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.
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.
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.
Celtic Connections, Oran Mor, Glasgow February 2nd, 2024
Glasgow’s Oran Mor venue, in its basement, was host to a Celtic Connections gig last night by the very electric sounds of one NATI. a singer from Scotland with a remarkable tale to tell with regards to how she became a vocalist song writer. We were first treated to the finely tuned Kirsten Adamson who led her band into the smoothest live set you could imagine.
They were a five piece of double bass, guitars, playing blue grass ragtime songs that they made look easy being also young and full of life. The venue opened up to music self written from their two albums that celebrate the style and have a freedom of lyric capturing the spirit of this festival perfectly and to great accomplishment.
The room had a great energy when NATI. took to stage having a thrilling energy of her own. Her band played keyboard, bass, but the sound was modern mixed with old. She held the room in high esteem, with a breakout confidence that just came totally naturally to her, her voice and the music was on another level. The Connections festival is a great showcase for artists whose music is a way of life, and it always offers its brilliant strain as audiences revel in it.
The story of her fantastic journey must have started with her flawless voice, she sang to very varied styles of songs with the beauty each required. She became interested in guitar during lockdown, and wound up trading her music through online platforms that she then broke through to find herself recording “Blossoms” and creating a legend where it sold out in a Glasgow gig. All her fans were there it seemed, all onboard to partake in this remarkable, unique journey thundering through her musical style.
And her charm of very Celtic, American origin fused together to make her and her original writing even more impressive. The venue was a very rich scene filled to capacity, one big musical party. The Connections festival building up in its last days for the year, celebrating its 30 year mile stone, in the hands of this highly talented musician who surpassed her role in leading the night.
I took a look from the back of the room to see how well things were swinging but when she sang I just closed my eyes in its bliss and beauty, also very lively, filled with brimming energy in a performance not to forget. The night was visually stunning, beaming with a greatly talented youth, who in turn beamed as they played their instruments, passing along groovieness, letting loose the talents the festival so well collects. We could really enjoy her, as it all just came out, her band, the vibe, that was musically able to reach out with bonding hands and expertly cause its fine art of just jiving.
Last night, the good ship Mickey 9s embark’d upon its world tour of Scotland, a great battleship of funk that will be tearing wide-open the everyday merchant shipping lanes of our Caledonian lives. Like any good Atlantic battleship raiding party, they’ll need some destroyer escorts, & so to Motopia, their chief support this voyage. With a classic format of bass, drums, guitar & vocals, the band is a Catatonian, Echobellyesque three blokes & a bird, led by the sparkling Mairead Feighan, whom I first encounter’d at last year’s Eden festival. It was reyt hot, it was my birthday, I was absolutely blooter’d from the previous night, & this is what I had to say;
At 1PM, kicking off the Wee Timorous Stage at the back of Rabbie’s Tavern, I was delighted to witness for my first time the ethereal & uplifting fairy shamanics of Motopia, fronted by an acoustic guitar strumming kneeling lady call’d Mairead Feighan & occasionally join’d by a guitarist & percussionist. It really was an enchanting affair, with lyrics that really mean something – like a give-a-fuck-about-humanity-with-a-hard-dose-of-truth kinda something.
…& so to last night, & the Bungalow venue in Paisley – Scotland’s largest town, & a place I’d never been to after dark. Writing this proves I surviv’d the escapade, but it’s not one for the faint-hearted, believe you me. The town has always loved its music – an appreciation that was ratched reyt up after Glasgow’s city councillors bann’d punk music in the 1970s, leading to open defiance, a 12-minute train ride to Paisley, & some proper gigs at the old skool Bungalow (it has moved in recent years), where perform’d The Clash, The Buzzcocks, Siouxie and the Banshees & The Skids. Reyt bands, reyt voices, reyt vibes!
The new Bungalow is a cool venue on this strip of clubs – I bet its mental in summer, a spacious enough place with a biggish screen showing the live action on the stage. I was only there to see Motopia, & last night, as I was watching Mairead weave her punkishly politiz’d, industro-sermon magic, I was getting some proper Mark E. Smith in the room, while the awe-struck spirits of The Fall were crawling up & down the walls like curious zombie ghouls, going ,who the fuck’s this chick?
