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Celtic Connections,
Mackintosh church, Glasgow
January 29th, 2024

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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.

Daniel Donnelly

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Celtic Connections, City Halls, Glasgow
January 26th, 2024

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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.

Daniel Donnelly

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The Mackintosh Church
Glasgow
25/01/24

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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.

Damo Beeson Bullen

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Celtic Connections, Glad Cafe
24/01/24

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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.

Daniel Donnelly

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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.

Raymond Speedie

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The Liquid Rooms, Edinburgh

12/12/23

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On a wet damp December night, Django Django dropped into Edinburgh on their UK tour for their only performance in Scotland. This four-piece, multi-talented band were sure to warm a few cockles on the cold audience awaiting their arrival on stage. Packed in like sardines in a pull ring tin, the Liquid Rooms was awash with fans old and new. Django Django have built up and maintained a renowned reputation to be a high octane band, and their live gigs are an electrifying experience, this was one I just had to see!

Hailing from London, the four members originally met at the Edinburgh College of Arts, thus forming the pathway to creating Django Django back in 2009.  Since their self-titled debut album in 2012, he band have released five studio albums, the latest being the new album “Off Planet” released in June 2023. Like their music, the band is a mix of North and South. David Maclean ( Drummer & Producer) is Scottish, Jimmy Dixon ( Bassist) is from Yorkshire, while Vincent Neff ( Singer & Guitarist) is from Northen Ireland  and with Tommy Grace ( synthesizer ) also coming from Scotland.

David Maclean comes from a background of musicians and this can be seen in his production within the band. Their back catalogue of songs like ” Black Cadillac” , “Waveforms” which is featured in Grand Theft Auto V game, ” Default ”  “Hail bop” and “Storm”  propelled them to a well deserved critical acclaim for their musical genius. It seemed like it was upwards and onwards for Django Django.

Supporting local music venues and live bands is more important now then ever, with many venues hitting unprecedented difficulties it was a joy to see the Liquid Rooms at near full capacity on miserable damp Tuesday evening. Commanding the stage instantly, Django Django started out on a calm note, which I am sure was a disguise to what was to come. 

With a clean white dress code, that any Daz or Ariel advert would be proud off and with the added eye catching flower and Panther designs, their shirts were hitting the style scene as much as their music was.  I have never personally liked to compare artists and their music but everyone has been influenced at some point in their career by someone or some band and Django Django are no different. I myself could see sprinklings of Franz Ferdinand , Hot Chip, Groove Armada , Daft Punk and Devo creeping into their music. A fusion of dance, rock, electro, and unique drumming throw up a concoction of awesome beats.

As a collective Django Django are a tight and powerful band as the second part of their set proved to be. Like a game of two half’s, the latter part of the gig was loud and chaotic , in the best possible way. Swapping instruments, like they were swapping football cards in a school playground, their musical talents were clear and obvious to see. A band that have crafted the art of applying themselves to every instrument available to them and doing it in style. Django Django are a strong energetic outfit that deliver an awesome and memorable live show which in turn leaves you upbeat and satisfied with what you have just witnessed. Happy Days all around….

Raymond Speedie

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QMU, Glasgow
4th Dec, 2023

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At the Glasgow QMU, the university student union, there is always a vibe of youthful community. On this winters Monday eve we were there for a ‘Shygirl’ gig the venue was bustling for this performance of music that was brimming with style, love and unison with the crowd. It kicked off about 8 pm with a DJ set by Angelita whose face we never saw as she performed under the dark lights of reds and blues.

A steady build up of energy came with her compositions of synthetically presented thumping base and beat with sampled and original lyrics often on repeat. The short evening was ready to receive Blane Muise AKA Shygirl. She released her debut album ‘Nymph’ last year and consequently we were there to see her Glasgow gig of the tour of her new music.

She has accomplished much since inception in 2016 releasing singles and founding her record company. Her musical style arches from a stem of self belief that gives her performance an edge of being incredibly relaxed and capable to entertain. The crowd were obvious fans, who made a lot of noise to welcome her on stage, when she came on she already had everyone in her vivacious hands.

It was music, lyrics, melody and vocal of princely proportions, she has moulded a way to be onstage with total natural unravelling, very much being one with her crowd whom she played with a joyous stick. As her lyrical licks went by and her body moved and ran, she would flick her hair in friendly ways. Her songs stuck out, she writes what she wants and there was a great sense that she was speaking for everyone, rich and winning yet composed and of a certainty.

The music also unravelled the whole room as the strobe lights flickered on and off whether on her or into the crowd. It was of smoothness like jazz with a beat that functioned in its directions, vamping up the room with great waves of inclusiveness, riling with sweetness. Bigging up the vocals and aiming lyrics from her personality in agreement with life, taking and making what she liked and what she knew the crowd would want.

