THE SAGA OF KURT COBAIN: Canto 1 (50/100 stanzas)


Half the stanzas of the first canto of

Damo’s new epic poem


I want a hero, or an ‘anti’ one
Some mortal who could change the world with song
& moving chords, a maestro, paragon,
Whose melodies & lyrics leap along
Who’ll make us think & dance, perchance upon
A higher plane of consciousness, among
The sibilant hauteurs of humankind,
Whom, hissing, never listen – never mind!

Of all the gifts of mind the Balladeer
Presents an art to us most magical
In which real peoples of the past appear
As powerful as if them Biblical;
Vivid, moving, breathing, soothing, sincere,
So much it proves a lucid miracle,
They live again! those, whom in history,
Did mark their mark thro restless mystery.

The Twenty-seven Club glows emphatic
When titans of drugtaking finally
Find bodies gone on strike, a lunatic
Deviant at the wheel, to supinely
Lay them down, comatose, paralytic,
Often with a demeanour divinely
Accepting the ultimate high of death –
Ten thousand crackpipes in a final breath.

There is a modern member of that gang
A master singer & a brother bard
Who knew just how to tune a guitar twang
To hypnotise the Hellhounds in his yard
Who crooning with the old tramps as he sang
Each word the turning of a tarot card
Would mystify us, energize, inspire
Our souls like faces shining by a fire.

His life shall form the substance of this song
Whose mould ordain’d as Ottava Rima
In cantos of a hundred stanzas long
Projected by poetical dreamer
Well, me that is, whose dragonyear sends strong
Impulses, deep as the first kalima,
To mind, the most poetic lives on earth
In finest lines revive them with rebirth.

Most epic poets plunge ‘in media res,’
That is ‘the middle’ for those not winning
School Latin prizes, (& res rhymes with ease)
Where was I? Oh yes! a poem spinning
On Kurt Donald Cobain, when, if you please
I’ll begin his tale at the beginning
For round our childhood deeds & people swarm
Which piece-by-piece our deeper fabrics form.

Let us begin with the ‘Aberdeen Curse’
Being the continental terminus
Ocean next stop or star-stitch’d universe
Attracts th’interminable verminous
Thinking, ‘well, things cannot get any worse,
I might as well stay put – the sperm in us
That seeks a host, he’ll spread his DNA
By the shores of Gray’s Harbor’s ria bay.

From copulation comes the miracle
Of this existence in consistent form
When singeth Fate at thy most lyrical
& Angels bringeth babies to be born
As when upon Gray’s Harbour Hospital
Already beaten-brow’d by crown of thorn
Out of a bloody uterus, thro hurt,
A boy, for all of us, a boy call’d Kurt

A boy was born in windy Aberdeen
Among the forests, by the endless sea
Of ceaseless rain & sunshine rarely seen
Of difficulties & delinquency
Crack rocks for breakfast & the jocks are mean
To one starchild of cyclic mystery
Y’know, the ones on earth most seldom born
Like single lilies in a plain of corn.

Soon as the babe left the baptismal font
He’d entertain squads of aunts & uncles
Who, begging to babysit, with a want
Somehow bewitch’d, planets around a sun, gulls
At scraps, Arlo’s Alice’s Restaurant
& others of Simon & Garfunkles,
He sang with cherub sweetness, sheer delight
Did fill their lives with Elven fairy-light.

There’s nothing like loving thy first born child,
When every waking day’s a nursery
& sleeping’s a myth, as toys & nappies pil’d
In only months Kurt’s curiosity
& perceptive sharpness would lead to wild
Excited, explosive precocity
Whose tantrums becomes something to endure
But, this toddler, was talented, for sure!

Sensing a love of music in the boy
Aunt Mari bought a bass drum that became
Within a minute his favourite toy
That with a wildness none of them could tame
He’d bang & bang & bang & bang, annoy
The house & all the neighbourhood, first fame
For his performances, as marching round
The Streets of Aberdeen all heard the sound.

And every time his bedroom lights did dim,
Out came his first imaginary friend,
For Boddah any bed could comfort him,
Kurt knew he would be right there to the end,
More tangible his monkey was, Chim-Chim,
On both of them, just them, could Kurt depend
For festered at the gateways of his mind
He fostered hatred for all Humankind.

Aunt Mari was a musician herself
She’d play’d in bars for years, even releas’d
A single, she produc’d it from the shelf
& play’d it Kurt, whose love for her increas’d
“Auntie you are famous!” her little elf
Did squeeze her hard, as solemn as a priest
Said, ‘one day I’m gonna be just like you!”
“What’s that?” “A singing star, I’ll be one too!”

