Hello Leigh, so where ya from & where ya at, geographically speaking?
Hi there, I am originally from Perth in Scotland, but call Edinburgh my home now. A proud Scot through and through, but a citizen of the world too I feel.
You are the songwriter & frontman for Echo Arcadia singing – where does your love of music come from?
I have, like many singers will say, had it since I was very young; regaling my mum with Wings ‘Mull of Kintyre’ when I was about 5. I sang in a church choir in my following years, holding the heady heights of Head Chorister. My parents didn’t really furnish me with the extensive musical tastes that many people seem to enjoy, so mine came from random pop music I was exposed to in my teenage years. I kind of wish they had force fed me music, it would have saved the journey I had to make, with the Lighthouse Family being a favourite band for a while haha.
When do you know you have written a good song?
I guess its like when you make a good cake, or a chair, you eat it or sit in it (respectively, or not, i’m not here to tell you what you can sit on or eat). If my 6 year old listens to it and he’s singing the chorus later that day, then i’m usually pretty convinced. I am absolutely self taught, so I try and write what feels good to my ears, and if that song sounds good to me with just my voice and an acoustic guitar (as I record it on my phone to send to the guys fro critique) then I know it will sound good with all the bells and whistles **actual Bells and Whistles are optional
Can you tell us how your band got together?
The story is long and… well, storied. I had written 4 songs with a friend of mine after I had been out of bands for a while. I wanted to form a band to play these and write some more as I went along. This band was called Brightside, and was great fun, though much sweeter pop music than Echo. As that band lost a member or two, I sought out new members but knew it wouldnt be the same band anymore. So, gumtree was used and abused and we managed to pull together some genuinely talented musicians to form Echo.
What’s the story behind the band name?
This is one I may get wrong, as I’ve retold it a few times and I’m sure I’ve made up some aspects haha. Our keyboard player as we reformed our band, had a girlfriend (now wife, but no longer our keyboard player) who worked in art. She had suggested a name based on the painting Ecce Arcadia, which is the entry to paradise that Pan guards (maybe). Now in Scotland an Ecce has drug connotations, and since we had been in the studio and using the infamous Space Echo, We substituted Ecce with Echo and bobs your uncle and fannys your Aunt.
Your sound is very indie-esque- what are your personal influences from this era?
Personally, and it will have to be as mine is the least diverse and interesting musical taste in the band, I love Radiohead, REM and my absolute favourites are The National.
How do you present your songs to the band, do they have a say in what gets used? Everyone gets a say, I foolishly encouraged a democracy in the band and it regularly bites me when i just want everyone to do what i want. The song writing dynamic has shifted musically with Dawid, our Guitarist, working with me to create the soundscapes, its really brought what i try and do onwards in leaps and bounds. The whole band will listen to my ideas and then inject their own take of it into everything we do. I feel this gives the songs a more unique vibe, as their musical tastes are wide and varied.
What does Leigh Moyes do when he’s not making music?
I have a beautiful Partner called Molly who has just given me a gorgeous daughter to keep my 6 year old little boy on his toes (that’s not the only reason of course, but its a pleasant side effect), so that keeps me very busy. Echo is a very family cebtric band, with both Euan and Dawid having children, Euan most recently had twins just a few months ago, and dawids lovely daughter is in our video for ghosts dancing with my son. I have actually just started blacksmithing and university studying Applied Pharmacology, because life wasn’t hectic enough
Your new album “Visions of Symmetry” is out now. Can you tell us about the recording process?
The process was a long one, as we recorded the full album, except the interludes and hidden track, in demo form first. We like to record it as if that is the finished article, so its tight and presentable. We lived with this for a few months before we had 2 weeks in the Slate room, part of the famous Castlesound studio complex, with Garry Boyle both engineering and Producing the album. Even with what, we considered, a final rendition of the album, Garry (who has worked with us for several years now) knew how to get the best out of each track. I spent every day there, with each member as they recorded and it was a genuinely fun, exciting, exhausting, rewarding experience.
What are your favorite songs on the album?
That’s a toughie, I honestly do love them all, but i must say that Cinderella is my favourite just now. We have just released a video for it, which is a short film made by Ryan Jon Amey Henderson to our little ditty and it has cemented it as my favourite (though Hurricanes still hold on tightly to second place).
What does the rest of 2017 have in store for you & the band?
We are in the process of hopefully licensing the album to a North American label and getting out there to do some gigging, as well as putting more work into Visions Follow up album, which is already sounding strong. If you dont stop, they can never catch you!
Haydn Coffee Concerts Wed 20th September 2017 Haddington Town House
A series of 4 concerts, held in the 18th century William Adam designed Town House in Haddington, was a perfect setting for this recital of Joseph Haydn (1739-1809), Mark Simpson (b1988) and Ludwig van Beeethoven (1770-1827). Performed by the outstanding Gould Piano Trio, with Benjamin Frith on piano, Lucy Gould on violin and Alice Neary on cello.
The recital commenced with Haydn’s piano trio in D major Hob.XV:7. Written in 1784, one of his later trios reflecting Haydn’s musical maturity and much admired by critics. A technically challenging piece, dominated by the piano part; the Gould trio, seemed to effortlessly convey the formality but lightness of this piece. Haydn was 45 when he wrote this piece, he also met Mozart in this year, becoming a friend and mentor to the young musician, with whom there was mutual admiration. Considered by some to lack Mozart’s tragic and dramatic life, Haydn was unhappily married and suffered significant facial disfigurement from smallpox infection. He contributed a significant and greatly admired body of work during his 70 years of life.