Miraed is a newcomer to the scene – her second ever gig was only a year ago, & in the very same venue, a terrifying experience which she delighted in telling us about in one of the chirpy banter-balloon interludes between every song, most of which involv’d her admiring a punter’s fancy boots & wondering what shop she got ’em from. Then she’d introduce the next tune with some expression of truth, such as “this is where we find our power, find who the fuck we are,” or “this next song, in a roundabout way, says fuck the Tories!”
From the folkiness of Eden Festival, to last night’s mini-triumph, Motopia’s trajectory seems akin to that of the rapid aeronautical evolution between the gangly efforts of the Wright Brothers daddy longlegs flying machines, to the sleek & superb Supermarine Spitfires downing Goering’s finest over the docklands of the Clyde. I could hear future anthems breaking out; hooky melodies fused to the music by snippets of forceful lyricism. Her boys are cool too – solid riffs, solid beats, solid back-up -, noting too fancy, but with many a fancy flourish, indicating well-thought song-crafters were grafting behind the scenes.
I was also digging the way that with every song, the connection between band & audience warm’d & swell’d in kundalini fashion, like a storm slowly growing in a harbour, with applause growing exponentially. Then, I swear down, I started bopping about & shit, & it was all cool as fuck! We were all fans of Motopia, & Mairead’s Indian hand dancing by the end, & I left the venue reyt optimistic for 2024, the Year of the Dragon, the year of the artist’s roar! Yes, I’m really glad I brav’d Paisley to see Motopia on the verge of what could well be their break-thro’ year.
Celtic Connections, Mackintosh church, Glasgow January 29th, 2024
The Charles Rennie Mackintosh church is every year a proud venue for the Celtic Connections. Beings its 30th year it has rolled out with the success it has brought since its beginning all those years ago. So the very stylish building was host for the evening to two bright and accomplished performances. First was Allison De Groot & Tatiana Hargreaves from the US who had travelled here to combine for the first time.
With De Groot on banjo and Hargreaves on fiddle they soon picked up that pace of style in the Celtic and bluegrass sound. The partnership was a powerful one in the raised ceilinged room and typical Macintosh architectural flourishes. Fast and passionately they raced through songs self composed and found fresh ways to outtake for the ancient style.
Then we were in the hands of headliner musician Sam Amidon who performed solo. He is proficient on guitar, fiddle and banjo, choosing each for his songs. He has a voice strong, soft and very impressive. He has upcoming gigs working with many artists and producers.
He sang with a big flourish of his own, reaching into the large room with techniques enjoyed by all and made a fluster of longing there for both something old and something new, singing also about his own thinking through storytelling unafraid to speak of a truth. And it’s with truth the evening resounded, all made possible by, the talents of musicians who make light of energetic work.
Coming also from the US the Blue grass element was very alive through the whole evening. It’s of an energy very distinctive, very enthralling and foot tappingly engaging. We can know what is said without words and vocals but combining them together makes for a whole different thing.
He had an innovating part in the movements of modern music, a kind that is to bring fresh ideas into the purposes of bringing it to stage. And for the evenings three performers life is good with festivals and gigs happening all over the place. And of course both are hardened travellers giving themselves plenty to write about. The writing blew us away in a way that was more than achieving set goals, instead carrying for them to rise, in fascinating ways, seeing how the different characters responded in very different ways.
It felt great that one man could draw in the room with a topicality towards style and an outspoken hint certainly graced things. It was easy listening mixed with howling blues for this solitary figure who as I say was as loud and big as an orchestra. Grinding bravado was behind his beautifully soulful, solitary stance breaching and reaching heaven, for with his presence he had a thing going on.
I suppose it could have been a novel thing to play like this, alone, for a large Connections gig but he very soon, and Allison and Tatiana, found a very great quality going far beyond that stoicism, sharing the music that is gold, silver and definitely iron. Loved the frantic moments, the sealed passion between then, and the proud gut wrenching glory that pours through so many hands to find itself in a room playing drastically good music, we left pleasantly alert.
Celtic Connections, City Halls, Glasgow January 26th, 2024
The city centre looked sparkling on my way to the City Halls for a Celtic connections gig by renowned Banjo player Alison Brown. Of course the main hall was as resplendent as ever coupling a great size with very classical decor and an audience buzzing with another night of greatly treating music. It was billed as having three performances by three groups who played the roof off.