“In that case you’d better listen to these…”
& carefully selecting some albums
Awards him the Beatles & the Monkees
Before long a Mickey Mouse set of drums
Was his for Christmas, with a kiss, cos she’s
“The best mum in the mummyverse of mums!”
Thrash-smash-bash-crashing, splash-crashing, ev’ry day
That by the Spring was far too trash’d to play

One day he gave his grandfather some art
With Donal Duck so accurately drawn
He was accus’d of tracing, so did start
Another drawing straightways, when alone
With papers, markers, comic books, apart
From other human beings, he would spawn
Aliens & monsters, from time to time
He added words, & even ones that rhyme

He watch’d the choppers rising from Saigon
& just like that the war in Vietnam
Was over, one they never could have won
His uncle home return’d a diff’rent man
Who, walking with his nephew said, ‘Kurt, son
There’s not much work these parts, but of you can
Avoid the US Army, witness’d I
Such sights my sleepless nights still horrify.

In an age when pharmaceuticals reign
Doctors dismiss holistic vitamins
Prescribe, instead, what drags the wild kids sane,
Dependency on drugs thro ritalin’s
Properties, anti-narcoleptic grain,
That’s more a borderline ampetamine,
Which wears, off leaving Kurt awake all night
Reading back issue comics by torchlight.

As waking dreams reality defies
& promises of better times instils
He shut out all their arguments & lies –
As Wordsworth saw a host of daffodils
Whenever he clos’d his Westmorland eyes
Kurt too saw things – from bad birth control pills
Swarm’d weird flipper babies with lizards tongues
Singing discordant sentences as songs.

Love! ye men of the marrying kind,
Tho’ in the main how they’ve hen-peck’d you all
& as for thee, whose bridal pledge survives,
Why should it be such vows protect you all
Not every couple’s hugging magic thrives
Better it handl’d intellectual
Until at last the smother’d fire goes out
& puts the business past all kinds of doubt.

His father was a Chevron mechanic
With neither love for learning or the learned
But watching sports border’d him on manic
& of results grew trueliest concern’d
Watch’d basketball matches in nigh panic –
Basketball & baseball – his wife felt spurn’d,
“I don’t think I ever really loved him,
Most nights there’s only me & Kurt & Kim.”

Whenever a family is divided
Somebody’s gonna have to rear the kids
A decision anciently decided
The mums’ll get ’em, even invalids
Some might call the custom quite misguided
Others, just our link to the arachnids
When, after mating, females set a tomb
Inside their gullets, nourishing the womb.

So Wendy got the boy, but beautiful
She soon attracts attention, & soon found
A man to fuck her from dysfunctional
But, as often deliver’d by rebound,
She met a loser, reprehensible
He beat her, mind & body, to the ground
Who told her son was better if he scramm’d
A cuntish “fuck you mum!” as front-door slamm’d.

His dad mov’d out to Montesano, where
His prefab home truck’d to a trailer park,
& with a party was assembl’d there
With beers & beef & banter in ter dark
By morning glow a brand new home to share
With his dear son, a modern Noah’s ark
Without the women folk, but with the dogs
& mice, a paradise among the logs.

Whatever Kurt now wanted now he had
& did whatever too, his dad did teach
Him how to shoot, to smile & just be glad
They lived near nature, he was no Nietzsche
But knew where to tickle his son when sad
& when, one evening, camping on the beach
When pled, “Dad please don’t get married again?”
Don said, “Son, I promise I won’t, most plain.

The walk to Montesano’s High School took
Less than ten minutes, one morn, time to kill
Shortcutting thro thick woods, retorting ‘fuck!’
he saw a human hanging, twisted, still
For more than time Kurt stood there & just shook,
Useless limbs to life, a dimly-lit thrill,
But nothing happen’d, suicide is real
No more to think, to stink, to drink, to feel.

Wondering what this discovery means
Some prescient portent of life story
Reflecting family suicide genes
Of trigger-pulls, collapsing all gory,
Into deep’ning chats with the same old teens
Slots, “I’ll go out within flames of glory
& kill myself a famous superstar
For drums & songs & strumming my guitar.”

When Star Wars came to town his powers bloom
He knew he was watching his relations
On Tatooine a memory exhum’d
Of visiting, with the delegation
Of some red planet, by two suns illum’d,
When cursing these human limitations
Kurt wish’d he could just Jedi back to base
At hyperspeeds, & leave to Earth no trace.

Then comes the fatal gym class skipping rope
He trips & slips a disc, scoliosis
Soon evolves, pain so rough most barely cope
For spinal curvature’s long prognosis
No cure intends, no respite & no hope,
“Nobody ask’d for, nobody chose this
Why do bodies transform in such strange ways,”
Mulls Kurt Cobain in his painkiller haze.