After Avedon by British musician and composer Mark Simpson; based on a consideration of 4 photos by Richard Avedon, is an exuberant exercise in tone colour and dynamic range. The first piece concerning the Duke and Duchess of Windsor, had an emotional complexity that really resonated, with stunning contributions from the strings, perfectly complemented by the piano. It was a fitting tribute to the sacrifices, but enduring love of the couple. The following piece about a beekeeper was quite agitated and a little more challenging. The following two pieces concerning portraits of Francis Bacon, and Peter Orlovsky and Allen Ginsberg, had a lot of intensity, which at times was a little heavy but overall I enjoyed these works, with the first one standing out. The colours were magnificent and the Gould Trio were entirely engaged with the piece.
The recital concluded with Beethoven’s piano trio in G major Op1 No 2. Written in 1795, at the age of 25, Beethoven’s hearing was still intact, and he had met and likely studied with Haydn. Mozart had recently died and Beethoven studied Mozart’s work in earnest. Still a young man, the piano trios were his earlier but successful pieces introducing his style to the public. Beethoven remains one the most influential and famous composers of all time. The Gould trio again immaculate in their playing of this lively and passionate piece. A lovely musical rapport, they were a pleasure to listen to. The piece in the Washington post quoted in the Lammermuir Festival brochure is pretty accurate. As they say ,”the only comparison that comes to mind is the old Beaux arts trio; the combination of Jewel like precision and a musical fire that ignites from the first bar”.
Hello Danny, so where are you from & where are you at, geographically speaking?
Hi! I’m currently at home in the Blue Mountains, just outside of Sydney in Australia.
When did you first realise you were musical?
I can’t remember not having music in my life. I grew up in a house full of instruments. Both of my parents play a bit, and I have always been intrigued by anything that makes a sound.
Can you give us a brief resume of your musical career thus far?
In the UK, the thing I’m probably best known for is the show, Tubular Bells for Two, where two blokes attempt to play Mike Oldfield’s classic album, Tubular Bells. We juggle 20 instruments between us in a highly theatrical event, as you could imagine. Apart from that, I’ve played in many bands in Australia, and also compose music for theatre, TV and film.
Can you tell us about the ‘Darks Common Underground’ collective?
Darks Common Underground is a fairly recent project I’ve been working on. We are a group of musicians from the Blue Mountains, and I’m the main songwriter. Our music is has a bit of a folk undertone, and we’ve just released our debut single, Meteorites and Other Things.
What does Danny Holdsworth like to do when he’s not being musical?
When I’m not playing music, I suppose my not-so-secret passions are cricket and Nintendo. I’m a bit of a cricket tragic. I play for a local team. I stay up all night watching matches from all over the world. And I also love Nintendo, especially the Zelda series. At the moment I’m absolutely hooked on Breath of the Wild on the Nintendo Switch!
Next month you will be touring your ‘Tubular Bells For Two.’ Can you tell us about the project?
Tubular Bells for Two is a show where two blokes attempt to play all of Mike Oldfield’s classic album, Tubular Bells, live. We try to replicate the album as close as we possible can, juggling 20 instruments between us. It is a tense, theatrical and thoroughly entertaining performance that lives on a knife edge. The task at hand is so mammoth, it really can fall apart at any moment. I developed the show with my good friend and long time collaborator, Aidan Roberts. It started as a silly idea, jamming on a bunch of instruments in our living room. We never thought it would become an actual show, let alone one that would go on to tour the world! We’re both big record collectors, and one day we just happened to have a night listening to a bunch of albums of the seventies. We put on Tubular Bells, the first time either of us had heard it in a long time, and we were just mesmerised by it. So we decided to learn bits of it just for a bit of fun. On the album, at the end of side one, there’s this moment where a bass guitar plays a riff over and over, and then a procession of instruments are announced one-by-one, and each plays the main theme. So we thought, wouldn’t it be great to be on a stage, announce these instruments, then run around and play them all. And so Tubular Bells for Two was born.
We did a a one off performance in 2009 in a small venue to a bunch of family and friends, and we honestly thought that would be the end of it. But word got around about the show and people started inviting us to play it. We did the Sydney Fringe Festival in 2010, then got invited to tour Australia, then we got invited to the Edinburgh Fringe in 2012. Since then we haven’t looked back. It just keeps going, and we’ve now taken the show all over the world. The big news this time around is that, due to family commitments, Aidan has decided to stop touring the show overseas for a while. So we decided to get someone new to fill his shoes. So this tour will be the first time our new member, Tom Bamford, will be joining us. As you can imagine, its been a huge undertaking for Tom. He’s spent many months in rehearsals, and his first ever performance will be in Glasgow next month.
You have toured the show in both the UK & Australia. What differences, if any, have you found from the audiences?
