTIC (DJ SLYNGSHOT)

THE MASH HOUSE, FROM 23:00, £6 - £8

German producer, DJ Slyngshot joins Haptic for their last party of the year.

MUMBO JUMBO: YAM WHO? (THE GOGO)

THE BONGO CLUB, FROM 23:00, £3 - £7

BUBBLEGUM

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more. SOUL JAM: CHRISSY (TUESDAY GONZALEZ + PERCY MAIN)

SNEAKY PETE’S, FROM 23:00, £3 - £5

Chrissy is a genre-bending DJ/ producer with productions on esteemed labels like File Under Disco, Tugboat Edits, Hypercolour, Classic, and on his weekly Year Of Edits blog.

Wed 07 Nov WICKED WEDNESDAYS

THE HIVE, FROM 22:00, FREE

All new, all fun, all cheese club night.

THE HIVE, FROM 21:00, £0 - £4

HEATERS: DJ BORING

REWIND

Smooth talker DJ Boring comes to Heaters and invites you for date night. No Netflix & chill, just a four hour all night set of wall-to-wall belters and lots of roses.

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure. THE LIQUID ROOM, FROM 22:30, £5 - £6

Monthly party night celebrating the best in soul, disco, rock and pop with music from the 70’s, 80’s, 90’s and current bangers. HECTOR’S HOUSE & DISCO TIME MACHINE (GARETH SOMMERVILLE)

SNEAKY PETE’S, FROM 23:00, £5

A vinyl-only adventure through 1970-2018. An all killer no filler one record per year selection from Gareth Sommerville’s extensive collection.

KEEP IT STEEL: DAY OF THE DEAD 4TH BIRTHDAY METAL PARTY (KEEP IT STEEL RESIDENTS)

SNEAKY PETE’S, FROM 23:00, £5 - £7

MOTHERSHIP CONNECTION

LA BELLE ANGELE, FROM 23:00, £6

From Soul Power to the Hip-Hop Nation, join DJs, saxophonists and trumpeters on a journey through funk.

Thu 08 Nov UNDERGROUND SOCIETY

OTHER THUMPERS

PARADISE PALMS, FROM 21:00, FREE

Enter Planet Dust. Italo heat and proto house from a man clad in studded leather. REGGAE GOT SOUL

LEITH DEPOT, FROM 19:30, TBC

A reggae party.

Sat 10 Nov RHYTHM MACHINE

THE BONGO CLUB, FROM 23:00, £6

Rhythm Machine is a night of dance music and performance art, with DJs Yves, William Francis and guests playing dance music from around the world. BUBBLEGUM

THE HIVE, FROM 21:00, £0 - £4

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

HI-FI REBEL

THE LIQUID ROOM, FROM 22:30, £5

THE HIVE, FROM 22:00, FREE

MIDLAND AT TEESH (DJ CHEERS)

SILK

Midland (AKA Harry Agius) brings his knack for mixing techno and disco to the Sneaky’s fray for a three-night residency.

SAMEDIA SHEBEEN

DISTRACTION (REORDER + SIMON MCLEOD + GRANT HAMILTON + RYAN RAMSAY + MATT ROBERTSON + JAMES REILLY + STEVIE IWANIEC)

THE MASH HOUSE, FROM 23:00, £4

New club night in Edinburgh playing all sorts of dance music with the newest Djays and an all round laugh.

Edinburgh’s biggest 90s retro night.

Weekly party every Thursday with Residents Merlot and Dave Hill.

Weekly Thursday chart, house, R’n’B and indie night with DJ Big Al, DJ E-Beatz and Bongo Dave.

As always Samedia play music spanning Afrobeat, Latin, kuduru, dancehall, samba, soca, cumbia and beyond.

ERROR404 (LIAM DOC + HIVE & MAC + OSCAR JAMES + PLUS1)

SMASH HITS PRESENTS WE LOVE THE 90S

Your weekly dose of indie rock’n’roll.

THE MASH HOUSE, FROM 23:00, £3 - £5

A judgement-free party space with no specific genre policy.

CABARET VOLTAIRE, FROM 23:00, £3 - £4

LA BELLE ANGELE, FROM 23:00, £3

The best goddamn Metal club night in the universe returns with a horror-themed stage show.

ALLSORTS (DELAHUNT + FROST + CAMMY COCHRANE)

THE MASH HOUSE, FROM 23:00, £3 - £5

THE LIQUID ROOM, FROM 22:30, £0 - £5

ITCHY FEET

THE LIQUID ROOM, FROM 22:00, £10

45s full of soul, ska and sass to keep all veterans boogieing all night long, igniting some rock’n’soul fire in your lives mid-week style. MIDLAND

SNEAKY PETE’S, FROM 23:00, £10 - £11

SNEAKY PETE’S, FROM 23:00, £12 - £13.20

SKOOP (CAIN + DJ URAKI RIDDIM B2B EOIN R + 2 2 D O L P H I N S + DEARLY BELOVED)

THE MASH HOUSE, FROM 23:00, £3 - £5

Skoop is an Edinburgh-based collective focused around experimental hip-hop and electronic music in all shapes and sizes. MICHELLE MANETTI

Distraction takes over the top two rooms of The Mash House to bring you a night of trance and hard dance.

Midland (AKA Harry Agius) brings his knack for mixing techno and disco to the Sneaky’s fray for a three-night residency.

PARADISE PALMS, FROM 21:00, FREE

Fri 09 Nov

London-based DJ and musician, and Lipstick Disco founder, Michelle Manetti is known for showcasing the finest and freshest underground tracks and belting out dynamic sets.

CABARET VOLTAIRE, FROM 23:00, TBC

Sun 11 Nov

THE MASH HOUSE, FROM 23:00, £10

JACUZZI GENERAL

Dip your toe into the sounds of pleasure powerhouse Jacuzzi General.

Sun 04 Nov SUNDAY CLUB

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

FLY

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent. WACK! #3 – THE RETURN TO THE CELLAR

HENRY’S CELLAR BAR, FROM 23:00, £5

A night of pumping house, electro bangers and breakbeat belters.

Believe presents the best in bass DJs from Edinburgh at his weekly Sunday communion.

HOBBES MUSIC 5TH BIRTHDAY (NIGHTWAVE + MICHELLE MANETTI + JACKSONVILLE (LIVE) + GAMING (LIVE) + EXTERIOR (LIVE) + LEONIDAS & HOBBES + DALI)

PARADISE PALMS, FROM 16:00, FREE

THE BONGO CLUB, FROM 23:00, £4 - £6

APPRAISE REWOUND

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.

Mon 05 Nov 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. LET’S GET FAWKED UP

SNEAKY PETE’S, FROM 23:00, TBC

A healthy mix of house and techno with a splash of disco thrown in here and there, progressively getting heavier throughout the night.

Tue 06 Nov 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.

Acclaimed Edinburgh label Hobbes Music assembles a proper cast of favourites from the past, present and future of the label. FLIP

THE HIVE, FROM 22:00, £0 - £4

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect. QUEEN CLUB

WEE RED BAR, FROM 23:00, £5

Tribute to Freddie Mercury and to celebrate the release of the new biopic. PROPAGANDA

THE LIQUID ROOM, FROM 22:30, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. MIDLAND

SNEAKY PETE’S, FROM 23:00, £10 - £11

Midland (AKA Harry Agius) brings his knack for mixing techno and disco to the Sneaky’s fray for a three-night residency. CLUB CRITICAL SOUND (ENEI + KASRA)

LA BELLE ANGELE, FROM 23:00, £10

Conceived by D&B visionary Kasra back in 2002, the Critical Music name has since blossomed into one of the most successful independent record labels in the UK.

PARADISE PALMS, FROM 21:00, FREE

SUNDAY CLUB

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.

Mon 12 Nov 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.

Tue 13 Nov 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.

Wed 14 Nov WICKED WEDNESDAYS

THE HIVE, FROM 22:00, FREE

All new, all fun, all cheese club night. HEATERS: DJ BOOCHIE & ANDREA MONTALTO

SNEAKY PETE’S, FROM 23:00, £1 - £3

Heaters welcome Kiosk Radio founder DJ Boochie to play with Sicilian homeslice and EH-FM founder Andrea Montalto.

Nefarious beats for dangerous times.

Listings

THE SKINNY

Thu 15 Nov

UNDERGROUND SOCIETY

CABARET VOLTAIRE, FROM 23:00, £3 - £4

Weekly party every Thursday with Residents Merlot and Dave Hill. HI-FI REBEL

THE HIVE, FROM 22:00, FREE

Your weekly dose of indie rock’n’roll. SILK

THE LIQUID ROOM, FROM 22:30, £0 - £5

Weekly Thursday chart, house, R’n’B and indie night with DJ Big Al, DJ E-Beatz and Bongo Dave. 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.

Fri 16 Nov FLY

CABARET VOLTAIRE, FROM 23:00, TBC

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent.

HEADSET – BREADSET: THE SECOND COMING

THE BONGO CLUB, FROM 23:00, £1 - £5

Skillis and friends playing garage, techno, house and bass, with special guests often joining in. FLIP

THE HIVE, FROM 22:00, £0 - £4

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect. INSOMNIA

WEE RED BAR, FROM 23:00, £5

House, tech house and trance with DJ Jordy Deelight. PROPAGANDA

THE LIQUID ROOM, FROM 22:30, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

ATHENS OF THE NORTH DISCO CLUB (FRYER + LEL PALFREY + GARETH SOMMERVILLE) SNEAKY PETE’S, FROM 23:00, £5 - £7

Edinburgh’s finest gem-digging, discogs destroying re-issue label goes real world once again. Rare records that’ll make you dance, guaranteed. OVERGROUND

THE MASH HOUSE, FROM 23:00, £4 - £7

Lo-fi raw house and techno.