Then came the day Kurt wish’d he would have stay’d
In Aberdeen, his dad fully reneged
Upon a promise, just so he’d get laid,
Promptly remarried, furthermore was plagued
Step-siblingly, old loyalties betray’d,
As when the British soldier ‘Gen’ral Haig’d’
& blindly usher’d t’wards trenches promis’d
Empty – when maxim bullets did the rest.

Within a house of larger yards & bulks
This just-add-water family took root
Whose basement grew a cauldron ditch of sulks
A pit to lock the door, shut out, refute,
This mad reality, a pile of hulks,
Thors, Spidermen, & always this strung lute
Which playing with the tenderness of youth
Expung’d the bullshit from this living truth.

However much that weird woman tried
Her second mother’s soft felicity
Grieving for his own family that died
Descending into animosity
He’d bully his step-brother ’til he cried
& fought his father to adversity
Begging his mother always on the phone,
“Can I come back…” “I’m sorry son…” & groan…

Don tried the best he could in his own way
Some kids have never seen their father’s face
& took his son to work each Saturday
Where, letting him have the run of the place,
Kurt makes prank phone calls, climbs log-piles at play,
The scampers to Don’s truck, his special place
‘News of the World’ by Queen plays constantly
‘Til sounds cut out at drain of battery

Upon the day Kurt’s fourteen years now are
A choice from Uncle Chuck, a brand new bike
Or an old electric six string guitar
Made in Japan – well Kurt, what would you like
As when a whaleship blips on a radar
Or finger slips out of a Dutch boy’s dike –
From tranquil seas futurity explodes
In scudding floods, ferocious overloads!

The mysterious manna from Heaven
Which thro our art unproven consumes us
& drives us blindly to our obsession
That uses, confuses & illumes us
Remnants of ectoplasmic possession
Oozes thro juvenilia, dooms us
To dedication & a wasted life,
Or not, for Art is Art & Art is Life!

Such manna fell on Kurt Cobain’s lithe hands
& pick’d up Louie Louise, so he thought,
The one song play’d by all the North West bands
De facto anthem, with a chunk he caught
The change of chords, the strangest vale expands
Of sounds achievable, if when them sought
He’d sit down, & with patience at his back
He’d spin a finger-fumble to a knack.

His uncle’s band’s guitarist came along
& sat him down & ask’d him what he knew
The boy play’d ‘Louie Louie’, got bits wrong
& there corrected was, the pair soon flew
Thro three fast months & many a new song
“My Best Friends Girl” & “Back in Black” but two
Another, “Another One Bites the Dust”
&, overall, Kurt learnt them all, well, just.

Kurt found himself three chord structures strumming
& settl’d them into soft metal grooves
In moments rich melodies was humming
Which his internal editor approves
Mouthing their sounds, syllables kept coming
That like a lyrical instrument moves
Together to the guitar & the beat
He’s tapping out in time with sneaker’d feet.

‘So this is what it’s like to write a song,’
Kurt thought, committing soulparts to the page
‘The one’s that people like to sing along
When they are sung before them on a stage;’
The need to write another song grew strong,
As steers the noblest poets of an age
Running to the sun of procreation
Shining on their wonderful vocation.

As golden ratios thread the dance of scales
Like planets realigning with the stars
Impenetrating mating chords of Whales
& throbbing hums of market day bazaars
A driving beat divides them into bars
Whose even punkwork frames, whose wild wassails
When yellin’ & a hollerin’ on top
Wades us thro’ sonic guts like hogs in slop.

To everything else’s detriment
Kurt practic’d his guitar, his father sat
Him down one day & on the next was sent
To join the best boys on a wrestling mat
A chance his inner furies to unvent
A smash of shocks, a flash & jocks splash-crash
Transforming this shy guy from nerdy squirt
To hyper-daemonical extrovert

Coach told Don, “Kurt’s one of the best I’ve had!
& I want him to represent the school,”
So came the match, the first made Don mad
The second shock’d, the third time felt he fool
After the fourth he storm’d out, red-fac’d, mad
How could the little bastard think that’s cool,
Just folding arms & getting himself pinn’d
with no resistance, his roof I’ll rescind!

A teenage body rack’d by double pain
His stomach screaming at his I.B.S.,
Like random lightning striking thro the rain
While ever ached his ccurv’d scoliosis
That domineer’d his back, the brutal reign
Of arthritic emperors, but far worse
For soreness over vigour’s life’s worst curse.