People in the UK seem to have a strong sense of ownership of Tubular Bells. I get the sense its viewed as a quintessential British achievement. Not only was it a massive hit over there, the music was ground breaking, going against all pop traditions. It was a defining moment for an entire generation, as well as launching Richard Branson’s Virgin empire. So when we first performed the show at the Edinburgh Fringe in 2012, we were unsure how it would be received. Here’s two barefoot Aussie larrikins in a crazy performance that, on the surface, seems like some kind of piss-take. But it really isn’t. We take the music very seriously. The humour and theatricality come from the ridiculous situation we have placed ourselves in. But, whilst its an entertaining and tense show, at the heart of it is our deepest respect for this classic work. And I think the audiences really got it and were willing to come on the ride with us. Every night we have the same challenge in trying to pull of a near impossible performance. Sometimes things go terribly wrong, but the audience is always there willing us to get to the end. This isn’t just a musical performance, it’s a tense journey where the music becomes a beautifully structured soundtrack to an epic task. We were absolutely taken by surprise when we received several highly esteemed awards at the Fringe. And I can’t believe that five years on we’re still being invited to perform.
Can you describe the musical partnership between yourself & Tom Bamford?
Tom and I have known each other for many years. We’re both from the Blue Mountains. We’ve played in bands together. We’ve been involved in each others different recording projects, so it just made sense that he be the person to come on board with the show.
What is it about Tubular Bells that has compelled you to recreate it to such a high standard?
It is a piece of music that, I think, stands the test of time. It doesn’t take the audience for granted. It invites you in to go on a journey. It’s beautifully structured, with an arc that is synonymous with a great classical work, or a great film. And even after all these years of performing it, I still discover small details hidden within it. If you’re going to take on performing a piece such as this, you need to do it with the utmost respect.
What will you be doing after the tour?
I’ll be heading back to Australia, preparing to launch the debut album of Darks Common Underground. Plus there’s a few theatre projects I’m really excited about. I love the idea of performing music in a way that gives an all-encompassing experience for the audience. Something more than just a band standing on a stage. Musical performance needs to be engaging, and I have a couple of new projects brewing that will, hopefully, offer some unique live experiences.
30/09/2017 Glasgow : Lomond Auditorium, SEC 01/10/2017 Edinburgh : Queens Hall 02/10/2017 Manchester : RNMC 04/10/2017 Guildford : GLive 05/10/2017 London : Union Chapel 07/10/2017 Birmingham : Birmingham Town Hall
As the aeroplane descended from the Heavens I couldnae help thinking, that the flight had been relatively short. It was a very warm sticky night. Quite the contrast from the dark rainy day that we had left behind in Scotland. The layers of clothing were soon peeled off. the Edenites boarded the waiting carriage for our journey from Split to Tsino. It gave me time to catch up with Tom Spirals and old friend and rising superstar as the big bus wove its way through the mountains in the darkness of night to our destination and dancing adventure. Everyone was excited as we were dropped off at the car park by the sea, as we waited for directions to The Garden that would be our home. The flying things in the trees were making lots of noise as we retrieved our luggage and then headed for the check in.
Emma and I dropped our bags off and headed into town to find the crew who had already settled into wonderland. Our mission wasnae successful but we did find our bearings and had a pre-party with some lads from Skipton. into the early hours, returning to bed at about 4am.
I awoke that Thursday Morning, it was around 9am, the temperature’s were already nudging the low thirty’s as we sat down for a hearty breakfast in the restaurant of Croatia’s answer to Butlins. I was feeling a bit sad for Kirsten, Matty and Bob. Because they had missed the flight, we found out later in the day that they had been booked onto a different flight and Bob would arrive for his DJ set later on that evening.
Baba Palmer and his beloved took myself and Emma for a walk around the site and the scenic route on the beach front to Tisno town, The sun was hot and my head was a bit jet lagged as I woheightrked out the local currency. Emma joined Becci and baby Munroe for lunch, I took my leave and headed for a solo explore. It was very very hot and the Sun was glorious. The Pontoon Sound System was firing up and my first dance of the day was beckoning.
I followed the Afternoon House Music along the coastal path, serenaded by the clearest blue sea, the Sunlight creating Diamonds a contrast to the desert like surroundings, the dusty path wove its way through the trees, this place resembled the bush at the height of summer down under, into The Garden. The Pontoon is a Jetty, at the end of which a powerful punchy soundsystem and Dj entertained the Edenites soaking up the late afternoon Sun. Divine slipped into the groove, the inner fire was building. my foot work was complimented by the Addidas boxing boots and I let rip. Danced the afternoon Sun into the beautiful blue/green sea, Took my clothes off and went for a swim. Luckily I had my trunks on, nude bathing and swimming were deffo a no no. the sea was refreshingly cold. I smiled and inner smile of contentment and swam and swam and swam. Then danced a bit more as the Sun dried me out.
I headed to the Terrace sound system and the dance continued, The floor of the restaurant proved to be perfect for spins. As I danced in the warm Dusk of Night. The Dj span a tune, a mash up of reggae beats and Bowies Rock N Roll Suicide. It shouldn’t have worked, I wondered is this sacrilege, och i thought, Divine stop being a Bowie snob. I had a good sing a long and the dancing fire within burned a little more intensely. Just as it was getting dark, Bob, Paul, Kirsten and Matty arrived. Yes Yes Yes. My feet were on Fire. Bob Todd Off The Plane, On the Bus, Off the Bus, On the decks. I breathed a sigh of relief as Tamla Motown hastened the groove of our first full day in Paradise.