It’s a place that combined great relaxation in the crowd with music that plays at least once a week, but truly comes alive in the Connections festival. Lucie Hendry’s Harp music is as boundary breaking as it comes, the guitar and drums had this evening come from a Danish influence of brilliant and highly expressive playing that her life’s journey has taken her to. The compositions were filled with a great transaction of Celtic jazz, mixing these with the highest sense of traditional and freshness, in an accompany that puts the festival at the height of anywhere in the world, music that made us stir and smile.
When Low Lily took to stage we were in a mood that far transcended talent alone. A group whose tunes and togetherness were so well cemented there was an air of otherworldliness about them. Also mixing mighty styles of musical genres into songs easy to take and exciting to be on board with. They are known to have a way with putting pop into the classically translucent Celtic sound and have a rhythm to beat into the live experience that they compound with the kind of lyrics that always have a way of kind of reaching down with the pains that come in traditional story telling.
The night was from the point of high success for every band who played, many albums, collaborations were spoken of and many awards have been won by these three groups of musicians whose music sets fire to all the senses and was delivered to the greatest extent and far beyond.
When the evening was ready for Alison Browns feverish banjo the previous hour and a half was burst into the band whose rivers of music streamed from a five piece act. Of course visually everything looks the way it does at the remarkable venue with the giant grand piano staking out the left of the stage, and their presence that reached right across to a magical flute that backed an unbelievable drum that coupled the sounds of base beating off banjo.
Jazz and blue grass music was in the presence throughout the night, in so many forms, but that old Celtic way of sound was delivered in it’s often heart breaking phenomena. But the music of Alison’s entourage was jovially celebratory especially of her focus on the banjo, an instrument capable of so many styles. The jazz just grew in its ever groovy presence, impressing itself from every instrument in compositions that must just look in a complication hard to decipher.
The sharing between artists, was accompanied with the sharing of wildly organised and venturing solo’s, we could almost visualise its story in a way of true joy, true magic and true human endearment through the music well home at the great and quite wonderful Celtic connection. Great smiles were on great faces, sincere turns took their glances and music was played to an incredible professionalism of the love of it so well expressed, very impressive and wonderfully laid out.
One of the abiding qualities of Celtic Connections is its ability to draw to Glasgow artists to Glasgow who I’ve really liked, song-wise, but never had the opportunity to experience live. I remember being a massive fan of Seth Lakeman’s Freedom Fields, & then leaping with the same joy as when a mother discovers her only daughter is pregnant & she’s gonna be a grammy for the first time, on discovering Seth was playing at Celtic Connections. I actually had a few tears when I saw him play, so powerful was the coming together of artist & fandom that Celtic Connections creates.
So to 2024, & glancing thro’ the program one name immediately leapt out – John Martyn. But surely he’d been dead 15 years now – wait, the John Martyn project! Alright, I’m in , let’s do it, I mean, Solid Air, that is one hell of an album. Martyn’s guitar work & vocals are simpler other-worldy – this would be one for the bucket list, to experience at least some of that album live. When I’m listening to it I always feel like I’m resting by the gentle bubble of a stream on the first sunny day in May, & it’d be nice to see, hear & feel the source of those sensations.
On the birthday of Robert Burns, my journey to Glasgow began on a grey day on Arran – Goat Fell was completely cover’d in mist. Luckily I’d given myself plenty of time thro’ the day, for on arriving at the ferry terminal, I discover’d that the with the Irish berth at Ardrossan being condemn’d, & the sea swell too much for the main berth, the ferry was diverted to Gourock at the mouth of the Clyde. Cool beans! I was excited, the normal, done-it-a-hundred-times hour’s crossing was now to be a two & a half hour epic voyage across the Clyde Estuary. Bute, the Cumbraes, Largs & Dunoon all appear’d out of the mist with pleasing pastel alacrity. Then I hit landfall at Gourock & was soon on a train winging east.
Glasgow was pishing it down all day, but I guess Celtic Connections is all about bringing the soul’s musical sunshine into our lives, & I was happy to experience a damp march up Maryhill Road to the wonderful Mackintosh Church, across the road from Partick Thistle’s football ground, Fir Hill. What a superb venue for music too, a blend of grey granite & white plaster, the aesthetic was very special, & emphasis’d most sweetly the ‘Celtic Connections’ logo which was projected onto a wall before us.