Being born in the post-nuclear age,
With Reagan’s button-finger’s puppet-poise
Set to send destruction, with silent rage
The Cold War wages, with its lethal toys
Array’d in red & blue upon the page
& TV screens, news dribbling ruesome noise
Of who was winning, whom the stock-pile star
America or the U.S.S.R..

Our kids they could be anything at all
Some sports obsess’d, some staunch political
Some natural parents, some hate the role,
Some heavenly & some heretical
Some total seafarers, some hometowns small
Whiel some turn out to be poetical
Surmising standard schooling, “What’s the point?
When knowledge chieves us thro’ a reefer joint.

One lunchbreak in the school refectory
In swagger’d a huge creature from elsewhere
Quite confident of coming victory
Kurt could not help but drilling with a stare
Into this spirit, felt a factory
Of frolicking was working hard in there,
Yet, something else, Kris Novoselic smil’d
At him & shimmer’d as a summer’s child.

Alone, again, into those muddy streets
A boy, barely halfway to thirty
Pockets with copies of ‘Perfume’ & Keats
Passing houses ramshackily dirty
A time to tear out triumph from defeats
To funny be & foxy & flirty
& with electric geetahs in his hand
Light up the world, the front man of his band

Unable punk to buy in Aberdeen
He’d have to make his own, his amp’s ten watts
Full power strained, screaming for Halloween
He wailed a prototune called ‘Papercuts’
& slumped exhaustedly, asweat, serene,
After the blast, he felt it in his guts,
With just three chords he would have, after all
Something to contribute to rock & roll.

Aunt Mari had a four-track, now & then
He’d songs record, percussion wooden spoons
Upon an empty suitcase, denizen
Of low distortive holes, guttural croons
Evolving slowly into something ‘zen’
That once or twice resembl’d actual tunes
& now, with ‘Fecal Matter’ he’d record
A formal demo where his soul outpour’d.

The demo did the rounds of Aberdeen
‘Illiteracy Will Prevail,’ it’s name
With screeching gusto agitating spleen
& perfect grounds to hurt, to hate, to blame
On one song Kris Novoselich grew keen
& made the call, the birth of all his fame;
“Het Kurt, its Kris!” “Hey, man”, “I’ve listen’d to
Your tape, I’m really loving that ‘Spank Thru.’”

Keyside


Yes
Manchester
April 14th, 2024


April 4th, 2024, Manchester. At the O2 Victoria Warehouse the Happy Mondays, Inspiral Carpets & Stereo MCs congregate a combined age of 1000+. Meanwhile, in another part of town, a brand new band outta Liverpool was braving the epic rivalry simmering in advance of yesterday’s big footy clash at Old Trafford, & playing a set of their songs. The venue, Yes, the name, Keyside, the average age, less than a 100, & the music… absolutely brilliant?

I’d met my photographer for the evening’s engagement with the zeitgeist, Danny, at Piccadilly, & down we trundl’d the few blocks to Yes, where we caught the end of the support band, Arkayla, bought ourselves a couple of decently-priced pints, & readied ourselves for the show.

So on they came, a cool-looking quartet, whose singer (Dan Parker) had a smile on his face pretty much all the way thro. The guitarist (Ben Cassidy) jangl’d with a Cure-like polish, the bass-player (Max Gibson) pull’d out some reyt lines, like, while the drummer (Oisin MacAvoy) was pure ‘Master of Merseybeat’ himself.

The overall sound of the band was a completely enjoyable alchemical audiofest, with Dan’s honied yet edgy vocals really pleasing to the ear. The songs were, well, not original in concept, but just really infectious – a few bars in & you were hooked, while come the end one was – well, I was anyway – joining in the chorus of ‘nice one lads,’ ‘yes boys,’ etc.

It’s very early days for Keyside – they’re only a couple of singles in, but have a proper twang about them. There’s certainly something about them & I think that is mainly their potential, in which case the future definitely looks promising, especially as they’re on the books of the Modern Sky label.

I manag’d to grab the bass player at the end & asked him where does he see the band in a year’s time – ‘just bigger & bigger’ he replied, & I have no doubt whatsoever, his prophecy will come true.

Words: Damo Bullen
Photography: Danny Carter

Sam Lee


Summerhall, Edinburgh
16/03/2024


On a dreich, rainy, damp, wet Saturday night, which is nothing unusual for Scotland in March, Sam Lee was in Edinburgh to bring some warmth and joy to Summerall’s Old Laboratory venue. The Summerhall is a labyrinth of old theatre rooms, lab rooms and lecture halls, and is a perfect place to be hosting Sam Lee on his “Songdreaming” tour this March and April.