POWERHOUSE: HEDONISM, UNITY & FREEDOM (MCHANOID + LUCID + NEFELIBATA + DARK ALI) THE MASH HOUSE, FROM 23:00, £3

Edinburgh heavyweights bringing the real underground heat to the Mash House attic. LIQUID FUNKTION

THE MASH HOUSE, FROM 23:00, £8 - £12

Liquid, drum and bass, jungle and breaks at The Mashy. MAIN INGREDIENT

PARADISE PALMS, FROM 21:00, FREE

Main Ingredient continue their bi-monthly residency and bring their anything goes ethos to Paradise Palms. Expect live synths, percussion, guest musicians and their vast record collections.

Sat 17 Nov

SHADOWPLAY (DJ CAVEY NIK)

HENRY’S CELLAR BAR, FROM 23:00, £5

A mix of classic goth, post-punk, new wave, dark wave, synth, deathrock and more. SOULSVILLE

THE BONGO CLUB, FROM 23:00, £5

Residents Cameron Mason and Calum Evans spin the finest cuts of deep funk, Latin rhythms and rare groove into the early hours. BUBBLEGUM

THE HIVE, FROM 21:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure. HANNAH WANTS (GRIFF)

THE LIQUID ROOM, FROM 22:00, £17.50 - £20

British DJ and producer hailing from Birmingham with serious credentials, bringing ‘dark and raw raves’ to her parties. THE FINAL WASABI DISCO (JD TWITCH + KRIS WASABI)

SNEAKY PETE’S, FROM 23:00, £7

Edinburgh’s best club night, Wasabi Disco hangs up its headphones for good on its 10th year anniversary, featuring Optimo’s JD Twitch and Kris Wasabi all night long. DECADE

RIVIERA PARAISO

FLIP

PARADISE PALMS, FROM 21:00, FREE

THE HIVE, FROM 22:00, £0 - £4

Join resident Montalto and guests as they explore avant-techno experiments.

Sun 18 Nov SUNDAY CLUB

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

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect. HEY QT

WEE RED BAR, FROM 23:00, £5

Sweaty dance disco for queer folk and their pals. PROPAGANDA

THE LIQUID ROOM, FROM 22:30, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

Believe presents the best in bass DJs from Edinburgh at his weekly Sunday communion.

DANGER ZONE (HALL & SCOTS)

PARADISE PALMS, FROM 16:00, FREE

DJs Ball and Scrotes playing the finest in 70s/80s soft rock anthems, AOR and power ballads.

APPRAISE REWOUND

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.

Mon 19 Nov 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. LA LA LAND

SNEAKY PETE’S, FROM 23:00, TBC

Fly Club resident La La brings her Land to Sneaky Pete’s for a special one off Monday.

Tue 20 Nov 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.

Wed 21 Nov WICKED WEDNESDAYS

THE HIVE, FROM 22:00, FREE

All new, all fun, all cheese club night. HEATERS: PROJECT PABLO (C-SHAMAN)

SNEAKY PETE’S, FROM 23:00, £10

Montreal musician, Project Pablo returns to Sneaks for Heaters.

Thu 22 Nov

LA BELLE ANGELE, FROM 23:00, £5

RAW (AESTHETICS + UPFRONT + JAMMIN)

THE MASH HOUSE, FROM 23:00, £3 - £4

Monthly drum & bass at The Mash House, representing the full spectrum of the genre. ERROR404 (FOCUS + MINDWARP + DOMCORE + KONTRA AH)

THE MASH HOUSE, FROM 23:00, £4

New club night in Edinburgh playing all sorts of dance music with the newest Djays and an all round laugh. BEST INTENT

PARADISE PALMS, FROM 21:00, FREE

Mon 26 Nov 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. SHLEEKIT DOSS (PROC FISKAL + SKILLIS)

SNEAKY PETE’S, FROM 23:00, £1 - £3

Tunes and such from the bams, Proc Fiskal, Skillis and pals. Disco, grime, jungle, donk.

Tue 27 Nov HECTOR’S HOUSE

CABARET VOLTAIRE, FROM 23:00, £5 - £6

TRASH

THE HIVE, FROM 22:00, FREE

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more. SOUL JAM: FRANK (TUESDAY GONZALEZ + PERCY MAIN)

SNEAKY PETE’S, FROM 23:00, £1 - £3

Wed 28 Nov

Come along to the Feminist Disco for a guilt-free night of fabulous tunes that deserve to be danced to.

All new, all fun, all cheese club night.

Sat 24 Nov

SNEAKY PETE’S, FROM 23:00, £1 - £3

BUBBLEGUM

THE HIVE, FROM 21:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure. FLY PRESENTS ARTWORK & BRADLEY ZERO

THE LIQUID ROOM, FROM 22:00, £10 - £15

A night of first-rate house, disco and soul from the London-based selectors. DON’T STOP ME NOW

THE LIQUID ROOM, FROM 22:30, £5 - £7

The ultimate Queen club night experience. RIDE

SNEAKY PETE’S, FROM 23:00, £5

THE HIVE, FROM 22:00, FREE

HEATERS: HAPTIC

Heaters welcome back fledging crew haptic for another hectic smash.

Thu 29 Nov UNDERGROUND SOCIETY

CABARET VOLTAIRE, FROM 23:00, £3 - £4

Weekly party every Thursday with Residents Merlot and Dave Hill. SPOONFUL

THE BONGO CLUB, FROM 23:00, £5 - £8

Your weekly dose of indie rock’n’roll. SILK

THE LIQUID ROOM, FROM 22:30, £0 - £5

Weekly Thursday chart, house, R’n’B and indie night with DJ Big Al, DJ E-Beatz and Bongo Dave. POPULAR MUSIC

SNEAKY PETE’S, FROM 23:00, £1 - £3

SUMMERHALL, FROM 22:30, £9 - £10

Fri 30 Nov

Your weekly dose of indie rock’n’roll. SILK

THE LIQUID ROOM, FROM 22:30, £0 - £5

Weekly Thursday chart, house, R’n’B and indie night with DJ Big Al, DJ E-Beatz and Bongo Dave. 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. CHURCH

THE MASH HOUSE, FROM 23:00, £6 - £12

Belgian-born Alix Perez joins Church, taking you on a bewildering journey through all manner of drum’n’bass, hip-hop, half-time and electronica.

Fri 23 Nov FLY

CABARET VOLTAIRE, FROM 23:00, TBC

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent. ETC 40: ACID23! (DAVE SHADES + DJ’S VJ’S + DECOR WRANGLERS)

HENRY’S CELLAR BAR, FROM 23:00, £5 - £7

New electronic night from Edinburgh Tekno Cartel, covering techno, acid house, bassline, jungle, dubstep, metal, breakcore and gabber. Discount in psychedelic costume. SUBSTANCE: 12TH BIRTHDAY

THE BONGO CLUB, FROM 23:00, £6

All singing, all dancing Balkan orgy, plus belly dancing and free brandy. As in, we’re sold. THE EDINBURGH SOUL TRAIN

LA BELLE ANGELE, FROM 23:00, £7

An uplifting journey filled with funk, soul, disco and Motown classics.

NIGHT TUBE (DALI + HASEEB IQBAL)

THE MASH HOUSE, FROM 23:00, £4 - £8

Mixing London’s diverse music with Cowgate’s unique atmosphere, welcome to the Night Tube. MANY ANIMALS

PARADISE PALMS, FROM 21:00, FREE

Many Animals return for their monthy residency at Palms, known for booking legends such as Justin Robertson, Timothy ‘Heretic’ Clerkin and Jon Pleased Wimmin.

Sun 25 Nov JUNGLE NATION

THE BONGO CLUB, FROM 23:00, £2 - £3

A history of jungle and drum’n’bass. SUNDAY CLUB

THE HIVE, FROM 22:00, FREE

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

TRAVERSE THEATRE, FROM 19:00, £11

Groove to the golden sounds of the 60s, 70s, 80s and beyond. COALITION

SNEAKY PETE’S, FROM 23:00, FREE

Believe presents the best in bass DJs from Edinburgh at his weekly Sunday communion.

FLY

CABARET VOLTAIRE, FROM 23:00, TBC

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent. ELECTRIKAL

THE BONGO CLUB, FROM 23:00, TBC

Soundsystem party-starters, part of a music and art collective specialising in all things bass. FLIP

THE HIVE, FROM 22:00, £0 - £4

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect. PROPAGANDA

THE LIQUID ROOM, FROM 22:30, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. LIONOIL 4TH BIRTHDAY (TELFORT + PERCY MAIN)

SNEAKY PETE’S, FROM 23:00, £5 - £7

Edinburgh label and party crew, Lionoil Industries celebrate four years. All night back-to-backness with Prime Minister Percy Main and Chief of Telfort. WEE DUB W/ MUNGO’S HI-FI & KENNY KNOTS (YAADCORE)

LA BELLE ANGELE, FROM 23:00, £8

Full system and legendary vocalist Kenny Knots, with exclusive support from top Jamaican roots selector and Proteje’s tour DJ, Yaadcore.

THE MASH HOUSE, FROM 23:00, £5 - £6

Described by Resident Advisor as “one of Edinburgh’s most important outposts for house, techno and bass”, Substance celebrate their 12th birthday.

November 2018

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

LA BELLE ANGELE, FROM 23:00, £5

Edinburgh’s funnest alt party. MIGHTY OAK

Mighty Oak return for their monthly Mash House dub music session.

English DJ Elliot Adamson makes his Dundee debut.

Fri 09 Nov

BOOK CLUB: KRIS WADSWORTH (IS KILL + MARC JD)

READING ROOMS, FROM 22:30, £5 - £12

Breed label boss and all round Detroit don, Kris Wadsworth pays a visit with his low slung, throbbing techno.

Thu 15 Nov

SAMEDIA SHEBEEN TROPICAL DISCO CLUB

READING ROOMS, FROM 23:30, £6 - £15

With a tropical soundtrack spanning old and new world sounds, Samedia Shebeen’s music will take you on an expertly mixed and riotous journey through space and time.

Fri 16 Nov

HEADWAY WITH REBEKAH (ANDY BARTON + NEIL CLARK + GRAEME BINNIE)

READING ROOMS, FROM 22:30, £10 - £15

CLR prodigy, Rebekah established herself as one of the leading exponents of techno currently operating on the global circuit.