At 10pm, Hot Chip took control of the decks on the Beach Sound System. It was the first time I had seen the lighting rig in action, Bathing the dancefloor and ocean in a sexy blue light. I danced hard for the next 5 hours, with water my only fuel, I grounded the love of Angels to full effect. Incorporating Reiki moving meditation, It was a very healing dance. The Dj was amazing. I do like Hot Chip, Celeb DJs always play for hours and hours and they never cock up. I danced till my body could dance no more and then walked slowly back to my cabin. It was Dawn, it was very warm and the Clicky flying things lamented a deep deep sleep. I was contently knackered. The inner smile was beaming. That was a fucking amazing day. Good Time Divinexx
I awoke that Friday Morning, The chalet filled with new arrivals. Bob and Paul fast asleep, I put a coffee on and Emma awoke from her sleep on the Bed in the kitchen. My body aching from the day before’s dance marathon. Friday was to be a quiet day. Restoring my fitness and tan. I was in and out of the sea all day. Chilling and cooking. Meditating and swimming. I crashed early that night and slept until 4am and headed to the Love Shack for a morning Boogie and Burger from Burgerellas. Indeed what a wonderful way to wake up. the Eden Crew had just returned from Barbarella’s, The Club that continued dance proceedings after Mid Night. Bob Iwas up for his Dawn set too. Motown on the Beach and my morning swim soundtrack. It set me up for the coming day. After I returned to the chalet and slept a bit more. It was a cooler day and quite over cast, my Dance of the afternoon was the Dusk set on the Beach Stage. A few drops of rain began to fall creating rippling circles in the sea. Tom spirals was playing The Terrace so i headed back to the chalet, to shower and touch up my make up.
As I opened the door i was greeted by three strangers, at first I thought they were dealers and soon found out that they were undercover police men. oh bugger I thought, but then remembered that I didnae have any Cannabis mainly because I didnae have the budget to buy any. This is when I discovered that cannabis in Tisno is a no no, cause if they bust you, they take your passport and will nae give it back until £500 has been paid. I never got to Toms Performance because we were being held captive. Eventually, the three stooges left, for a while it was intense. I sat and did my make up, filling the undercover boys with love. I never made it out after that, sleeping an uncomfortable sleep I awoke at 7am to prepare for my Dawn Disco.
I was still processing the night before as I approached the decks and not really feeling the party, Bob, Paul and Emma were fast asleep in the chalet. I was still half asleep, the DJ’s that played before me still in the fire of the night before, I just thought how do I follow that. So a full on Techno groove until a coked up Blonde started asking for House, I played House, she said no not that house and proceeded to throw pine cones at me. This was testing my tolerance levels to the max. So I played some Shirly Bassey and she fucked off. I was so glad when I played my last tune. I returned to the Chalet and fell back to sleep. I was playing again at 6pm and I had five and a half hours to give a proper performance.
Sunday was surreal, a smoky haze filled the sky and turned everything a dusty brown. there was quite a warm sea breeze blowing through the trees, I gave myself lots of healing that afternoon, it was an afternoon of letting go of the things that had upset me. It worked very well. My inner smile was beaming again. My four and a half hour set, I thoroughly enjoyed. Early evening ambience and classical Divine.
The Sun was hot on Monday Morning, after coffee I wandered down to the beach. the Pyrocats were swinging in the hammocks with Ben Lane playing his guitar. The Garden crew were dismantling The Beach rig and The Pontoon Soundsystem was firing up. I went to get some water for my swinging comrades and then wandered the Coastal Path into town to get some baccy. It was such a beautiful morning. I wandered through the trees and around the harbour it was roasting.
On the way to Harbor, I passed a local seafront drinking den, A voice shouted across “Hey Monsieur Divine, would you like a Margareta. OOOOooo La La, I replied. Yes indeed why not. It was cold and tangy and the perfect antidote to the very hot Sun. Edenites were everywhere, Sun bathing around the harbour. Owen and Paul joined me and then we all wandered into town for ice cream and coffee.
The dance continued into Mondays Dusk. I returned to the Chalet to freshen up, Paul was being creative, creating a therapy collage, working his emotions through in a very resIponsible way, Emma was getting ready for Dinner with her pals in town, Kirsten and Mattie had popped round. It was like scene from the Waltons. Both Kirsten and I had the Dance still in us. Mattie was knackered. So me and Kirsten headed back down to the Beach and The Pontoon Sound system. We danced for a while on the steps, over looking the Jetty. It was a dark Moon, a new Moon. A total Eclipse of the Sun was occurring. A gentle warm sea breeze. And the stars that shone bright, reflected upon the Ocean before me. I danced until I could Dance no more. The icecream seller had knocked off early, so i borrowed his chair and placed at the top of the steps, to get the full appreciation of the soundsystem that reproduced dance classic after dance classic in a very Hi Fidelity kind of way. It was a magikal moment, a once in a lifetime kind of feeling. The party finished at Midnight. The beauty of the Sea calm like a mill pond, I breathed the moment in untill it filled my soul. The warm peace was profound.
Tuesday was a day of Chivalry, I was down to my last 150kuna, so maximum budgeting, I was accompanying two friends to pay a fine and then travel to a new town so that they could retrieve their passports. It was a beautiful day and everything ran smoothly, it was a weight off of everybody’s mind when we got back to Tisno, the boys feeling the sting of being £500 lighter. It was an important lesson. The penalties for recreational drug use are not the same in Croatia as they are in the UK. I was reading a copy of DJ the glossy DJ magazine Its focus was on Croatia. The Garden at Tsino holds parties every weekend and is host to some of the biggest names in Dance culture. It attracts the European Dance Community and recreational drugs are a key factor of the Groove. It should be pointed out that if you enjoy recreational drugs in Croatia, make sure you have £500, because that is how much its gonna cost if one gets caught with it.