Songdreaming is the latest studio album from Sam and has already stirred up a frenzy of interest. Since the release of Sam’s debut album “Ground of its Own” back in 2012, his music has grown, matured and his style has evolved into something unique and very special. The tales, stories, myths, tragedy and traditional songs of times past holds dear to many a peoples hearts and Sam Lee captures that beautifully in his modern, but yet nostalgic take on folk songs.

Not re-booting or renewing; but restoring and bringing back the re-birth of lost ancient Irish, English and Celtic songs – brought forward into the present to be reconnected with multi generations of folk music lovers. Having, at times, put his roots down with the Romany Gypsies and Irish Travellers, Sam gave himself up to the musical influences and history of song and stories these communities held deep in their traditions. British folk music is steeped in history and there is no better folk singer than Sam to tell its stories.

As the lights dimmed on the Old Lab, the all-aged audience welcomed Sam with great enthusiasm. With a calm, tranquil vibe in the room, Sam proceeded to engage us with some fascinating story telling. Its was clear that Earth, nature, animals and wildlife are a fundamental part of Sam’s connections between music and mother earth, particular The Nightingale bird. Considering he was a student of adventurer and survival expert Ray Mears, it all makes sense. Folk music and Nature is Sam’s life and tonight he took us on his journey from past to present day.

Not did we just get to revel in the beauty of songs like, “Singing with the Nightingales”, “The Garden of England” “Lovely Molly”, “Bushes and Briars “, Sweet Girl McRee” and “Green Mossy Banks” we also had the privilege of the music icon Bernard Butler ( the big hit song “Stay”) on guitar. I was aware he was producing Sam Lee but was pleasantly surprised to see him on guitar. The set went as smooth as silk being turned on a spindle, moving from song to story and story to song.

A lovely atmosphere had descended over the auditorium and a quiet peaceful feeling seemed to beam from Sam. He has captivated all that folk music is, happy, sad, tragic, beautiful, loving and more importantly alive and truthful. “Songdreaming” is the dreamiest album i have had the pleasure to listen too recently and the message is clear. Never stop dreaming !! A wonderful evening of amazing musicians fronted by the incredible Sam Lee.

Raymond Speedie

Kill the Pain / Nouvelle Vague


Saint Luke’s, Glasgow
February 24th, 2024


Last night I had the pleasure of seeing a gig at Glasgow’s St Luke’s venue to cover the support act instead of the main one. It is a church that like so many others has changed into a concert hall. It was decided in 2012 that the magnificent building needed a new purpose and renovation began in 2015. It’s in an iconic spot in the city with unmistakable red light meeting you at its entrance.

The scene was great looking down from the Gods (so to speak) the room packed and the vibe tremendous. I was there for support act ‘Kill the Pain’ who came on as a duo in sparkling red and blue dresses, and began effortlessly to inject the gig with its tones of outstanding visual and sound marksmanship.

But first I’ll remark a little on the main act who were just as brilliantly effective. Both of these bands were formed in France, Nouvelle Vague (the main act) brought out a covers album way back in 2004 when they came together to agree that it would be a worthwhile endeavour after years as musicians and producers in the music world. Their show last night had come from the specifics of French cinema in the 1960’s and new wave music from the 70’s and 80’s, they have hit a target that wipes the floor in this genre.

But now to the support act this thing called ‘Kill the Pain’. As I’ve said the venue is a handsome version of what used to be a place for religious worship, so that vibe is already powerful, as the lights went dark and the crowd quietened on came the two protagonists for the night to the tune of two humans who took to the stage without nervousness nor fragility but with a confidence that was to heighten throughout the night. They played and danced with each other sharing vocals and swapping instruments, and with total abandon explored a great many styles fitting them into a genre that was to be wonderfully celebrated throughout the evening.

A music of careful spontaneity, with a band who have hit their 20th anniversary and are following Nouvelle through a tour of the UK this year, it’s a very special gig but every inch of it total fun. I’ll mention here to give a sense of the sounds that reverberated into a room where the audience too were as dedicated as the music.

To the ceiling filled with a sound coming from 1960’s French film and musical roots of funky, outlandish and reverberant encumbering sensuality. A gorgeous vocal collaboration that changed and charged the tunes creating divergent, irony inducing fabulousness! and most of all, remarkably, without the barrier of stage and crowd. The fantastic, soothingly smooth music mixed with an amazingly strong French appeal, and unavoidable welcome to taste, construed freedom and loveliness embroiled.