QFX are back with their massive Dance Anthems live show, performing 90s and 00s classics.

HI-FI REBEL

THE HIVE, FROM 22:00, FREE

READING ROOMS, FROM 22:30, £6 - £12

THE HIVE, FROM 22:00, FREE

A new weekly night with a danceable mix of music made by bands, cutting across genre, age and nation.

BALKANARAMA

Sat 03 Nov

Fri 30 Nov

CABARET VOLTAIRE, FROM 23:00, £3 - £4

Weekly party every Thursday with Residents Merlot and Dave Hill.

READING ROOMS, FROM 22:30, £8 - £15

A mixture of live music, funk, disco and some other spices.

Live fast die yung, Ride gals do it well. Teacha El and CheckyerStrides play 00s rnb and 90s hip hop and put their lighters up.

UNDERGROUND SOCIETY

PHAZED AND LE FREAK RECORDS PRESENT ECLAIR FIFI (AISHA + TEDDY HANNAN + CORRELATE)

ALL GOOD PRESENTS: ELLIOT ADAMSON (VAN D + ETHAN BELL)

Weekly Bongo night by Electrikal Sound System, dishing out drum and bass, jungle, bassline, grime and garage.

WICKED WEDNESDAYS

Purveyors of reggae, dub and roots music over two floors in Bongo.

Fri 02 Nov

THE BONGO CLUB, FROM 23:00, £1 - £5

MIDNIGHT BASS

AKVA, FROM 19:30, £4 - £6

THE BONGO CLUB, FROM 23:00, £5 - £7

Dundee Clubs

LuckyMe’s Eclair Fifi helps Phazed celebrate their fourth birthday and Le Freak Records’ first.

Soul Jam are joined by EH-FM and Paradise Palms resident, FRANk.

MESSENGER + SOUND SYSTEM LEGACIES

NikNak are back with B2B bangers and 2018 startovers. Let’s start afresh with fresh tracks and new leaf blowers.

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.

Join Paradise Palms in-house resident Cammy for a night of genre-hopping selections, paying close attention to the dancefloor. FEMINIST DISCO

NIKNAK PARADISE PALMS, FROM 21:00, FREE

PALIDRONE (C-SHAMAN + ROSSZ VÉR)

THE MASH HOUSE, FROM 23:00, £5

After a string of guest bookings, Palidrone are going back to where it all started with an all night long residents bash.

QFX – DANCE ANTHEMS LIVE!

FAT SAM’S, FROM 22:30, £5 - £8

Glasgow Theatre Oran Mor

A PLAY, A PIE AND A PINT: WE INTERRUPT THIS PROGRAMME

5 NOV, 1:00PM, £10 - £14

In an era of fake news, tabloid sensationalism and mass distraction, how often do we stop and question what we’re being told? A PLAY, A PIE AND A PINT: OSCAR SLATER - THE TRIAL THAT SHAMED A CITY

12 NOV, 1:00PM, £10 - £14

The story of Oscar Slater, a Jewish immigrant, who in 1909 was sentenced to death for the brutal murder of an 83-year-old Glasgow woman, Marion Gilchrist. A PLAY, A PIE AND A PINT: TURNS OF THE TIDE

19 NOV, 1:00PM, £10 - £14

Two sisters, who have performed for 20 years as a singing duo on Mediterranean cruises play one final dramatic show. IT IS EASY TO BE DEAD

11-14 NOV, 7:00PM, £12 - £15

Following a sell-out West End run where it was nominated for an Olivier Award, It Is Easy To Be Dead is the story of Scotland’s greatest First World War poet. THE LYING BITCH AND THE WARDROBE

26 NOV-29 DEC, TIMES VARY, £15

Oran Mor Christmas Panto 2018, written by Morag Fullarton.

Platform PUFFIN

1 NOV, TIMES VARY, £4 - £8.50

Using music and movement, Puffin explores our relationships with and our responsibilities to each other, wildlife and the world around us.

Theatre The King’s Theatre OKLAHOMA

13-17 NOV, TIMES VARY, £13.90 - £27.90

Retelling of the Rodgers and Hammerstein smash hit set in a Western Indian territory in 1906, providing the colourful backdrop against which Curly and Laurey’s love story plays out. THE DOLLS - DRAGGED UP

2-24 NOV, TIMES VARY, PRICES VARY

Comedy/vocal duo of Gayle Telfer Stevens and Louise McCarthy, mixing singalong classic hits with plenty of cheeky banter. NATIVITY! THE MUSICAL

7 NOV-2 DEC, TIMES VARY, PRICES VARY

Feel-good, funny and full of yuletide joy, this cracker of a musical was adapted for the stage by Debbie Isitt, the creator of the much-loved films.

The SSE Hydro JEFF WAYNE’S THE WAR OF THE WORLDS

30 NOV, 6:30PM, £52.20 - £76.60

Liam Neeson, Jason Donovan and Adam Garcia all star in this musical adaptation of the HG Wells tale.

Theatre Royal THE MAGIC OF MOTOWN

23 NOV, 7:30PM, £23.15 - £32.15

In praise of the finest sounds to come out of Detroit and beyond in the Motown period. STILL ALICE

13-17 NOV, TIMES VARY, £13 - £41

Scottish actress Sharon Small stars as university professor Alice Howland, who is diagnosed with early-onset Alzheimer’s at just 50 years old.

THE COMEDY ABOUT A BANK ROBBERY

6-10 NOV, TIMES VARY, £12 - £37.40

Ocean’s Eleven meets the Marx Brothers in this dynamite new comedy.

Edinburgh Theatre Assembly Roxy FFS!!

2 NOV, 8:00PM, £8 - £10

Timberlina, the world’s premier eco-warrior bearded drag queen presents a joyously profane rock’n’roll show about giving a shit. PAGE2STAGE EDINBURGH

13 NOV, 7:30PM, £7 - £10

An exciting addition to Edinburgh’s new writing scene, showcasing extracts from four brand new plays read in front of a live audience. ALL ABOUT MY MOTHER

21-24 NOV, 7:30PM, £10 - £12

A play by Samuel Adamson, based on the film by Pedro Almodovar. UNBECOMING

22 NOV, 7:30PM, £8 - £10

Part theatre show, part music gig, Unbecoming is an invitation to a private world where pretence slips away. FLUTTER

25-25 NOV, TIMES VARY, £8 - £10

Scottish Ensemble and Andersson Dance present the world premiere of their second music-and-dance collaboration. ESTONIA NOW: CONTEMPORARY DANCE PROGRAMME

13-14 NOV, 7:00PM, £12 - £15

A programme showcasing three of Estonia’s most exciting contemporary dancers working today.

ESTONIA NOW: ESTONIAN NATIONAL BALLET TRIPLE BILL

16-17 NOV, 7:30PM, £11 - £16

An exciting programme of short ballet works by three renowned Estonian choreographers.

Tron Theatre THE LAST WITCH

1-10 NOV, TIMES VARY, PRICES VARY

A rich, poetic tale full of ambiguity and suspense, The Last Witch reimagines the true story of the alleged Witch of Dornoch. ELISION

8 NOV, 8:30PM, £8.50

Solo performance by Gudrun Soley Sigurdardottir, exploring national identity through an attempt to stay warm in a fake tropical set. MAMMY GOOSE

27 NOV-6 JAN 19, TIMES VARY, £9 - £23

Mammy Goose’s life is a mess, until a mysterious stranger makes her an offer: the chance to be young again. All she has to do is trade in her pet goose. REMEMBER DECEMBER

Favourited Italian opera telling the story of the court jester Rigoletto and his beautiful daughter Gilda. RAMBERT: LIFE IS A DREAM

22-24 NOV, 7:30PM, £16.50 - £30

A spectacular new dance show from the Olivier Award-winner Kim Brandstrup, the choreographer behind Rambert’s Transfigured Night. NATIVITY! THE MUSICAL

7 NOV-2 DEC, TIMES VARY, PRICES VARY

BRAM STOKER’S DRACULA

1-3 NOV, TIMES VARY, £18 - £31.50

World premiere of a brand new stage adaptation of the classic thriller. VULCAN 7

5-10 NOV, TIMES VARY, £19 - £32.50

Gary Savage and Hugh Delavois were students at RADA together. Now in their sixties, they meet in an Icelandic wasteland, on the set of a fantasy movie. SHAKESPEARE IN LOVE

12-17 NOV, TIMES VARY, £19 - £32.50

Adapted for the stage by Lee Hall, this epic Elizabethan extravaganza is exuberant, witty, funny and a beautiful homage to love, art and theatre itself.

The Edinburgh Playhouse

MAXIMUM RNB WITH THE MANFREDS

5 NOV, 7:30PM, £30.75 - £61.65

An evening of rhythm and blues nostalgia with The Manfreds, PP Arnold and Zoot Money. THE DOLLS - DRAGGED UP

2-24 NOV, TIMES VARY, PRICES VARY

Comedy/vocal duo of Gayle Telfer Stevens and Louise McCarthy, mixing singalong classic hits with plenty of cheeky banter. JACKSEPTICEYE: HOW DID WE GET HERE?

4 NOV, 8:00PM, £31.25 - £85.15

YouTube star Jacksepticeye tells stories of growing up and answers the question How Did We Get Here? DITA VON TEESE

15 NOV, 8:30PM, £30.75 - £74.15

various venues

Performing striptease since 1992, Dita Von Teese is the biggest name in burlesque in the world since Gypsy Rose Lee.

2-18 NOV, 7:00PM, £15 - £16

20 NOV-8 DEC, TIMES VARY, £15 - £85

30 NOV-31 DEC, TIMES VARY, £6.50 - £9

A fun-filled festive adventure. THE LIONS OF LISBON

Willy Maley and Ian Auld’s hit play The Lions of Lisbon is revived as a rehearsed reading with live music.