I’m too old for chemicals, E and MDMA are a thing of my past. I do have a penchant for LSD but that is once in a blue moon.And I dance better without it. And it is the dance that motivates me, Tisno was too beautiful for a comedown. I made that decision early and I never indulge when working. So these factors. Under normal festival circumstances, I always have some cannabis in my pocket. Not having the Budget for any stopped me from having my passport confiscated. If I had have had any on my person, I would have been in a Croatian Jail, because £500 I had not And with no Mum and Dad to phone. Aye one has to be extra careful and wise to the local drug laws before partaking.
So with the knowledge that everyone was ok and we were all going to get on Wednesdays aeroplane together. I let it all go. But the lesson was integrated and a wisdom was formed
The Eden Crew gathered for Dinner at the Tisno Hotel on the Tuesday Night, I had Pizza and two jars of ale, well it was my night off, it had been a long day, We walked back to The Garden after and when I got back to the Chalet, I was out like a light.
Our flight was a late one, on Wednesday Evening so had time to contemplate on what an amazing adventure “The Lost Disco” had been. It certainly felt as though I had been held in Tisno’s beauty for much longer. Indeed it was epic. when we arrived it was dark but the trip back to Split was in daylight. It was one of the most beautiful road trips I have ever encountered. I didnae feel sad about leaving, because i knew that this was only the beginning. An introduction and an education into a sun-soaked land.
As our Aeroplane landed on the tarmac of Glasgow Airport, The Pilot told us that it was 16degs so a warm welcome. I picked up my luggage and was chauffeured home by Tracy Jane. Tisno is a very healing place, for all it challenges, the replenishment is swift. as a place it has touched me very deeply a love for its people, a thirst to become knowledgeable of Croatian history. It is a very Holy place with Shrines and sacred symbolism everywhere. It is a place conducive for the realisation of Healing Miracles. I am a different person than when I set off. A deep healing has happened for me. It has been a long time since I have felt this strong, whole and complete
The Lammermuir Festival, under the patronage of Steven Osborne, is East Lothian’s answer to a night of high culture on the town, but scattered amongst the splendidly carved architectural delights of Scotland’s greenest county jewel. Over the weekend, I managed to catch a couple of this year’s outings; the opening concert by the BBC Scottish Symphony Orchestra in the antique, cavernous & elegant parish church of St Mary’s in Haddington; & the much smaller, but equally as pretty-a-place-to-be church that is Dirleton Kirk. Both events were packed out & both selections of music were outstanding, as walls & rooves made to reflect choirs & ministerial preachings were all set to amplify & imbue with beauty the dancings of the reeds & strings.
Martyn Brabbins & the BBC-SSO
At St Mary’s on the Friday, I was furnish’d with a fine three-course feast all cooked up for our delectation by conducting master-chef, Martyn Brabbins. For starters we had two slices of Wagner; The Prelude & Liebestod from Tristan und Isolde, both of which leapt upon the delicious acoustics of the kirk like young & playful embattling stags. As soon as the Prelude began we were all rooted to the spot, the music wafting over us as if fanning our cheeks on a warm summer’s eve. This opener – to both opera & festival – then grows in intensity until the cosmic, oversensual climax, & we were off, the Lammermuir Festival of 2017 was under way.
Rowan Pierce
The next course consisted of three arias by Mozart, exceptionally sung by the young & meteorically rising talent that is soprano, Rowan Pierce. A Samling artist, she had won the first Schubert Society Singer prize at the London Song Festival in 2014, & one soon understood why as the ghosts of choirboys past lifted her angelically jasmine voice to the rafters & beyond. After an interval of exquisite honeycomb ice-cream & polite chitter-chatter, the third course was served, Mahler’s sleigh-bell jangling, soul-pounding four-part Symphony Number 4. Each of the four movements were played with both neat precision & piece-specific bombast, & the hour simply flew by upon electric wings.
The next night I drove for the first time to Dirleton, a wondrous little place, rather like a Mendips village, quite untouched by modernity, in whose kirk I would be nestling for a while. The reason was to be the Hebrides Ensemble, eight extremely talented musicians who would make Schubert’s Octet in F Major their own. Prior to this was a wee waltz though the short Rhapsodic Quintet of enigmatic 20th century composer, Herbert Howells. One can really feel the burgeoning century’s love-affair with new music in his notes, all of which are most serendipitous to hear. To listen to this particular piece is to enter a dream-bending drama, a darkly dancing-carousel & an exceptional exposition of the full range & capabilities of the Quintet.
To the main action, then, & the Octet – a brazen attempt to out-Beethoven Beethoven – offers the hearer a growing & continuous delight. The opening note drills a hole into the psyche, through which pours wave after wave of Schubert’s melodic genius. Sometimes eyes were closed, sometimes they were gazing at the buttermilk walls, sometimes they were watching Enno Senft wield his double-bass like a medieval potter’s wheel. I felt my imagination hurrying through time to the dances of Regency England, & recreating the dance moves of gallant lords & passionate ladies in my mind. From the Allegro Vivace onwards, this Octet is near perfect, almost otherworldly in its brilliance, full of fluttering phrases & feet-thumping rhythms. Combine all this musical manna with the location & an ephemeral 80 minutes, then a simply wonderful time is had by all.