Once again the view from up in the gallery mixed with the sight of the crowd and stage below was emotionally iconic, tremendously intimate, a scene fit for the making of a famous night. In the more than capable hands of musicians in the throes of dance, theatre and vocal masteries but with the intentions of a thing everyone is invited to. A staunch night of music made of love, dancing made of passion and collaborations made of gold.

Daniel Donnelly

Kingfisher


King Tut’s, Glasgow
February 15th, 2024


The aptly titled King Tut’s Wah Wah Hut is a greatly popular music venue half way into town. It’s a venue steeped in rich musical history. The room was packed for a midweek gig, it’s very interesting layout speaks of this history and its musical ascension.

On first were the dulcet tones of Benjamin Steer who played and sang mostly on his own with a couple of backup tracks. His songs were poetic and his lyrics held a lot of emotion, he was well suited to this in his voice and appearance. He is a star in a newer type and style of song writing that mixes protest, with a strong and husky vocal, with love songs that put the lively evening in a soft mood as they whooped.

He played about 40 min set of clearly original music, which is a more than descent segment that mixed Irish with blues with pop versions, so as he left to welcome main act the already lively atmosphere, had seen a great gig.

‘Kingfishr’ are a new group who abandoned menial life to join and form a band. They were young, fun and he howled a little on vocals. A 5 piece scuffle band unafraid to share, and enjoy the room that they were making legendary, the careful blend of instruments and personalities that included a reverberating banjo, 2 guitars, bass and drum.

They rocked through the gig with heavily loud speakers yet played with a great sensitivity, that easily won the crowd over, many or most of whom were fans. Their current recording’s are only in the singles form, but their passions were felt bringing the idea they had of leaving their worlds behind. They are making their way through a large tour, and have every intention to record in the not too far off future, they should because in its revelry this was a highly organised band and they played it very tightly.       

But the biggest vibe they created became communal, they parted the small crowd (Tut’ intimate size) took their place in its centre and sang and played without amplification. The room well understood this and as he sang lines to resemble an extreme human predicament, the room changed and all the phones that were on him lit up this strange and heartrending moment.

For a band so young it was like they were already living the experience and all it takes to be in a band and consciously drive it towards the roads of rock n’ roll success. And so their music stated its many faceted styles not without its appeal that drew the room closer together to really share something. A music that belts forth and puts forth its hardest and softest appeals. We must say well done to these guys as they learn to mount and ride this bull, I can imagine very great progress for this group.  

Daniel Donnelly 

Cahalen Morrison


Soundhouse @ Traverse Theatre
15/02/2024


Playing host to Soundhouse Music Events at the Traverse Theatre on a wintery Scottish night was the renowned poetic folk singer-songwriter, Cahalen Morrison. Originally treading the paths in Northern New Mexico, USA, Cahalen has put down roots in Scotland, and now lives in Glasgow where he seems very much at home.

Cahalen has a folk singing background with an endless list of collaboration’s with artists like Hot Rize, Crooked Still and Transatlantic Sessions, and more recently with his folky country rock band “Western Centuries”. Cahalen has also been lucky enough to experience a lot of the UK’s festival scene over the years, such as the “Shetland Folk Festival”, “Celtic Connections” and “Kilkenny Roots Festival.”

Encouraged and injected with deep American country music roots from an early age, Cahalen has adopted a heart felt approach to his music which is delivered with a tranquil execution. Travelling across the expanse of the Atlantic ocean, Cahalen brings with him to Scotland his love of traditional folk- country-rock music in his own unique style.

As the quaint and intimate Traverse Theatre filled up, it wasn’t long until Cahalen’s guest support act took to stage. Cera Impala is a honey-husked singer-songwriter who has graced many a stage throughout out Scotland. I first had the pleasure of Cera Impala’s company at Kelburn Garden Party some years ago, and was gushing to see her supporting Cahalen in her new home town of Edinburgh. Cera treated us to songs such as “Hide & Seek” and “Sunflower”, and with her beautiful distinctive voice delivered a memorable start to the evening.

Received with a warming applause, Cahalen Morrison was about to do his first gig in 18 months, and what an honour it was to be part of it. Here is a musician that is a multi-instrumentalist, and is never happier than when surrounded by a Banjo, Guitar, Fiddle, and Mandolin. Changing instruments to suit his songs, Cahalen threw in a few acapella numbers split the set well. With a voice that would stop a thousand rioters dead in their shoes within a moment of hearing him, Cahalen undeniably has a calming effect on the collective soul when he sings.

Music tells a story, but folk music storytelling tells a different tale. It brings to life forgotten tales of heroism, fatal deeds, storms and tragedies and many a distant echo from times past. That’s what Cahalen has in abundance. My favourite example of this is “Those Mighty Beasts of Holm”, about a ship that meets with a tragic end. Moving through other songs like “Turquoise and Jade”, “Nancy Fancy” and “Little Sachel”, we were engulfed in an evening of relaxation, peace and tranquility.

