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Hello, Emma, so first thing’s first, where are you from & where do you live today?
I live in the village of Cawthorne, a beautiful, rural corner of South Yorkshire. I’ve lived in South Yorkshire all my life, have travelled widely and love this place all the more because of that!

You are the Managing Director at Pure Records, how did you get the job?
Pure Records is an independent record label and we look after the musical interests of Kate Rusby. I’ve worked for the business for 24 years. Don’t tell anyone but I’m actually Kate’s sister 🙂

Where, when & why did the idea for Underneath the Stars take place?
Through 2007 to 2011 we ran a series of successful fundraising concerts in Cawthorne. The idea for the festival sprung from there. Our brother, Joe Rusby, floated the concept and it was developed alongside our technical director, Pete Sharman, who runs Isophase Audio.

The Mumble was there last year, & it’s got such a ‘big family’ vibe, where does that come from?
We operate as one big family; organising the event is a family affair, both for the Rusby family and then our extended village community. Our volunteers are amazing, we couldn’t do it without them. They bring the third family dimension. Music and family – they go hand in hand for us and I think it must radiate from there.

When do you start booking the bands, & how easy is it all?
We are super lucky in that we work with Eddie Barcan from Splendid Events. He used to run Cambridge Folk Festival and also books a stage at Glastonbury, so has great connections. He’s also in close contact with Joe, who helped found the festival and also has a great ear for good music. He starts in the Autumn usually and fortunately there are always a number of artists who wish to appear, due to our great reputation. However, we are still only quite small festival in size, so the biggest challenge is finding artists who meet our very high standards across a whole range of musical styles, to fit in with our modest balance. It would be easy just fill the stage, but the skill is in finding the right mix, a good gender balance a few big names people know, but quality throughout.

What kind of a relationship do you have with your local council?
We have a really good relationship with the team at the Local Council (Barnsley) – we are well supported by them. Prior to the festival I had very little experience of dealing with the council but the team genuinely want to help us jump through all the hoops and contribute to making the event a success.

What kind of line-up have you got for us this year?
As ever, Stars is more than just a folk festival. Friday night has the hit pop act Scouting for Girls, currently touring with Olly Murs and we are very excited to have Lottery Winners, who at the time of writing are #1 in the Album Charts – that kind of booking foresight is what we like! We also have The Longest Johns, the sea-shanty band who went viral with “Wellerman”. Saturday has the amazing double bill of The Shires and Newton Faulkner, as well as world dance act Molotov Jukebox and Skerryvore – they are currently #1 in the Scottish music charts!. Sunday is our very own Kate Rusby, The Magic Numbers, plus Beth Nielsen Chapman and the wonderful Elephant Sessions to close. However, there is so much more depth than the more well known names. I am really looking forward to Angeline Morrisson – her album telling the story of the much unreported Black experience in British Folk was one of the most moving of last year. We’ve also got an amazing French-Latin band called Super Panela kicking off the main stage, who are going to be wonderful. In addition we have jazz, Moroccan trance, blues, and a full choir!

Every festival is a step in the great learning curve of life, what improvements have you made on last year’s festival?
Crikey – so yes, running a festival is a steep learning curve. Some years are steeper than others! We are nearly 10 years in with Underneath the Stars and just about getting into our groove. We are improving infrastructure all the time; so not often all that visible to the audience. We are always tweaking the site plan!
Ooh but this year our new creative group, ’The Space Crafters’, have been busy making all sorts of loveliness for the site. I can’t wait to see it all ✨

To somebody who has never been to Underneath the Stars before, what are they to expect?
An eclectic mix of music presented to a really high standard within covered big top venues 🎪. We endeavour to bring something truly special to our corner of Barnsley, South Yorkshire. Building a festival means bringing people together to build a small community for a few special days in the summer. Quality underlines everything we do. We hope you join us to party in the sun and the rain, discover your inner self, energise your mind and body, try new things, meet new people, make new friends, and most of all HAVE FUN.

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Cawthorne, Barnsley

www.underneaththestarsfest.co.uk

Tweets by festunderstars

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Ghost Dance Fronted by the very brilliant and beautiful Anne Marie Hurst from Keighley in Yorkshire. I was about 17 when the first incarnation of Ghost Dance rocked Yorkshire with their brilliant live shows and brilliant recorded output. Anne Marie also sang for the first incarnation of Skeletal Family another band that helped to form the musical subculture that is Goth. Some thirty years on Ghostdance have reformed with Anne Marie taking back her crown as High Priestess of Goth. The Silent Shout is on a loop am taking it in❤️ Full Mumble report coming soon❤️

Ghost Dance
Anne Marie Hurst, Vocals
Tim Walker. Guitar
Phil Noble. Bass
Stephen Derrig, Guitar
Dave Wood, Drums

So for now I can satisfy my Ghost Dance live longing, with this rather brilliant selection of songs that my new CD contains.