This was my first taste of the Lammermuir Festival, & I recommend it most heartily. East Lothian is a fascinating & quite frankly gorgeous corner of God’s green earth, & an excuse to wander its contours is to be well-received. Mix into this several heady portions of classical music excellently chosen, excellently played & most warmly appreciated, then one cannot fail in feeling rather exultant about life. Indeed, one could fall in love on evenings like these.
In a sterile period for experimental pop music, Ron and Russell Mael have nailed down fifteen tracks in California which kindles daydreams, pinning hopes like merch-stall badges upon their fans’ space-dandy jackets. Off-kilter pop is the spine which carries the band’s latest album ‘Hippopotamus’. The rambling keys, which are so distinctive of Sparks, are aided by undulating synth reverberations on songs such as the stirring ‘Edith Piaf (Said It Better Than Me)’ and ‘A Little Bit Like Fun’.
The vagaries of Sparks complexion oscillates between meditative and a devil-may-care nature, pegging the listener. On the foolhardy ‘Giddy, Giddy’, the title works in tandem with the light-headedness of the melody before leading into the BBC Radio 6 favourite and monster smash ‘What The Hell Is It This Time?’, with its Godhead figure narrating everything the world prays for, from finding missing pets to Arsenal winning – and is a truly breath-taking single propelled by an electronic drive grinding and griping with phenomenal authority.
Like some cultural safari, title track ‘Hippopotamus’ is full of rousing, agitated-lyrics and cacophonous din before tumbling into the glorious melancholy-hype of ‘Bummer’ which sees Russell Mael transform into The Fall’s Mark E. Smith at the chorus. Sparks’ lyricism remains a key weapon in the band’s arsenal, and the gratification in titles such as ‘I Wish You Were Fun’, ‘So Tell Me Mrs Lincoln Aside From That How Was The Play?’, and ‘Missionary Position’ plausibly surpass some of The Smiths’ finest inventions. On the former, the line “I wish you were fun – you say that your favourite colour’s brown” is an example of the simple but effective humour which the band have so often demonstrated within a number of their spicy compositions.
What is noticeable on ‘Hippopotamus’ is that there is no contrived endeavour to be popular – or even contemporary, and yet somehow the band prosper on both fronts. Film director Leos Carax’s accordion on ‘When You’re A French Director’ is unorthodox but works as a homage to the band’s apparent enthusiasm for his country, while American operatic singer Rebecca Sjowall’s contribution on closing track ‘Life With The MacBeths’ aides Sparks scornful outlook on television’s greed and need for ratings with a quite unearthly and beguiling reverence. This is fresh, Bohemian, tender and intelligent music. Take a step out of the mainstream and wallow in ‘Hippopotamus’ for a while.
Arturo Tappin, the flamboyant jazz and reggae musician from Barbados and graduate of Berklee College of Music, is quite a legend across the Caribbean, popping up regularly at the various Caribbean music festivals from the Bahamas to Trinidad and Tobago. Not just known in the Caribbean either, having played for Presidents Clinton, Obama as well as Castro and all over the world. Best known for being a master of the saxophone, he’s performed and recorded with many reggae greats like Eddy Grant and Maxi Priest, and has played with Roberta Flack and Luther Vandross.
He comes regularly to perform in Edinburgh during the Festival, at a great little hideaway along a tiny lane off Broughton Street called the Outhouse. He has a strong Edinburgh following too, judging by the anticipation, the sell out concerts on the first weekend and no doubt, a packed room for the each of the ten consecutive nights. In just an hour’s performance, he and his band manage to smoothly transport us around the world with classic jazz from Acker Bilk, to contemporary pop, onto well-loved, energetic, cheerful and humorous Caribbean tunes. All with his own striking and imaginative twist.
The three other members of his band are also top class musicians, on drums, double bass and keyboards, and could see they were having as much fun as we were. The night began with classic jazz, in which he has a thorough grounding, and the calypso element grew stronger and stronger as the night progressed. He gave us his version of an Acker Bilk number, surprised us with a truly flavourful and unique version of the much-covered Ed Sheeran ‘Shape of You’, and then began to cross the Atlantic to bring us some well-loved Caribbean tunes, enjoyed just as much by the non-Caribbean folks in the audience. Then a delightful traditional folk song from the French Caribbean, which I know he particularly enjoys performing, ‘Ban mwen an ti bo’. Knowing some of my musician companions that night come from a French Caribbean background, he hoped they knew enough patois to sing along to this much beloved tune, now spiced up with true Tappin flavour.
Arturo’s glittering, dazzling saxophone sparkles in the light and seems only fitting for this genial showman in his dapper suits, now trademark handlebar moustache and full grey beard. He connects as well with his audiences as he does his instruments, creating a party atmosphere from the beginning that continues to build throughout the show. With quite a few people from across the Caribbean in the audience, and other enchanted listeners, it didn’t take long for everyone to get up and start to dance. As a contrast to the sax, Arturo pulled out a rather special antique clarinet that had a story behind it. It was found in pieces and then painstakingly restored by careful hands spanning continents. “Who knows what mouths this has been in?” he quipped, just before he began to play this decades-old instrument. To complete his trio of expertise, he took out a flute as glittering as his saxophone and displayed some more of his versatility. Though not as strong as his main instrument, he continued to dazzle us, especially with the rhythmical, percussive sound effects he created with his lips.