Tell me a story and I am hooked, but tell it in this fashion and I am fully 100% in. A beautiful evening and a beautiful gig.

Raymond Speedie

Pet Needs


Assai Records Store
February 18th, 2024


It was my first visit to the new Assai Records store, Assai are a nearly decade old recording company that has its roots in Scotland. I was there for a mid afternoon promotion of a band called ‘Pet Needs’, a group who are aiming high and have a brand new album. The Record shop on Sauchiehall Street is a conclave of rock n’ pop on vinyl, but provides to all kinds of music fans, I went straight to heavy metal browsing.

It was an intimate sized space for this performance, a room with about 24 people who awaited in the late afternoon with electric enthusiasm. This was a gig to showcase the formidable talents of this fine young band, who took to their instruments and microphones creating the scene of a lively set of songs of high energy and breaking out with distinctive vocals.

This exciting gig and coming tour are on the back of this new album called ‘Intermittent Fast Living’ a trawling title for them to live up to. Released early this year the incredibly fast moving pace of digital promotion has them proving successful already inspiring a quite remarkable interest. They are potentially ready to take on great rewards by putting their music out there.

I felt an existential aspect from the music and lyrics, ‘The Optimist’ had him sing, rap and growl a little as he leaped around. Replacing electric for acoustic guitar gave the songs a dynamism of a fresh and in kind genre brought together into this rich and varied sense of encompassing a live scene making again the kings of rock.

The crowd where there to tap into this rich reprieve as faithful followers who knew the material to sing along to the textured songs crafted from these punk and rock motifs. From their various recordings it was obvious that these guys play a full game and have a sound remnant with the attitude’s of pure punk while giving rock n’ roll its due.

There was swaying interaction belting from the stage (the floor) in an act ready to gig and rile any size of audience. The contemporary take on modern living, coming from Colchester, they could express their love of music, in touring and recording that have hit the heights. A band very well suited to work and look just right, a band whose breakthroughs are shaping their imminent future before our very eyes.

Pouring just the right amount for themselves and to just the right gusto, in a new scene of opening opportunity to be taken up by talent, a scene emerging at these fronts mastering recordings and offering legendary popularity for skill that can take it. A deep well travelled genre fit to champion this modern funky, somewhat rebellious form of performing. All up to give further rise to music prominent in the hands of bands like these. About the magic of reaching deeply into the roots of their own songs, done their own way with that the spell that is that classic rock n’ roll.

Daniel Donnelly

N’Faly Kouyate


Band On The Wall
Manchester
15/02/24

To witness N’Faly Kouyaté in performance is akin to putting bubble-bath in your hot, celestial jacuzzi, for the experience is pure fluffy cosmic vibrations. His band consists of N’Faly up front, sometimes singing, sometimes singing while playing the stunning-looing kora instrument with clear virtuosity. I mean, he is the actual president of the Festival International de la Kora, so that should show his kudos.

N’Faly, former front man of Afro Celt Sound System, was this time was join’d on stage by a lady & a gentlemen, & together they create something other than music, something special, unique, wonderful. Indeed, he proclaim’d himself to be a bard, which is in essence the custodian of human culture & remembrance, & which is then return’d to his listeners as musical numbers.

In between these songs N’Faly gives us interesting introductions, with the overall effect of being re-introduced into the family of humanity. A ‘Ré-Génération’, perhaps, which just happens to be the name of the new album he is touring, which he describes as ‘a captivating fusion of AfroBeat, AfroTrap, AfroPop, AfroRap & RnB’ – all the Afros, & is at once & the same time cutting edge modernity & as ancient as the first human noises made south of the Zambezi.

To witness N’Faly in the recently refurbish’d ‘Band On The Wall’ in Manchester was nothing but a sheer delight. Their tour here in the UK is coming to a close, but they’re not going too far away – to Brussels in Belgium, in fact – & I just know at some point in the coming future I will avail myself of the opportunity to catch this maestro & his gang of very cool musicians once more.

Damo Beeson Bullen

Feral Family


Nice n’ Sleazy, Glasgow
February 8th, 2024


Things felt good last night as I made my way to Sauchiehall streets Nice n’ Sleazy bar and venue. I had not been there forever as I descended to the basement for a midweek gig by three acts. The layout hadn’t changed much having red light to set the scene of bar to the left and stage straight ahead. I took a seat and scanned the room waiting for the evening’s music to happen.