Starting out 5 years ago at the Jazz Cafe in London, the John Martyn Project are going from strength to strength. The band is six strong – two phenomenal, ballet-finger’d guitarist chaps, a bass & drum combo of jovially-chuff’d chaps with beards, a chap on keyboards & a lady singer in a flowing dress. Performance wise, it was a well cheeky jamboree, like, with various combos of instruments & players unveiling before us in the wine-dark church; & everyone having a pop at, & proper pulling off, the vocals. between them they spun a delicious web of music – at times I was pure hypnotised. Some songs I knew, some songs I didn’t, but all were top class. It was interesting, also, to see the group trying out material for the very first time, including this reyt complicated prog-rock thingy which went on for ages & was reyt good, if not amazing.
With a glass of red in her hand, our lead lady singer, Blythe Pepino, was getting more & more into the gig, telling us little anecdotes from the wild world of Martyn fandom, which she’d been a part of since seeing him live when she was 17. Her tales were fun, into which, upon one occasion, she sprinkl’d a saltier, but fascinating, awareness of her idol’s, lets say, weaker aspects of humanity – apparently down to ‘abandonment issues,’ she said. Martyn sold his soul in heaven to the angels as they were falling, kinda vibe.“Let’s hope gentlemen these days get the help they needed,'”she opined, before launching into another fantastic piece of expansive audio-adulation.
“How good were that!” I said to a stranger as I left the church, when all-in-all, that was a bangin’ gig, that – one for the head & the heart, & the John Martyn Project have surely managed to catch their muses’ candybubble – & it inspir’d me to ask my old drummer if he wanted to play some blues with me next month. I’ll be on bass – & he said yeah! Music’s in the air, Spring is coming & thanks to The John Martyn Project last night, the world is a pitcher brimming with the warm south. I strongly urge anyone with an interest in Martyn, or an interest in brilliant music, to catch these guys when you can.
Celtic Connections is a yearly music festival in Glasgow and beyond. This year it turns 30 continuing its live music revelry. The Glad Cafe in the south side is a favourite for the festival, where there was a good buzz for the evening. It was to be a dedication to US music they call ‘Old Time’, that has a swinging hip rhythm and foot tapping vibe. The Connections warmth was welcomed in much appreciation.
Set to play was one Sarah Jane Scouten, telling tales of her time in Canada and developing as a singer/song writer. The support performance came from the first duo of the evening Jeri and Ruth. When they appeared through the door with their banjo and violin they started and there was that sound of strings and style. It’s a 120 capacity room and the medium sized yet roomy stage was to enjoy a high standard in songs of quick simplicity.
The production of the evening had a great flow as instruments changed and on came Sarah and Robbie with guitars in hand. The ‘Old Time’ rhythm had an original quality, as it sparked from the stage, playing songs from the heart and she had an ability to mean it. We were absorbed by his plucking action from Robbie’s guitar, and its bond with Sarah’s. ‘Old time’ stories are still fresh they involve, reminiscing, and life’s experiences, she shared them of Montreal, she was so personal, how it has guided her in her musical roots.
January’s cold nights turn into a celebration in the hands of a Connection’s show. So much is absorbed by its friendliness, and it’s (indeed) Connection with the audience, something Sarah did very capably, lovingly and joyfully. She has released 4 albums since 2014, Her new, 2023, ’Turned to Gold’ is fresh writing from someone on an endearing musical, artistic and life journey throwing caution to the wind with a voice steady in an unsettled sea.
She had wanted to be on a Connections stage for ages, and her storytelling ability was grabbing, cheerful and genuine. Their onstage partnership worked well, with pristine finger work and gently played rhythm. She was so present, her smile and their interaction something close.
The two pulled off great music with a classicality of a high standard, something we can always thank the Connections for. We got an evening of an unmistakable sound, a night of wistful and powerful songs written by a highly talented musician/ writer. Whose intensity was in making them out there for the crowd, singing with a voice with something interesting out of it.
It was for a fascination few hours we sat with praise going to the professionalism from sound engineers and lighting that gave the music and its soul a very comfortable place to play from. Effortless technical abilities on guitar, powerfully soulful lyrical ascents, a burning drive for at least something honest, truthful, with fun and joy in their faces. The larger than life genre lifted off from a festival show as its larger than life personality exhumed a steady rapture well felt by these two.