As he moved deep into the territory of classic calypso tunes, he gave us a cheeky one by famous Lord Kitchener which had those of us in the know singing along and the rest laughing at the double entendre in the lyrics, which old-time calypso is known for. Although he has such a compelling presence, it’s never just about him. It’s about what he inspires in all of us as we come together. One hour gives us a joyful, exuberant blast of the sweet Caribbean and we are left, as we sing along with him, pleading, “Don’t, don’t stop the Carnival!” One lucky person will win the prize draw of a holiday to Barbados offered by the Barbados Tourist Board, who are sponsoring the concerts. Even those of us who won’t be so fortunate to take part in Crop Over, Barbados’ annual summer festival, will be left humming these Caribbean tunes for days afterwards. Go while you can!
Hello Elspeth, so where are you from & where are you at, geographically speaking?
I’m from Scotland – born and bred just outside Edinburgh and the Scottish Borders.
I divide my time between Canada and Scotland – the beautiful, stunning Scottish Borders which is in my blood !
When did you first realise you were musical?
I cannot remember a time before music – its just always been there.
I was very close to my Granny who had a beautiful voice.
She taught me a lot of songs .
When did you first realise you could sing?
I just always did. I sang at gatherings of neighbours where there might be a piano or fiddle. I remember being told, by one old man who wanted a song, saying ” ye have a voice like a linty” ( a linnet).
My heart swoll up with pride!
What for you makes a good song?
A good song is one which pulls at the heart… which speaks to the listener’s fundamental emotions of joy and pain, love and loss.
It can be sung by Elvis, or the person in the street or the greatest of the classical singers – anyone who gets to the essence of the music
What does Elspeth McVeigh liek to do when she’s not being musical?
I read, I hike, I meet with friends and work with an animal charity, I go to concerts!
Can you tell us about your Edinburgh performances : where & when & what?
I’m returning to the Fringe after a successful first try last year – which was early to 19th cent Scottish songs with a theme of emigration. This year I’m exploring the juxtaposition of 17th cent Scottish and French music – two very different styles… Most of this music is pretty obscure and rarely performed, although simply gorgeous. I start with two slightly more formal concerts at St Andrews and St Georges West, ” Ayres of France, Graces of Scotland” accompanied by really wonderful Scottish musicians on theorbo ( which is a very large lute) fabulous player, Kristiina Watts, and baroque fiddle. The last week of the Fringe sees me back at the Space at Surgeons Hall with a nightly performance of early Scottish and European street music ” Remember Me My Dere” This programme is accompanied on clarsach – the Scottish harp. An excellent player, Calum Mcleod accompanies. To explain, early music like this relies on a lot of improvisation from the musicians.
The basic melody, the structure is there, but it is up to the performers to interpret and bring the pieces to life.
The meaning of the poetry, the story behind the song is what drives the music, not the other way about!
What brought you to such a traditional institution as the broadside ballad?
Well, I wouldn’t call the broadside ballad a traditional institution as such.Broadsides were the music of the streets.
At their height, tens of thousands of broadsides were being printed , sung and bought throughout Europe, not just Britain.
Broadsides were an oral tradition. Just the words were on the sheets, not written music.
The sellers sang the latest tune and people bought the words and learnt the tune from listening.
How is the music of the ballads standing up after such a passage of time?
Amazingly well!
Its simply extraordinary how you can come across a ballad which tweaks a memory and right enough… there it is being sung by Dylan to this day (I was at a Dylan concert a couple of weeks ago) or in a pub by musicians who have no idea that what they are singing was written ,sold and sung in the 17th or 18th cent ( or earlier for that matter).
Then of course there’s the delight of these same songs turning up in the US in the 19th cent …
I’ll be singing a couple of Appalachian songs at Surgeons Hall with the clarsach… wonderful the flexibility of the music.
I think of it all as form of Jazz – fabulous!
What may modern song-writers to learn from the ballads?
Just about anything and everything. I think we also forget that the greats of what we think of as strictly “classical” from Monteverdi to Mozart and contemporary composer, have all drawn inspiration and even the bare melody from what might be called ” the folk tradition” – something embedded in Bach, by the way. It is impossible not to be influenced by this immense wealth of music which has passed into our musical subconscious, so to speak. You can hear it in music of the 1930’s and 40’s as well – wonderful stuff!
Could you briefly explain what it is like to sing with each of your complementary instruments – namely the lute, baroque fiddle & clarsach harp?
To sing with these early instruments is a joy.
There’s a tone to the lute and baroque fiddle which has a particular resonance and softness which simply cannot be given by anything else. The clarsach is a lovely instrument – it has a gentle richness which is a real treat.
How did last nights performance go?
Yesterday’s performance was the first at this year’s Fringe and it was a real pleasure to give and a success.
There was a large audience, who all appeared to enjoy the concert very much. The accompanying musicians were great and the songs and music – 16th and 17th cent Scottish and French – clearly had a powerful effect. Afterwards, a number of people approached me to thank us for either introducing them to a genre they were not familiar with, or simply that overall they enjoyed the music very much.
Which song did you feel resonated most?