STUFF

6-7 NOV, 8:00PM, £9 - £17

Stuff is about the hoarding of memories, emotions and things. CHRYSALIS: EMERGENCE

17 NOV, 2:00PM, £5

Three 20-minute experimental performances, featuring work from Little Red Ensemble, Daniel Livingston & Macrobert Young Company and Rachel Jane Morrison. BLACK BEAUTY

29-30 NOV, 7:00PM, £6 - £12

Blending storytelling, music and puppetry, this retelling of Black Beauty offers fun and adventure for fans and for those brand new to the tale. THE LAST WITCH

1-10 NOV, TIMES VARY, PRICES VARY

A rich, poetic tale full of ambiguity and suspense, The Last Witch reimagines the true story of the alleged Witch of Dornoch. CHRYSALIS: THERE IS A GLOBE STUCK IN MY THROAT

15-17 NOV, TIMES VARY, £8 - £10

SCOTTISH OPERA: RIGOLETTO

King’s Theatre Edinburgh

PRELUDE – SKYDIVING FROM A DREAM

Traverse Theatre

9-17 NOV, TIMES VARY, £20 - £87

Tramway

9-10 NOV, 7:30PM, £6 - £21

The story of a partnership that became one of the outstanding political marriages of the twentieth century.

Festival Theatre

24 NOV, 7:30PM, £24 - £29

Lee ‘Memphis’ King, Europe’s most successful Elvis Presley tribute artist, recreates the essence of the King.

NYE & JENNIE

2-3 NOV, TIMES VARY, £15

Junges Ensemble Marabu’s production focuses on the inner turmoil experienced by carefree and fun-loving youth in a world that can no longer tolerate looking the other way.

A rich palette of materials, puppetry and music combine to create an interactive, immersive performance.

Feel-good, funny and full of yuletide joy, this cracker of a musical was adapted for the stage by Debbie Isitt, the creator of the much-loved films.

ONE NIGHT OF ELVIS: LEE ‘MEMPHIS’ KING

The Studio

MOTOWN THE MUSICAL

Motown The Musical tells the thrilling tale of the man who broke barriers, fought against the odds to create something more than a record label.

CHRYSALIS: NOISE

Camden Youth Theatre pull us into a world inside their headphones, sharing their inner thoughts, rebellions and the playlists they use to escape from the everyday Noise.

CHRYSALIS: SHAKING THE HABITUAL

16-17 NOV, TIMES VARY, £8 - £10

A powerful and stylish production, Shaking The Habitual questions the ways in which we conform to the world around us. SCHOOLED

23-24 NOV, 7:30PM, £5 - £7

A work in progress using experiences of pupils and teachers to shine a spotlight on Scotland’s education system, while exploring possible alternative options. EDINBURGH’S CHRISTMAS: YOU CHOOSE

30 NOV-5 JAN 19, TIMES VARY, £10 - £15

Based on the book by Pippa Goodhart and Nick Sharratt, Nonsense Room Productions present a brand new interactive musical show for the whole family.

Usher Hall BJÖRN AGAIN

21 NOV, 7:00PM, £27.50 - £38.50

The 30th anniversary tour of the ABBA celebration show.

Dundee Theatre Caird Hall

RUSSIAN STATE BALLET’S SWAN LAKE

18 NOV, TIMES VARY, £21 - £28.50

The acclaimed Russian ballet company perform their own reimagining of Tchaikovsky’s classic love story. SIXTIES GOLD

2 NOV, 7:30PM, £32.50 - £35

60s package tour promising an all-out nostalgia fest.

A COUNTRY NIGHT IN NASHVILLE

17 NOV, TIMES VARY, £26 - £27

10 NOV, 7:30PM, £25 - £26

Relive all the classic hits of The Rolling Stones in this high energy concert celebrating the music of the world’s greatest rock’n’roll band.

Dundee Rep THE SNOW QUEEN

29 NOV-31 DEC, TIMES VARY, £7 - £25

A fun, thrilling and magical adaptation of Hans Christian Andersen’s wintery tale. A co-commission between Dundee Rep and the Citizens Theatre.

Listings

GAGARIN WAY 1-3 NOV, TIMES VARY, £10 - £25

Set in Fife, Gagarin Way addresses the departure of socialist values from a region where political radicalism was once the cornerstone of the community. DOKTOR JAMES’ KRISTMAS KAROL

16 NOV, 7:30PM, £10

Sweet Venues presents this Christmas show for all the family.

Whitehall Theatre

THE DOLLS - DRAGGED UP

2-24 NOV, TIMES VARY, PRICES VARY

Comedy/vocal duo of Gayle Telfer Stevens and Louise McCarthy, mixing singalong classic hits with plenty of cheeky banter. ONCE UPON A CHRISTMAS

22-25 NOV, TIMES VARY, £11 - £15.50

All your favourite fairytales are going wrong and it’s up to the Funbox gang to make sure everyone lives happily ever after.

Glasgow Comedy Thu 01 Nov

THE THURSDAY SHOW (CAREY MARX + ANGELA BARNES + 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 02 Nov

THE FRIDAY SHOW (CAREY MARX + ANGELA BARNES + BILLY KIRKWOOD)

Comedy KOMEDY

YESBAR VIRGINS

YESBAR, FROM 20:30, £0 - £3

YESBAR, FROM 20:00, £3

From the people who brought you CHUNKS, comes a night of actual komedy.

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Tue 06 Nov

Fri 16 Nov

RED RAW

THE STAND GLASGOW, FROM 20:30, £3

Legendary new material night with up to ten acts.

Wed 07 Nov

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

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

Thu 08 Nov YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 09 Nov

THE FRIDAY SHOW (MIKE WILMOT + EDDY BRIMSON + NICO YEARWOOD + SUSAN MORRISON)

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

THE FRIDAY SHOW (STEVE GRIBBIN + BETHANY BLACK + JOE HEENAN) 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 17 Nov

THE SATURDAY SHOW (STEVE GRIBBIN + BETHANY BLACK + JOE HEENAN)

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

Sat 10 Nov

YESBAR, FROM 19:30, £10

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit.

Sat 03 Nov

THE SATURDAY SHOW (CAREY MARX + ANGELA BARNES + BILLY KIRKWOOD)

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

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit.

Sun 04 Nov

MICHAEL REDMOND’S SUNDAY SERVICE

THE STAND GLASGOW, FROM 20:30, £5 - £6

Chilled Sunday night laughs to see the weekend out. 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. MARTIN MOR: FUNNY STUFF FOR HAPPY PEOPLE

THE STAND GLASGOW, FROM 15:00, £4

An hour of comedy, circus, storytelling, poetry and stupid science. ROBERT FLORENCE AS BISCUITY BOYLE: MY BASTART LIFE

THE STAND GLASGOW, FROM 17:00, £16

Character comedy from the co-writer and star of the hit BBC Scotland sketch show Burnistoun.

Mon 05 Nov

MONDAY NIGHT IMPROV (BILLY KIRKWOOD + STU MURPHY + GARRY DOBSON)

THE STAND GLASGOW, FROM 20:30, £3

Hold on tight for this fast, frantic unpredictable showdown of improvised comedy games where the same game is never played twice.

Listings

THE STAND GLASGOW, FROM 21:00, £17.50

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

YESBAR, FROM 20:00, £3

CHRIS RAMSEY: JUST HAPPY TO GET OUT OF THE HOUSE

THE STAND GLASGOW, FROM 16:40, £20

Encompassing some of the greatest life advice ever to be recorded in the history of the world (hopefully), as Chris sets out the rules of modern existence for his infant son. CHRIS RAMSEY: JUST HAPPY TO GET OUT OF THE HOUSE

THE STAND GLASGOW, FROM 20:00, £20

Sun 11 Nov

Encompassing some of the greatest life advice ever to be recorded in the history of the world (hopefully), as Chris sets out the rules of modern existence for his infant son.

YESBAR, FROM 20:00, £3

Tue 20 Nov

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit. YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s Comedy Sunday School. SUSIE MCCABE – DOMESTIC DISASTER

THE STAND GLASGOW, FROM 20:30, £10 - £12

This year, Susie looks at why she is generally rubbish and a disaster at all things domestic and more.

Tue 13 Nov RED RAW

THE STAND GLASGOW, FROM 20:30, £3

Legendary new material night with up to ten acts. LIGHT BULB

BLACKFRIARS BASEMENT, FROM 20:00, FREE

An alternative comedy showcase and brand new night of stand up comedy.

Wed 14 Nov BBC COMEDY PRESENTS

THE STAND GLASGOW, FROM 20:30, £4

Join BBC Comedy and The Stand for a night of brand new comedy. 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 15 Nov

THE THURSDAY SHOW (STEVE GRIBBIN + BETHANY BLACK + JOE HEENAN)

THE STAND GLASGOW, FROM 20:30, £7 - £10

Start the weekend early with five comedians.

THE SATURDAY SHOW (RON VAUDRY + JOHNNY CANDON + LAUREN PATTISON + STU MURPHY) 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. CROSSMYLAFF COMEDY

THE GLAD CAFE, FROM 19:30, £10 - £12

An evening of stand-up comedy featuring a hand-picked selection of local up and coming comics. 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. GARY FAULDS LIVE

SEC, FROM 16:30, £19.85

Gary Faulds Live features hilarious stories about Gary’s eventful upbringing in Glasgow and how he came to be the black sheep of the family.

Sun 25 Nov

MICHAEL REDMOND’S SUNDAY SERVICE

THE STAND GLASGOW, FROM 20:30, £5 - £6

Chilled Sunday night laughs to see the weekend out. YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

YESBAR, FROM 20:00, £3

Fri 02 Nov

THE FRIDAY SHOW (MARTIN MOR + ADDY VAN DER BORGH)

THE STAND EDINBURGH, FROM 20:30, £10 - £12

The big weekend show with five comedians. MONKEY BARREL COMEDY’S BIG FRIDAY SHOW (RICK MOLLAND + DAVID KAY + EDDY CASSIDY)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

Monkey Barrel’s flagship night of premier stand-up comedy.