Edinburgh’s Hogmanay 2023/2024 kicked off proceedings on the 29th December at the Meadows with the iconic and mesmerizing Torchlight Procession. After 3 years, this amazing spectacle returned in full swing with an attendance of up to 20,000 people. Taking the route from the Meadows up to, and along, George VI Bridge; the Vikings, band and Torch-bearers headed down Johnstone Terrace to the finally at the bottom of Edinburgh Castle.
Marching through the historic streets of Edinburgh the ancient architecture was lit up like a New York billboard by 20,000 plus torches. Like a fire-snake weaving its way through streets and spectators, it was like a scene from a part in a mediaeval film. Beautiful, warming and very moving to witness, the Torchlight Procession holds a special place in the Hogmanay celebrations and delivered a memorable experience.
As day broke on the 31st December, the weather was always the first port of call when it came to Edinburgh’s Street Party. With the forecast forecasting a dry and mild evening in store for the New Year shenanigan’s I am sure Hot Chip and Pulp will be delighted that the Scottish weather gods had blessed us. As the crowds gathered on Waverley Bridge for the Elephant Sessions and thousands of revellers filling up every free space available on Princes Street, the Ross Band Stand was the place to be.
Edinburgh’s Hogmanay pulled it out of the hat again with booking Pulp as the headline act, and being supported by Hot Chip promised enough to warm the cockles of the all the audience this famous winter’s evening. The Ross Band Stand is the historic entertainment pod in Princess Street Gardens and has seen many a band play here over the last 100 years; from Roxy Music, Simple Minds, Pet Shop Boys, Big Miz, Cooked and now Pulp.
As time grew nearer to 2024 Hot Chip readied themselves to enter the Street Party arena. Hot Chip are a band and DJ combination formed in London in 2000 and hail from the synth/pop music culture background. With a love of RnB and House Music and influences as far and wide as Roxy Music, Madonna and OMD they soon captured the attention of the UK dance scene. As Alexis Taylor, Joe Goddard and Al Doyle took to the stage, Hot Chip set the night alight with songs that sent smiles over every face in the auditorium.
As their set climbed the distinctive sound of songs like “Over and Over”, “Ready For The Floor” and “Boy From School” leaked out the crowd were now as warm as a glass of Mulled Wine. Fantastic support for the majestic Pulp!
10.50 PM was the suspected estimated time of arrival for the headline act to embody all that is the Edinburgh Hogmanay experience and after a small sprinkling of fireworks bursting above Edinburgh Castle you could hear a pin drop. Silence was the key and if by magic, the first key / note of “I Spy” crept through the speakers like an escaped fly caught in a spiders web longing for freedom.
Pulp are a Britpop, Art Rock Band that are unique in every way possible. Established in Sheffield in 1978 Pulp worked tirelessly in the 1980s with LPs like “It”, “Freaks” and “Different Class” in 1995 seemed to break down every door in every household when the album reached number 1 in the UK charts.
As “I Spy” came into its own the now beefed up audience were introduced to the Moving Piece of Art that is Jarvis Cocker. Jarvis is human art at its best, his movement, charisma and posture defines a stage presence like no other. As each song emerged from the set list the intensity grew with great appreciation.
“Mis-Shapes”, “Do You Remember The First Time”, “Something Changed”, “Babies” , “Underwear” and before leaving the stage for the New Year’s fireworks celebrations at midnight they finished with the hard hitting and classic song “Disco 2000”. With an inter-lude of beautiful and eye catching fireworks exploding over the crest of Edinburgh Castle 2023 was now a distant memory.
As the waterfall of colour cascaded down the rock face there seemed to be a feeling of relief among the crowd that the difficulties of 2023 are behind us, for the time being anyway. The moving piece of art Jarvis Cocker allowed himself a wee dram whilst the second chapter of the Pulp invasion begun. Crashing through hit after hit and with the added bonus of new material such as “Background Noise” Pulp delivered an amazing and awesome night of unforgettable memories.
With familiar lyrics that were sung with heart felt appreciation, so when ” Common People” was unleashed on us, the 6000 strong audience all became backing singers for Pulp and Mr. Cocker. What a sight to have witnessed . Truly magical and certainly a night to remember. A big shout out goes to all the Edinburgh Hogmanay organizers and security / volunteers for making this another special event that will live in the memory of many for years to come.
Mumble Music 