Thats always a difficult one, but I think it was the final song in the programme, which is Scottish and dates from about 1530
” Remember Me My Dere”. It is a haunting love song which speaks across the centuries…
What does the rest of 2017 hold in store for Elspeth McVeigh?
I have a busy autumn and winter season ahead in Vancouver – exploring baroque Spanish music and a concert of 1940’s and 50’s songs. Perhaps most exciting of all, a concert of 16th cent Christmas music playing with Chinese musicians.
The Chinese harp and violin have a sound which sends shivers up your spine – Monteverdi and his contemporaries would have adored these instruments had he had the chance to hear it, of that I am sure!
JESS ABRAMS / THE VICTOR POPE BAND / QUEENS OF THE BLUES
So much to see, so much to see, so I saw some of it, a jazz & blues pitta bread with slices of meaty sausages that are The Victor Pope Band in the middle. My companion for the night was Ms. Teri Welsh, who was out reviewing the latter segment of my musical butty, & also my bonnie & intellectual companion of some style. First up was the Jazz Bar the classically moody tones of Jess Abrams & her band, who in a recent interview with the Mumble declared her origins as, ‘I’m from New York City with Woodstock, Santa Fe, and occasionally a red van, in the mix (the perils of hippie parents!). Now I live in lovely Edinburgh.’ She built agreat rapport with the crowd to immediate effect, holding court from her own living room it seemed, with anecdotes as long as the songs it was all too frickin cool, like, as we jazzelites revolved around the star that is her effortless timing & softly, softly decadence.
Next up were Edinburgh’s very own Victor Pope Band, led by the lyrical genius, but dress-sense-challenged meteor-mind that is Steven Vickers. Society happens, & he goes through it, & he writes kick-ass songs as he does so. Sometimes three a night if he’s on the verge of a breakdown, so sensitive is the fellow to the writhing, pusillanimous & reckless mass of nonsense that is modernity. Backed up Roy Jackson (aka Nice One Man) on mandolin, melodica, electric guitar, Swanee whistle, kazoo, xylophone and siren whistle, Jess Aslan (aka Terminator Jess) on synth, Graeme Mackay (aka Grime) on bass and Jon Harley (aka Cuddles McGee) on drums, The Victor Pope Band contain clearly some of the best musical talent in Edinburgh. In a recent interview with the Mumble, when Steven was asked ‘How does it feel to finally become a member of the Edinburgh rock aristocracy,‘ he replied
I don’t know if we’re quite there yet. But if we are I like to think we’re kind of the secret shame of the family. The deformed sibling twisted by too much inbreeding who they keep locked in the cellar and occasionally throw lumps of raw meat at. But one day, through monstrous Machiavellian machinations, he will rise to power to reek his terrible revenge. Kind of like Game of Thrones or summat.
The final bit of mi pitta, the part where the meat & the sauce & the salad just blend into one tasty & perfect blob of goo, was the Queens of the Blues by the Blueswater collection of musicians. Teri was loving this – she chose it especially to review – & so was I, as Nicole Smit regaled us in her pink shoes & cyan-blue daisy-dress, backed by her band of seven bootstrapping lads. ‘Alright guys, give me everything you’ve got,‘ she demanded of the band as we were taken on an excellently tunage-chosen voyage of discovery through the leading ladies of the Blues; Esther Phillips, Ruth Brown & all the other greats were assembled into what I thought was the greatest history lesson I’ve ever witnessed. Really fuc£in’ cool!
TheSpace @ Surgeons Hall (Venue 53) 15-26 August 2017 21:00
Chasing behind green peacock feather socks and Rapunzel shoes to the top of the stairs at Surgeons Hall was perhaps indicative that something sassy may lie awaiting behind the performance doors tonight, and we were not to be disappointed. Nicole Smit, a pint-sized diva, in a powder blue kimono and bubblegum baseball boots splashed onto the stage dripping with charisma and charm to begin her tale of the largely forgotten women who shaped the blues. She was flanked by a six piece band, complete with guitar, keyboard, brass and harmonica, on a spacious stage, which was roomy and audacious, befitting of the night.
She began her story back in 1920 with Mamie Smith, a vaudeville singer who was the first person to make a blues recording, then progressing through the years we stop for a celebration and recognition of Chicago blues. The audience are then treated, amongst others, to a glimpse of teenage superstar Esther Philips, Atlantic records’ Ruth Brown and Rosetta Thorpe, who inspired the likes of Elvis and Chuck Berry. Her voice changed seamlessly with the styles, and she crawled all over those lyrics like dirty piano fingers, leaving the audience mesmerised.
The tasty snack-sized parcels of history sandwiched between each song made perfect introductions that enhanced the performance with depth and richness. We are introduced to big Mama Thornton, whose hits included Hound Dog and Ball & Chain, the latter recorded and performed by Janis Joplin in the 70s. Her voice really was incredible, as she took us on a journey through a mix of styles, touching on gospel, Chicago and New Orleans and then onto some more modern influences, all the while holding the audience captivated and melting into their seats. An utterly enchanting performance, and a festival highlight.
Hello Leigh, so where ya from & where ya at, geographically speaking?
Hello Danny, so where are you from & where are you at, geographically speaking?
The final bit of mi pitta, the part where the meat & the sauce & the salad just blend into one tasty & perfect blob of goo, was the Queens of the Blues by the Blueswater collection of musicians. Teri was loving this – 
Mumble Music 