THE COMEDY SHOW (JAY LAFFERTY + ROB KEMP + DONALD ALEXANDER + ELF LYONS) 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.

THE PORTOBELLO COMEDY NIGHT (STEVEN DAVIDSON + JOHN SCOTT + ANNA MATEROWSKA + COLIN BELL THE POETRY PRINCE + DAVID CALDER)

RED RAW

THE STAND GLASGOW, FROM 20:30, £3

Legendary new material night with up to ten acts.

Wed 21 Nov

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. HARRY & CHRIS SAVE THE WORLD

THE STAND GLASGOW, FROM 20:30, £12.50

Harry and Chris are the hottest comedy-rap-jazz duo out there. They might also be the only one.

Thu 22 Nov

THE THURSDAY SHOW (RON VAUDRY + JOHNNY CANDON + LAUREN PATTISON + STU MURPHY) 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 23 Nov

THE FRIDAY SHOW (RON VAUDRY + JOHNNY CANDON + LAUREN PATTISON + STU MURPHY) 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.

ZOE LYONS - ENTRY LEVEL HUMAN

THE STAND GLASGOW, FROM 20:30, £15

It may seem like Zoe Lyons has some sort of idea what she’s doing in life, but does she? Or is she the perfect example of an Entry Level Human?

Tue 27 Nov

RED RAW (FERN BRADY)

THE STAND GLASGOW, FROM 20:30, £3

Legendary new material night with up to ten acts.

Wed 28 Nov

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 29 Nov

THE THURSDAY SHOW (GARY LITTLE + FERN BRADY + JOHN MEAGHER + ASHLEY STORRIE) 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 30 Nov

THE FRIDAY SHOW (GARY LITTLE + FERN BRADY + JOHN MEAGHER + ASHLEY STORRIE) 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.

Thu 01 Nov

THE THURSDAY SHOW (MARTIN MOR + ADDY VAN DER BORGH) 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.

Wed 07 Nov VIVA LA SHAMBLES

THE STAND EDINBURGH, FROM 20:30, £4 - £5

Anarchic comedy mayhem from Scotland’s finest young acts. TOP BANANA (LIAM WITHNAIL + ROBIN GRANGER)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Monkey Barrel’s comedy competition for new folk on the scene. JOE LYCETT: I’M ABOUT TO LOSE CONTROL AND I THINK JOE LYCETT

THE EDINBURGH PLAYHOUSE, FROM 20:00, £24.15

In his new stand-up tour, Joe Lycett shares jokes, paintings and some of the pathetic internet trolling he’s been up to recently.

Thu 08 Nov

THE THURSDAY SHOW (LLOYD LANGFORD + JAYDE ADAMS + LIAM WITHNAIL)

THE STAND EDINBURGH, FROM 20:30, £7 - £10

Start the weekend early with five comedians.

ASSEMBLY ROXY, FROM 20:00, £25

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

FARMER MICHAEL & KATHLEEN: TAEPOT TOUR

Ireland’s King and Queen of satire, Stevo & Sinéad may offend some but aren’t planning on quitting any time soon.

Sat 03 Nov

THE STAND EDINBURGH, FROM 20:30, £17.50

MONKEY BARREL COMEDY’S BIG SATURDAY SHOW (RICK MOLLAND + DAVID KAY + EDDY CASSIDY)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £14

Monkey Barrel’s flagship night of premier stand-up comedy.

THE COMEDY SHOW (JAY LAFFERTY + ROB KEMP + DONALD ALEXANDER + ELF LYONS) THE BASEMENT THEATRE, FROM 21:00, £10 - £12

SPONTANEOUS SHERLOCK

An entirely improvised Sherlock Holmes comedy play from Scotland’s hottest improv troupe.

SOFIE HAGEN: WORK IN PROGRESS

THE BASEMENT THEATRE, FROM 20:00, £7 - £8

Sofie Hagen will be talking at you for some time and that is about as much as you can definitely expect. LEITH DEPOT COMEDY

LEITH DEPOT, FROM 19:30, TBC

Stand up comedy from some local up and coming comedians.

Fri 09 Nov

THE FRIDAY SHOW (LLOYD LANGFORD + JAYDE ADAMS + LIAM WITHNAIL)

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)

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.

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

FESTIVAL THEATRE, FROM 20:00, £27.50

THE COMEDY SHOW (LOU CONRAN + HARRIET KEMSLEY + ELEANOR TIERNAN + BOBBY MAIR)

ROSS NOBLE: EL HABLADOR

Ross Noble returns to dance around the stage spinning out all the nonsense in his head into a hilarious stand up show.

Sun 04 Nov

THE SUNDAY NIGHT LAUGH-IN

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.

PROGRESS! (LIAM WITHNAIL + HARRY GARRISON + RO CAMPBELL + KIMI LOUGHTON + JOE MCTERNAN + CHRIS GRIFFIN)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

Monkey Barrel’s flagship night of premier stand-up comedy.

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.

Sat 10 Nov

THE SATURDAY SHOW (LLOYD LANGFORD + JAYDE ADAMS + LIAM WITHNAIL)

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’s rising comedy star showcase; swing by and catch the stars of tomorrow.

MONKEY BARREL COMEDY CLUB, FROM 19:00, £14

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

THE COMEDY SHOW (LOU CONRAN + HARRIET KEMSLEY + ELEANOR TIERNAN + BOBBY MAIR)

TBC IMPROV COMEDY

The To Be Continued crew return with more sketches, scenes and improvised antics.

Mon 05 Nov RED RAW

Edinburgh Comedy

Iliza Shlesinger makes her highly anticipated Scottish debut, offering up strong opinions on dating, pop culture and the state of her nation, the USA.

A night of comedy in Porty.

DALRIADA BAR, FROM 20:30, £12

The big weekend show with five comedians.

THE LATE SHOW

The big weekend show with five comedians.

Sat 24 Nov

The ultimate comedy test-ground for new acts and old pros.

Mon 26 Nov

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s Comedy Sunday School.

THE EARLY SHOW

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit.

Sun 18 Nov

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit. THE SATURDAY SHOW (MIKE WILMOT + EDDY BRIMSON + NICO YEARWOOD + SUSAN MORRISON)

STU & GARRY’S FREE IMPROV SHOW THE STAND EDINBURGH, FROM 13:30, FREE

THE SATURDAY SHOW (MARTIN MOR + ADDY VAN DER BORGH)

THE STAND GLASGOW, FROM 20:30, £10 - £12

Resident MC Viv Gee hosts a late night comedy show, with some of the best comedians on the circuit.

ILIZA: FLUENT IN ENGLISH ASSEMBLY ROXY, FROM 21:30, £22.50 - £87.50

Resident MC Viv Gee hosts a weekend comedy club with some of the best comedians on the circuit. YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

YESBAR, FROM 22:15, £10

NEW SH*T THE BASEMENT THEATRE, FROM 20:00, £7.50

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s Comedy Sunday School.

YESBAR, FROM 19:30, £10

The big weekend show with five comedians.

THE EARLY SHOW YESBAR, FROM 19:30, £10

THE STAND EDINBURGH, FROM 20:30, £3

Legendary new material night with up to ten acts.

Tue 06 Nov EDINBURGH REVUE

MONKEY BARREL COMEDY CLUB, FROM 19:00, TBC

The University of Edinburgh’s stand-up and sketch comedy show. ILIZA: FLUENT IN ENGLISH

ASSEMBLY ROXY, FROM 19:00, £22.50 - £87.50

Iliza Shlesinger makes her highly anticipated Scottish debut, offering up strong opinions on dating, pop culture and the state of her nation, the USA.

Monkey Barrel’s flagship night of premier stand-up comedy.

THE BASEMENT THEATRE, FROM 21:00, £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.

SCOTT GIBSON: ANYWHERE BUT HERE

THE BASEMENT THEATRE, FROM 19:30, £9 - £11

A hysterical hour about hedonistic holidays, this is a story about friendship, pool parties, travel insurance and the Greek thirdchoice goalie.

Sun 11 Nov

THE SUNDAY NIGHT LAUGH-IN

THE STAND EDINBURGH, FROM 20:30, £5 - £6

Chilled Sunday night comedy to see out the weekend.

Legendary free Sunday afternoon improv show.

PROGRESS! (LIAM WITHNAIL + PAUL CURRIE + GARETH MUTCH + AMY MATTHEWS + NATALIE SWEENEY + LIAM FARRELLY)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

Monkey Barrel’s rising comedy star showcase; swing by and catch the stars of tomorrow.

Mon 12 Nov RED RAW

THE STAND EDINBURGH, FROM 20:30, £3

Legendary new material night with up to ten acts.

MONKEY BARREL COMEDY’S BIG SATURDAY SHOW (RICK MOLLAND + MARK MAIER + DAVE WILLIAMS + STU MCPHERSON) MONKEY BARREL COMEDY CLUB, FROM 19:00, £14

Monkey Barrel’s flagship night of premier stand-up comedy.

RAY BRADSHAW: DEAF COMEDY FAM

THE BASEMENT THEATRE, FROM 19:15, £9 - £10

1 in 6 people in Scotland suffer from hearing loss. Two of those people are Ray’s parents.

THE COMEDY SHOW (KATIE MULGREW + VLADIMIR MCTAVISH + MARK MAIER + DAMIAN CLARK)

THE BASEMENT THEATRE, FROM 21:00, £10 - £12

MONKEY BARREL COMEDY CLUB, FROM 19:00, FREE

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.

Tue 13 Nov

THE EDINBURGH PLAYHOUSE, FROM 20:00, £28.15

PETER PANCAKES’ COMEDY EXTRAVAGANZA

Phil O’Shea brings a handpicked selection of riotous lols to Monkey Barrel. BONA FIDE (JAY LAFFERTY)

THE STAND EDINBURGH, FROM 20:30, £5 - £6

New material specially written for the night by some of the countries finest comedians. PROJECT X (IAIN CAMPBELL)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Iain Campbell hosts an experimental and new ideas alternative comedy showcase.