It was very impressive to see this act and be absorbed in a crowd of jovial vibes, youthful celebration and completely free of aggression. The night was short but very sweet; denoting something everyone had a hold on, and sharing something everyone could see. I was impressed by what I felt was honesty coming from a most capable performer; there was something in it to be noticed as things were taken care of.

Daniel Donnelly

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SWG3, Glasgow
2nd December, 2023

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To kick off a night like this one at Glasgow’s SWG3 not far from the river on came the seductively suited and well known act called Motopia. A band whose lyrics were of the most tasteful and gut grabbing story-telling brought to the music stage. The main act of the night being the mighty Mickey 9’s, a group who cause feverish partying, was well in hand as Motopia embellished the night in rock n’ folk brilliance that you just don’t want to end.

So after a half hour set on was to come the next act Ocean Views whose songs were clear and reductive. The selection of music came from the beyond in it’s dynamic change of events to compliment an evening of magnanimous and sheer joy. Ocean’s sound just spread throughout the room that was a scene of enigmatic treasure, music is very much alive in this City and everything was enthralled.

Their perfectly poised amps and intense vocal was so good that in the midst of a heavy yet as I say enigmatic rock n’ roll filled me with a tinge of sadness just at how elevated everything seemed. The Mickey 9’s entourage is miles long in its creation of esteemed music that blends so many styles into a new vibe of artistic sophistication. Their presence has an astounding kind of mystery, that outgrows itself and forever becomes dynamite for its audience and shall I say followers.

Since their debut album 2015’s ‘The Party Manifesto’, a very iconic celebration, they frequently play in Glasgow’s music venues, having party’s suited to smaller scenes that they so vivaciously ignite, their festival appearances are a favourite for fans. They tear up their talents for lyrical idiosyncrasy that draws from a vast pool that is deep and wide. You can catch him singing about psychosis, sociality, terrors and dreads with the most joyous irony and creative pleasure.

There is a sense of originality to their sound and very deductive appearance strutting easily on stage and reaching to every chasm of the room, in a way that leads music forward effortlessly. Every time you see them they just get better, there’s more to take in and figure out, the crowd grows with them, the joy is simply opened up and has no end in sight. It’s like they’ve discovered the meaning of music and everybody knows and completely loves it. I can only hope that I have imparted a sense of the spectacle that was on show last night.

Daniel Donnelly

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Broadcast, Glasgow
Saturday 18th November, 2023

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Glasgow’s Broadcast was home to a Weekend concert by the New York Band ‘Lip Critic’ who are enjoying a larger than life tour this year that will take them to Europe, they give it all at every gig. After forming in 2018 and releasing a few E.P’s one of which they called ‘Kill Lip Critic’ (an ironic title that sets a scene) they’ve released their debut album in 2020 called ‘Lip Critic II’ they’ve shaved their heads and have embarked on a rampage of noise.

I absolutely loved the support bands’ 40 min efforts, they go under the title ‘Engine of Ruin’. So much that I’ll be going to their own gig early next year in the Hairdressers down Renfield Lane, all I can say about them now is that they are a duo who sound like a five piece. This eve’s music had words like ‘War Metal’ and ‘Bestial Black Metal’ bandying about and it was of a genre I hadn’t listened to in a while.

The Punk energy and Attitude rolling from the very hips of ‘Lip Critic’ seemed to be double jointed with the heavy techno like business of creative sounds of the two samplers, that did nothing to halt the vocal screaming and the gesticulation’s of the powerfully charged vocal master from New York. I’m not sure why but the room was less than half full as he paraded through us, crawling as a demon and simultaneously calling us to the weapons of joy, taunting and childlike with no less than two booming drums.

Yes two booming drums, each of whose expressions were comically in pain and ecstasy. It came across with throbbing beats that sent yearnings that to a larger crowd could have meant a very serious, out of control fun party to gobble up the goblins and fire up the weapons furnace (so to speak). But their tweaks are quite interesting, Black Metal (and what not) that grew during the 80’s and 90’s out of some very negative strains often lent lyrics about inner pain, bloodshed and offered anger at the system.

Their live events were far from a downer though, instead it boomed on the electric guitars and had the crowds in waves like an AC/DC concert. Now all these decades later it seems to have moved from that far plain to vocals that instead are created by this sampling of electric music. Lip Critic are what you get when you mix metal with techno, quite the fete, and you get the vivacious punk that were the sounds we heard last night.

So for the crowd it was like a new double whammy where you can pick and choose which you’d like to celebrate while remaining true to the original codes that back then worked so well. But either way it was loud piled on top of loud, with a kind of rap style influenced vocal technique and that more than aggressive attitude it also used to have.

So much happened in a gig that was no more than 50 min long, vocals and collaborations set to invite the room to a state of near implosion, and attacked a sheer need to explode with everything remaining remarkably somehow intact. It may come that this reworking of heavy metal past may be spreading again through a youth who are still willing to mosh nights away and just connect through what seems like rage but may actually just be a desire for union in a world of uncertainty they set on fire with music.

Daniel Donnelly