The venue plays host to a great variety of music but the night was filled with grunge type sounds, it put me back to the 90’s when grunge was the love bug for many young souls ready to mosh to its loud, long haired anti-establishment.

First on the famous stage came a band called ‘Seagulls Birthday’ who played in this style and it felt like there hadn’t been a 20 year gap for this live vibe. It was a pleasure to have my ears tested and my love for this expression of overdrive guitar celebrated. Their set up was spread across the stage, behind the amp, electric and bass guitar booming with the ironic impossibility of following their lyrics, but they shared vocals for different songs.

The room was about a third full but the music magic brought out that way of dancing that was then so popular, head banging and kind of jerking. A band called ‘Blow up dog’ appeared and it wasn’t long before sweat poured out. The singer put so much in from the get go that he could have done with a towel. This young vocalist had figured out to a good extent how best to express himself, clutching the low ceiling and leaving the stage to dance among the crowd.

The loud style of this music seamlessly went together, when I say loud the amps were turned up to eleven on bass and guitar, the drums heaved rapid beats and the vocals were antagonising and also hard to make out lyrically. No matter but we can tell a little from titles of their singles ‘Portrait of an Animal’ and ‘Dive in’ Soundgarden and Nirvana back on stage with the same spirit, young, great, a band in their height and full of confidence.

It was an evening at Sleazy’s for young fresh talent, with strong sounds and a good audience support. Gigs can change depending on where you take them in so being in the small crowd greatly benefited my experience there.

‘Feral Family’, who were the main and last act, had 45 min to make an impression. The four of them threw caution to the wind, kept up the incredible volume of noise which was fun to pry into. The bass just flung the room apart, almost like a motor cycle bike, the clothes and appearance were cool, and the attitude was there.

They are so new that recording their music is something yet to happen. But musically they certainly happened last night. Having worked it out together it was obvious that music was back in the pocket of having great fun. Music for what it is, I particularly enjoyed the good news that what happened in the 90’s still reverberate because for me it was a great and inspirational period that the whole world seemed to be aware of.

Bands that rock through youth perform as grunge and groove with the flavour of punk, happily restless at a gig in this artful venue.

Daniel Donnelly

Hannah Rose Platt


The Caves, Edinburgh
6/02/2024


Hannah Rose Platt is a singer-songwriter with a poetic touch. Brought up, and born in the beautiful city of Liverpool, I can only imagine the musical influences Hannah was caressed with as she took on her career as a musician. Sculpting her lyrical craft with a talented, multi-instrumental chisel, Hannah has captured a unique sound and presence. Releasing her debut album “Portraits” was a milestone, and was received with great enthusiasm by a mixed audience.

Travels to Nashville, collaborations and new material was a constant in the forthcoming years. Hannah’s music explores the light in the darkness, eerie but warming. The thin line between night and day is the thin line between Hannah’s music. To achieve a particular sound that one’s lyrics can adopt as its own is no easy task but Hannah has achieved this tenfold.

Hannah’s ghost story like lyrics provoke a train of thought that encourages one to take a second look at life. At the centre of her music lies a beautiful and profound melancholy and nostalgia in the most wonderful way. Letters Under Floor Boards her second album had a much larger and harder hitting sound than the acoustics of “Portraits” and was again a diversion from her earlier album. Experimenting and trying out new ideas is what “Letters Under The Floorboards” was all about and Hannah nailed it. An album graced with love.

At Edinburgh’s Caves venue, Hannah was supporting act for Chuck Ragan on a chilly Tuesday night. Deep down, I was kind of hoping that Hannah was the headliner, as 30 minutes just didn’t seem to be enough to witness this iconic musician. Like a beautifully coloured butterfly, Hannah took the stage to warm applause from a now warming up crowd.

The Caves is a lovely intimate venue with a rustic old feel to it, and made a good platform for a performer such as Hannah to deliver her storytelling songs. Having such a back catalogue of amazing numbers such as “Feeding Time For Monsters” , “Dead Man On The G Train” , “The Gentleman” and “The Mermaid and the Sailor” it was no doubt difficult to choose a set list.

Easing from one song to the next we got to the magical “1954”, which tugged at the audiences heart strings. The Nick Cave vibe was present, & the Tom Waits influence was clear to see, as the last song was a fitting tribute to him. Hannah has an endearing and pleasant feel about her, and she delivers a memorable set that will surely turn heads for years to come.

A multi-talented artist that loves music more than music loves itself. Feeling warmed and satisfied, the gig ended to a loud and grateful thank you from both artist and crowd. Great show Hannah. All the best for the rest of the tour.

Raymond Speedie