Wed 14 Nov

TOP BANANA (LIAM WITHNAIL + GARETH WAUGH)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Monkey Barrel’s comedy competition for new folk on the scene. JEN BRISTER - MEANINGLESS

THE STAND EDINBURGH, FROM 20:30, £8 - £10

Ever wanted to know the meaning of life? No, neither has Jen, she’s too busy trying to stop her twins from using her shoes as a toilet.

DARA O BRIAIN: VOICE OF REASON

The favourited Irish funnyman hits the road with his new tour.

Sun 18 Nov

STU & GARRY’S FREE IMPROV SHOW

THE STAND EDINBURGH, FROM 13:30, FREE

Legendary free Sunday afternoon improv show. PROGRESS! (STUART MITCHELL + CHRIS SCOTT)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

Monkey Barrel’s rising comedy star showcase; swing by and catch the stars of tomorrow.

Mon 19 Nov RED RAW

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

Shane Todd rides into town with a hilarious, brand new stand up show.

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.

Thu 15 Nov

Tue 20 Nov

SHANE TODD

ASSEMBLY ROXY, FROM 20:00, £12 - £15

THE THURSDAY SHOW (ALISTAIR BARRIE + MARY BOURKE + STU MURPHY)

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.

EDINBURGH REVUE

MONKEY BARREL COMEDY CLUB, FROM 19:00, £1 - £2

The University of Edinburgh’s stand-up and sketch comedy show. HARRY & CHRIS SAVE THE WORLD

THE STAND EDINBURGH, FROM 20:30, £12.50

Harry and Chris are the hottest comedy-rap-jazz duo out there. They might also be the only one.

Wed 21 Nov

Fri 16 Nov

TOPICAL STORM (KEIR MCALLISTER + STUART MURPHY + VLADIMIR MCTAVISH)

THE STAND EDINBURGH, FROM 20:30, £10 - £12

Satirical comedy at its best.

THE FRIDAY SHOW (ALISTAIR BARRIE + MARY BOURKE + STU MURPHY)

The big weekend show with five comedians.

MONKEY BARREL COMEDY’S BIG FRIDAY SHOW (RICK MOLLAND + MARK MAIER + DAVE WILLIAMS + STU MCPHERSON)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

Monkey Barrel’s flagship night of premier stand-up comedy.

THE COMEDY SHOW (KATIE MULGREW + VLADIMIR MCTAVISH + MARK MAIER + DAMIAN CLARK)

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. DARA O BRIAIN: VOICE OF REASON

THE EDINBURGH PLAYHOUSE, FROM 20:00, £28.15

THE STAND EDINBURGH, FROM 20:30, £5 - £7

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 22 Nov

THE THURSDAY SHOW (MICHAEL FABBRI + JAMIE MACDONALD + SARAH CALLAGHAN + BILLY KIRKWOOD) 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. SCOTT GIBSON: BATTLEFIELD

THE BASEMENT THEATRE, FROM 20:00, £6

The favourited Irish funnyman hits the road with his new tour.

A new material night of comedy stories direct from the coal face of the UK Comedy Circuit.

THE BASEMENT THEATRE, FROM 13:00, £9

Fri 23 Nov

MUM’S THE WORD

Mum’s the Word is a comedy gig designed for parents with babies hosted by comedian and mum, Katie Mulgrew.

Sat 17 Nov

THE SATURDAY SHOW (ALISTAIR BARRIE + MARY BOURKE + STU MURPHY)

THE STAND EDINBURGH, FROM 20:30, £17.50

The big weekend show with five comedians.

THE FRIDAY SHOW (MICHAEL FABBRI + JAMIE MACDONALD + SARAH CALLAGHAN + BILLY KIRKWOOD) THE STAND EDINBURGH, FROM 20:30, £10 - £12

The big weekend show with five comedians. MONKEY BARREL COMEDY’S BIG FRIDAY SHOW (RICK MOLLAND + GARY LITTLE + MARK NELSON + MARC JENNINGS)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

Monkey Barrel’s flagship night of premier stand-up comedy.

THE SKINNY

THE COMEDY SHOW (SCOTT GIBSON + CHRIS BETTS + RICH WILSON + JAYDE ADAMS) 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.

Sat 24 Nov

THE SATURDAY SHOW (MICHAEL FABBRI + JAMIE MACDONALD + SARAH CALLAGHAN + BILLY KIRKWOOD) THE STAND EDINBURGH, FROM 20:30, £17.50

The big weekend show with five comedians.

MONKEY BARREL COMEDY’S BIG SATURDAY SHOW (RICK MOLLAND + GARY LITTLE + MARK NELSON + MARC JENNINGS) MONKEY BARREL COMEDY CLUB, FROM 19:00, £14

BENEFIT IN AID OF THE PCS FIGHTING FUND (FERN BRADY) THE STAND EDINBURGH, FROM 20:30, £8 - £10

Join Edinburgh and Leith Branch for a fun-filled night of comedy in aid of PCS, our national Fighting Fund.

Thu 29 Nov

THE THURSDAY SHOW (RON VAUDRY + ANDREA HUBERT + RAY BRADSHAW)

THE STAND EDINBURGH, FROM 20:30, £7 - £10

Start the weekend early with five comedians. JAY LAFFERTY: BESOM

THE BASEMENT THEATRE, FROM 20:00, £6

Fed up trying to conform to society’s labels, Jay Lafferty decided to turn her back on the anxiety of expectation and frolic in the fun of failure. SPONTANEOUS POTTER

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

Monkey Barrel’s flagship night of premier stand-up comedy.

A brand new Harry Potter play from some of Edinburgh’s most top notch improv wizards.

THE STAND EDINBURGH, FROM 14:00, £5

Fri 30 Nov

COMEDY KIDS

Eight brave mini comedians from Tribe Porty Youth Theatre.

THE COMEDY SHOW (SCOTT GIBSON + CHRIS BETTS + RICH WILSON + JAYDE ADAMS) THE BASEMENT THEATRE, FROM 21:00, £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. CHRIS BETTS VS THE AUDIENCE

THE BASEMENT THEATRE, FROM 19:15, £8

Comedian and contrarian, Chris Betts will argue the opposite of anything. The topics are chosen by the audience so every show is completely new and different.

Sun 25 Nov

STU & GARRY’S FREE IMPROV SHOW

THE STAND EDINBURGH, FROM 13:30, FREE

Legendary free Sunday afternoon improv show.

PROGRESS! (LIAM WITHNAIL + GARY LITTLE + MARC JENNINGS + BEN VERTH + ROSS WELLS + DANIEL MUGGLETON)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

Monkey Barrel’s rising comedy star showcase; swing by and catch the stars of tomorrow. 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.

ROB NEWMAN’S TOTAL ECLIPSE OF DESCARTES

THE STAND EDINBURGH, FROM 20:30, £12 - £15

Rob Newman attempts to piece together a philosophy for our troubled times by sifting through 3000 years of thought.

Mon 26 Nov RED RAW (FERN BRADY)

THE STAND EDINBURGH, FROM 20:30, £3

Legendary new material night with up to ten acts.

MONKEY NUT LIVE (JOE MCTERNAN + MEGAN SHANDLEY + JOJO SUTHERLAND) MONKEY BARREL COMEDY CLUB, FROM 19:00, £5

A monthly round-up featuring sketch, character, musical and stand-up comedy all from the minds of Joe McTernan, Megan Shandley and Jojo Sutherland.

THE FRIDAY SHOW (RON VAUDRY + ANDREA HUBERT + RAY BRADSHAW)

THE STAND EDINBURGH, FROM 20:30, £10 - £12

The big weekend show with five comedians.

MONKEY BARREL COMEDY’S BIG FRIDAY SHOW (RICK MOLLAND + BETHANY BLACK + BRUCE FUMMEY)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £10 - £12

Monkey Barrel’s flagship night of premier stand-up comedy. THE COMEDY SHOW (JAY LAFFERTY + LIAM WITHNAIL + JOJO SUTHERLAND + STEEN RASKOPOLOUS)

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.

Glasgow Art 13th Note FANTASTIC CHAOS

31 OCT-5 NOV, 12:00PM – 12:00AM, FREE

Fantastic Chaos collects the journey of illustrator Grisel’s personal circumstances along her career through exclusive large framed prints that will be available for purchase.

CCA: Centre for Contemporary Art JONAS STAAL: THE SCOTTISHEUROPEAN PARLIAMENT

1-11 NOV, TIMES VARY, FREE

Jonas Staal‘s The Scottish-European Parliament is centred around a visual model that transforms a decommissioned oil rig in the North Sea into a new transnational parliament.

KARI STEWART AND SHIREEN TAYLOR

1-17 NOV, TIMES VARY, FREE

A two-person show, which focuses on drawing and its relationship to labour, strategy and response in the context of the growing autonomous systems which organise and code information for us.

INTERMEDIA: ALEX SARKISIAN: -IAN

24 NOV-2 DEC, TIMES VARY, FREE

PROJECT X

ian is a new video and installation that grasps at family derivatives through hypotheses.

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Compass Gallery

ZOE LYONS - ENTRY LEVEL HUMAN

THE STAND EDINBURGH, FROM 20:30, £15

It may seem like Zoe Lyons has some sort of idea what she’s doing in life, but does she? Or is she the perfect example of an Entry Level Human?

Wed 28 Nov

TOP BANANA (LIAM WITHNAIL)

MONKEY BARREL COMEDY CLUB, FROM 19:00, £0 - £3

Monkey Barrel’s comedy competition for new folk on the scene.

November 2018

Glasgow Print Studio ACADEMICIANS V

NEW GENERATION CHRISTMAS EXHIBITION

15 NOV-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.

Cyril Gerber Fine Art

THE WINTER EXHIBITION 2018

1 NOV-31 JAN 19, TIMES VARY, FREE

Specially selected exhibition of works by Eardley, Scottish Colourists, Modern Scottish Masters & Contemporaries and many others.

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 NOV-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 well-respected Royal and Royal Scottish Academicians.

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.

2 NOV-2 DEC, TIMES VARY, FREE

1-25 NOV, TIMES VARY, FREE

24 NOV-27 JAN 19, TIMES VARY, FREE

DOUGLAS THOMSON

Greenock-born fine art artist, Douglas Thomson is this month’s featured artist at Glasgow Print Studio.

GoMA

JACK KNOX: CONCRETE BLOCK

1 NOV-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

10 NOV-19 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.

Platform

GORDON DOUGLAS: BLACK BOX TAKE STOCK

5 NOV, 1:00PM – 7:00PM, FREE

To mark their 40th birthday, Travelling Gallery – a unique gallery inside a custom-built bus that travels around Scotland – has commissioned the new solo exhibition Black Box Take Stock by Glasgow-based artist Gordon Douglas. GORDON DOUGLAS: MYSTERY NIGHT

5 NOV, 7:00PM – 8:00PM, FREE

In association with Travelling Gallery, and coinciding with their current exhibition Black Box Take Stock, Gordon Douglas performs a series of exercises in the theatre. HENRY COOMBES AND MARCELLA MCINTOSH: AYES IN YOUR HEAD

Tue 27 Nov Iain Campbell hosts an experimental and new ideas alternative comedy showcase.

Art

STILL LIFE 1 NOV-31 MAR 19, TIMES VARY, FREE

10 NOV-19 JAN 19, TIMES VARY, FREE

YOUNG & POWERFUL

This exhibition highlights 80 posters from the International Poster Exhibition competition, which tackle key issues affecting young people today. SUZHOU UTOPIAS

13 NOV-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 NOV-28 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.

The Modern Institute KIM FISHER

1-3 NOV, TIMES VARY, FREE

LA-based artist Kim Fisher returns with a new exhibition at The Modern Institute.

The Modern Institute @ Airds Lane

HAYLEY TOMPKINS: THINK I WANNA DRIVE YOUR BENZ (I DON’T)

1-3 NOV, 12:00PM – 5:00PM, FREE

A new exhibition from Glasgowbased artist Hayley Tompkins, taking its name from J-Lo’s 2000 single Love Don’t Cost a Thing. GREGOR WRIGHT: MAGIC STUFF

An exhibition bringing together drawings and paintings by awardwinning filmmaker and visual artist, Henry Coombes and collaborator, Marcella McIntosh.

1-3 NOV, 12:00PM – 5:00PM, FREE

RGI Kelly Gallery

ESTONIA NOW: ARTISTS’ MOVING IMAGE PROGRAMME

ALASDAIR GRAY AND JOHN BYRNE: TWO GREAT GLASGOW POLYMATHS

3 NOV-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 LIGHTWAVES

1-25 NOV, TIMES VARY, FREE

An exhibition of new work by contemporary photo-based artists made in exchange residencies between Street Level Photoworks and VU Photography Centre in Quebec City. @EVERYDAYCLIMATECHANGE 1-4 NOV, TIMES VARY, FREE

This exhibition brings the photographic work off the renowned EverydayClimateChange Instagram feed, showing work by 20 photographers from six continents, onto the gallery walls.

The Lighthouse VISAURIHELIX

1 NOV-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

1-25 NOV, 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.

Glasgow-based artist Gregor Wright brings a new exhibition to The Modern Institute.

Tramway

13-18 NOV, TIMES VARY, FREE

City Art Centre

IN FOCUS: SCOTTISH PHOTOGRAPHY

1 NOV-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 NOV-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. ROBERT BLOMFIELD: EDINBURGH STREET PHOTOGRAPHY

24 NOV-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. TRAVELLING GALLERY AT 40

1-4 NOV, TIMES VARY, FREE

Travelling Gallery’s rich and socially important archive will be shown for the first time alongside some of the original artwork from its incredible exhibitions history.

Dovecot Studios BATHS TO BOBBINS: 10 YEARS AT INFIRMARY STREET

1 NOV-31 DEC, 10:30AM – 5:30PM, FREE

Celebrating 10 years of weaving in the Infirmary Street Baths, Dovecot will share some memories on the Tapestry Studio Viewing Balcony, open from 12-3pm Mon-Fri and 10.30am-5.30pm on Saturday. LIBERTY ART FABRICS & FASHION

1 NOV-12 JAN 19, 10:30AM – 5:30PM, £4.50

Featuring over 100 garments and fabrics spanning 140 years, this exhibition explores how textiles bring art into everyday life.

BLAIR MCLAUGHLIN: TIME GOES BACKWARDS AFTER DEATH

1-23 NOV, TIMES VARY, FREE

The new works in this solo show focus on the performance of religion, based around the Spanish procession of Semana Santa. IONA ROBERTS

8-25 NOV, TIMES VARY, FREE

Iona Roberts documents the passing of time, and the people who inhabit a particular location. EMILY MOORE

9-25 NOV, TIMES VARY, FREE

Emily Moore depicts natural environments colliding with urban structures.

JULIE AIREY AND DENISE ZYGADLO

29 NOV-21 DEC, TIMES VARY, FREE

Julie Airey and Denise Zygadlo will present a new body of work each, including drawing, painting and installation. Zygado explores the relationship between the body and cloth, while Airey’s work looks at human fragility and sense of presence.

PIN-UPS: TOULOUSE-LAUTREC AND THE ART OF CELEBRITY

1 NOV-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).

Scottish National Gallery of Modern Art

NOW: MONSTER CHETWYND, MOYNA FLANNIGAN, HENRY COOMBES, BETYE SAAR, WAEL SHAWKY

1 NOV-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

17 NOV-2 JUN 19, 10:00AM – 5:00PM, FREE

Takes 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.

Stills

ANDRES SERRANO: TORTURE

30 NOV-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. ON/OFF

2-13 NOV, 6:00PM – 8:00PM, £5

A series of discussions produced and chaired by online-based collective TabloidArtHistory.

Summerhall

GRAEME TODD: STREET HERMIT

1 NOV-23 DEC, 11:00AM – 6:00PM, FREE

Curated by Andrew Mummery, this exhibition is the first significant survey of Graeme Todd’s work to be presented in Scotland since his solo show at the Fruitmarket Gallery in Edinburgh in 2000. 369 REMEMBERED - THE WOMEN

3 NOV-23 DEC, 11:00AM – 6:00PM, FREE

From the very start, without positive discrimination, the 369 Gallery showed equal numbers of male and female artists and this is primarily devoted to paintings by the female artists who exhibited at the 369 Gallery during the 1980s. VISIBLE GIRLS: REVISITED

10 NOV-21 DEC, 11:00AM – 6:00PM, FREE

Cooper Gallery

BOW GAMELAN ENSEMBLE: GREAT NOISES THAT FILL THE AIR

1 NOV-15 DEC, 11:00AM – 5:00PM, FREE

The first retrospective of influential artist collective Bow Gamelan Ensemble.

DCA: Dundee Contemporary Arts

MIKE KELLEY: MOBILE HOMESTEAD

1-25 NOV, TIMES VARY, FREE

The Scottish premiere of Mike Kelley’s remarkable Mobile Homestead film trilogy, made between 2010 and 2011 in the artist’s hometown of Detroit. SANTIAGO SIERRA: BLACK FLAG

1-25 NOV, TIMES VARY, FREE

The UK premiere of one of the Santiago Sierra’s most ambitious undertakings to date, taking the form of an immersive photographic and sound installation.

Generator Projects

“FLESH AND FINITUDE” 1-11 NOV, 12:00PM – 5:00PM, FREE

The exhibition “Flesh and Finitude”, borrowed from Cary Wolfe’s book What is Posthumanism (2010), explores the boundaries of human life and body.

The McManus REVEALING CHARACTERS

1 NOV-31 DEC, TIMES VARY, FREE

1 NOV-5 MAR 19, TIMES VARY, FREE

10 NOV-21 DEC, 11:00AM – 6:00PM, FREE

1 NOV-31 DEC, TIMES VARY, FREE

Ingleby Gallery

THE MODERN PORTRAIT

ANDREW CRANSTON: BUT THE DREAM HAD NO SOUND

1 NOV-21 DEC, 10:00AM – 5:00PM, FREE

The largest exhibition of Andrew Cranston’s work to date, accompanied by a 164pp publication, available for purchase.

Edinburgh Art

Arusha Gallery

Scottish National Gallery

Dundee Art

Dovecot Studios have teamed up with Historic Environment Scotland and the SCRAN and Canmore online archives to bring together an exhibition of historic images of Scottish department stores from across the decades.

THE SCOTTISH DEPARTMENT STORE

1 NOV-31 DEC, 10:30AM – 5:30PM, FREE

RIP IT UP: THE STORY OF SCOTTISH POP

Exploring the concept of time perception, memory, inter-connectivity and human condition, Jane Emburey’s work is informed by the close relationship of everything in nature, reflected and replicated in a multitude of ways.

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.

An exhibition of new paintings, drawings, prints and objects by one of Scotland’s most celebrated working artists, John Byrne.

1 NOV-21 JUN 20, TIMES VARY, FREE

Part of a joint exhibition of selected works from the City’s permanent collection, Revealing Characters includes an array of portraits, which examine the construction of identity.

1-25 NOV, 10:00AM – 5:00PM, £7 - £10

3-28 NOV, TIMES VARY, FREE

17 NOV-23 DEC, TIMES VARY, FREE

JOHN BYRNE RSA: ROGUES’ GALLERY

An exhibition of photographs by Anita Corbin, which capture pivotal “coming of age” moments in the lives of 56 young women from different subcultures in 1981.

National Museum of Scotland

JANA EMBUREY: SWEET OBLIVION

THE REMAKING OF SCOTLAND | NATION, MIGRATION, GLOBALISATION 1760-1860

Scottish National Portrait Gallery

A programme of contemporary moving image by Estonian artists with the theme The Poetics of the Everyday.

&Gallery

Royal Scottish Academy RSA

The first major exhibition dedicated to Scottish pop music, exploring the musical culture of the nation over more than half a century, from influential indie pioneers to global superstars.

NEW TO THE NATIONAL COLLECTION

1 NOV-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.

Open Eye Gallery

TOM WILSON: ODD MAN OUT

2-19 NOV, TIMES VARY, FREE

Tom Wilson presents an exhibition of two bodies of work that strike a balance between a traditionalist approach to creation and the exploration of modern day themes and consumerism. ALEX MALCOLMSON: SEA ROOM

2-19 NOV, TIMES VARY, FREE

An exhibition of box constructions, paintings and sculpture incorporating nautical and natural elements. CLAUDIA PETRETTI: LUOGHI VISTI | PLACES SEEN

2-17 NOV, TIMES VARY, FREE

An exhibition of new paintings, Claudia Petretti presents evocative paintings in mixed media recalling memories of special places and gardens.

SCOTS IN ITALY

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. 1 NOV-27 OCT 19, TIMES VARY, FREE

A display collating paintings, sculptures and works from the Portrait Gallery’s twentiethcentury collection, feat. a variety of well-known faces, from Ramsay Macdonald to Alan Cumming, Tilda Swinton to Danny McGrain. REFORMATION TO REVOLUTION

1 NOV-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 NOV-31 MAY 19, TIMES VARY, FREE

A re-examination 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

1 NOV-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 NOV-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. VICTORIA CROWE: BEYOND LIKENESS

1-18 NOV, TIMES VARY, FREE

This exhibition brings together a group of the best portraits by the distinguished artist Victoria Crowe. PLANES, TRAINS AND AUTOMOBILES: TRANSPORTATION PHOTOGRAPHS FROM NATIONAL GALLERIES OF SCOTLAND

1 NOV-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.

INVISIBLE SPACES

As part of the Year of Young People, Historic Environment Scotland asked a group of 18-26 year olds to document the significant spaces that inform their identity, informing the creation and curation of a thought-provoking and timely exhibition.

Talbot Rice Gallery

TREMBLE TREMBLE / AT THE GATES

1 NOV-26 JAN 19, TIMES VARY, FREE

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.

The Fire Station

THE ART OF INTELLIGENT AGEING: PORTRAITS OF THE LOTHIAN BIRTH COHORT STUDIES BY FIONNA CARLISLE

1-24 NOV, 10:00AM – 6:00PM, FREE

This unique exhibition honours a remarkable group of people who sat intelligence tests as children and have been followed up as adults since 1999 to transform our understanding of ageing. Open 10:00-16:00, Tuesday-Saturday.

The Fruitmarket Gallery EMMA HART: BANGER

1 NOV-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.

PORTRAITURE

Selected from the City’s permanent collection, this exhibition includes an array of portraits, which examines the construction of identity.

V&A Dundee MAEVE REDMOND

1 NOV-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 NOV-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 NOV-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 NOV-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 NOV-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.

Upright Gallery RHONA TAYLOR: PERIMETERS

1-9 NOV, TIMES VARY, FREE

Perimeters is an exhibition of new paintings by Rhona Taylor, made in response to a remote former military site on the west coast of Scotland.

Whitespace CRYSTALLINE

2-8 NOV, 12:00PM – 6:00PM, FREE

Work by Säde Foley and Kate Livingstone.

Listings

Deborah Lobban

Mastering the Craft In part two of our discussion about contemporary craft in Scotland, we asked designers about methods, creativity and their relationship with craft

eborah Lobban has moved from a background in fine art to founding a design business called Dastardly Line, an illustrative quilting studio selling a range of luxury baby and adult quilts, cushions and prints. “I very purposefully call myself a quilter, even though quilting embodies the most unfashionable aspects of craft,” Lobban says. “I have a problem with the stigma around craft. Who cares if it’s not high art when it makes someone happy for a few hours?” She reflects that a former tutor once described a good day of work being signified by a cold cup of coffee – essentially, the achievement of a meditative state while working. “I think craft allows creatives and non-creatives alike a chance to switch off by doing something usually unrelated to what they do with the rest of their day. And to make something – which is therapeutic in itself.” The Glasgow-based designer founded her business in 2018 to help promote quilting technology among artists, illustrators and creatives. The machines work in a similar way to laser cutters – in this instance, a needle on an axis can be pre-programmed to ‘draw’. “So,” says Lobban, “my quilts are essentially the by-product of experimenting with the technology. I try to keep a simplistic view of my ‘craft’ – I love drawing, I love quilting, and I’m so excited by the possibilities of longarm quilting machines. “Two years ago I was so caught up in every aspect of my work needing to have meaning that I had the fear of a blank page, so I decided to move to New Zealand to live in a van; to live without electricity and other people, to make drawing the focus of my every day, and to completely reset the basics of my practice. Now I’m back in Scotland, I always try to keep this simplicity. It never occurred to me to have anyone else make my work, probably because I come from a fine art background. It’s ultimately quite selfish: I hand-

Last Word

bind all of my quilts because it makes me a happier and calmer person.” Kate Colin works with paper to create bold and colourful folded lighting – installations and homewares using British-made paper and materials wherever possible. The Edinburgh-based designer is inspired by origami and geometric forms and is “obsessed with colour, its variations and how it transforms in the presence of light. I love to see how my shades radically change in appearance when illuminated as their folds, lines and angles become brilliantly emphasised.” Colin likes to build personal relationships with her customers, discussing colour and style options before they buy a piece. Her work is scored, folded and assembled by hand using traditional craft techniques. “I’m quite old-school in my approach,” she says. “I draw and experiment by making 3D models with no computer in sight. Making and designing by hand is an essential element of my practice as I want to try to encourage people to consider and learn about how the products we surround ourselves with are made – and to value and celebrate their longevity rather than replace them on a whim with something mass-produced.” Object Company is run by designer and maker Catherine Johnston from her Glasgow studio. Founded in 2014, the project is an expression of her desire to broaden the use of practical skills using materials from the immediate environment to produce unique objects. “The irregularities within the materials I have chosen lend themselves to uniqueness, and creating each piece by hand allows for these features to be given the appropriate space to be explored in a considered way. I may begin with an idea for a work, however it is through the act of making that the pieces are resolved. The satisfaction of knowing the limits and boundaries of a material allows for a greater

DESIGN

Interview: Stacey Hunter

Sally-Ann Provan, EMIKO

THE SKINNY

designer Hazel Lethaby. Building on an early interest in making things, which began with learning to knit with her mum and gran, Lethaby says it was “inevitable” that she went on to study fashion design at Gray’s School of Art. While at university, she developed an interest in lingerie design and incorporated elements of this into her final collection, and Mischke Lingerie was launched in 2014 offering ready-to-wear and bespoke pieces. Lethaby’s latest collection is made using chiffon with hand-marbled accent fabrics which are all printed and handmade in Edinburgh. “I have always approached my work by making first,” says Lethaby. “At art school, other designers would sketch for days, but personally, I can’t transfer my ideas from head to paper very easily. I have to use my hands and my sewing machine. I don’t want to make anything that doesn’t have a purpose. The products I make have a practical use and fit into people’s lives while still being luxury. I have used the word craft to describe my practice at times, but I sometimes feel excluded from the craft world as a fashion designer. I want to start using it more as I feel it sets me and my work apart from the negative connotations of ‘fast fashion’.”

Kate Colin Design, Starflower Shade in Yellow

Photo: Alasdair Smith

Mischke Lingerie

“ To craft something, by using both physical skills and mental creativity, is such a rewarding way to work” Sally-Ann Provan

Object Company

Photo: Cat Thomson

understanding. The sensory, often meditative state that making objects by hand offers contributes hugely to my overall wellbeing.” Experimentation through materials and techniques continues to inform the journey of Object Company and to offer “space for growth and freedom in the future”. Woodwork has been the primary medium until the acquisition of a ceramic kiln and a selection of metal-working tools in 2018 catalysed the incorporation of ceramic and metal elements. Each Object Company piece is hand-formed from locally and responsibly-sourced wood, clay and metal to create functional items that highlight form, materiality and the makers’ mark. Colin says: “Coming from a fine art background, the term craft has conjured up conflicting feelings. The processes I use to create work are steeped in historical traditions, whether wood carving or digging local clay to make pots, and considered to be deeply set within the craft sector. The intersection between art, design and craft is where I currently feel that I sit; I plan to define my intentions, through making, over the next few years.” Mischke Lingerie is led by Edinburgh-born

Sally-Ann Provan is an award-winning milliner based in Edinburgh. She creates wearable contemporary millinery combining traditional hand-making techniques and modern technologies, taking inspiration from Japanese art and culture – particularly the principles of ‘Ikebana’ – and archive fashion from the 40s and 50s. Provan is featured in the National Museum of Scotland’s new Fashion and Style gallery, and she is a newly appointed V&A Dundee Design Champion. “The skills I use have been honed and perfected and passed down through the centuries,” she says. “I work in 3D from initial concept through to finished piece, I don’t tend to draw very much. A lot of my development is practice-

led – I work ‘in the round’ by sketching in 3D through prototyping and experimentation, so the hand-making process is a large part of my research, design and development process.” Provan creates two capsule collections per year, and designs headwear for her private clients for events, weddings, garden parties, investitures and racing, and also for opera, ballet, theatre and television. The designer works by appointment at her studio ensuring clients have her undivided attention, and the time and privacy to try different ideas in a relaxing atmosphere. Careful consideration is given to a client’s personality, skin tone, outfit and overall personal style. “My work incorporates many disciplines – craft, jewellery, fashion and performance, so it wouldn’t feel right to categorise it as one over the other,” says Provan. “I’m a milliner and a designer, and I use the word ‘craft’ as a verb – I use my skills, experience and knowledge to craft my pieces by hand. To craft something, by using both physical skills and mental creativity, is such a rewarding way to work and to make a living.” The designers and makers we spoke to are keen for more people to engage with making and offer opportunities to learn through workshops and tutorials. Get in touch through their websites to find out more about quilting, paper folding, lingerie making and millinery: dastardlyline.com katecolindesign.com object.company mischkelingerie.com sallyannprovan.co.uk localheroes.design

November 2018

DESIGN

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