The Silent Shout was produced by Tim Walker the legendary Ghost Dance guitarist and owner of, Voltage Studios in Bradford Back in the day, Tim Walker was the very handsome leader of a Bradford Rock Band called Architect. So this new incarnation of Ghost Dance brings together two musical Yorkshire legends to bring us this new long player. Ghost Dance are currently Touring The Silent Shout across England. I was all geared up for a proposed Gig at Ivory Blacks in Glasgow. Alas the gig was pulled, but we are promised a visit to Scotland in the Summer.

1. Goodbye.
2. Disgrace
3. Fools Paradise.
4. Jessamine.
5. It Rains
6. A Town Called Sympathy
7. Casting Shadows.
8. Immortalised.
9. Falling Down.
10. After The Rain..

With The New Wave of New Wave firmly taking hold as a progressive new Genre of Music. New bands like the brilliant IST IST, who take their lead from Classic Sisters and Joy Division. They sound like Andrew Eldritch and Ian Curtis’s love children. Even Skeletal Family have reformed with a new female vocalist taking Ann Marie’s place in the band.. Opening ears to good old-fashioned Goth Rock and a well-received new album.

The only thing influencing Ghost Dance is in fact Classic 80’s Ghost Dance. Matured and improved. Anne Marie sounds fresh with more than a little nod to Debbie Harry and Blondie. But only in vocal delivery and that both are Divine heroes. Especially in Fools Paradise, this really does need to be a lead single. The musicianship is excellent throughout this 40-minute ride of musical perfection leaping in straight away with a deep bass guitar intro. Goodbye sets the tone with the urge to dye one’s hair black and don lots of black eyeliner.

Songs like Jessamine are destined for massive stages and performance art venues. Ghost Dance are a classic rock affair with two guitarists, bass and drums complimenting Anne Mariie’s beautiful voice to produce this 10 track megalith of a long player. with just the right amount of romantic whisp to keep the casual Goth interested, right through to the closing number After The Rain. The Silent Shout is a collection of songs that need to be heard played live, with enough excellent Juicy guitar parts to fill any mosh pit and make any headbanging rocker smile.

As I said, Ghost Dance’s The Silent Shout is working its way into my subconscious and is going to be a very entertaining friend for years to come. Brilliant work.

Mark ‘Divine’ Calvert

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Traverse Theatre
May 4th, 2023
Edinburgh

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My now second home is the Traverse Theatre in Edinburgh situated in a large town square. I had arrived for another wonderful few hours of music that was to welcome a very special act. Omar Afif & Steve Kettley had joined their musical forces for an interesting hour. Afif play’s an instrument called a Guembri, it is a three stringed bass lute, an ancient instrument, while Steve’s project was on wind instruments such as a saxophone on which he played the most.

Their paring up had an obvious flavour of something a little different than usual music we might hear, actually quite striking combinations were explored. I say that Afif played the guembri but it is worth taking note that he was a master of something called Gnawa – Moroccan Sufi Praise music. Both musician’s have indeed a praiseworthy connection to make and they have been involved in music forever. They collaborate, have their own bands and groups and Afif has been promoting this music for a fabulous 14 years, the music draws on hundreds of years of existence.

Omar and Steve walked on in cultural clothing, I think as a comment on the differences of costumes we have in the world, a different stitch here or hem there, I smiled because on stepped a genuine Sufi Master in a brown tunic of rich finery followed by a man wearing a flowery shirt, jeans and definitely western shoes (though Omar wore trainers) it was a big comment made with the littlest of means.

I’m sure that the theme of the event was to comment (or question) upon many things, and as these were aspects in a kind of sensation, that led us, then the music started. On what looked like a one string instrument out came a sound, a booming beat, it felt like a procession had begun. It was fun being in the presence of these guy’s, who made a kind of music that had its own interests, with the formal dress in mind a great settling happened in the audience and filled the room with something clear and very purposeful.

I struggled a little with the sax sound at first but I guess with anything new there’s always a jolt of some kind that you haven’t heard before it will do that. The saxophone was divisive where as the Moroccan presence had a capacity to flutter with it in all sorts of notes, complex playing and unstopping perfection.

In the 14 years he has been in the UK he must have enjoyed his instrument very well. It play’s as it looks, but in the steady hand of a master is it unravelled into a deep, deep sound, as if through the musician it can talk and wonder around. His study, his easiness and his contribution at this time handle these styles that he loves to explore have made him a group leader of cutting edge definitions of music mixing the traditional African with psychedelic and blues.

As a reviewer there is nothing more pleasant than the release of information whether it comes from on line or, flyer or by the grace of the performers and writers themselves. He told stories about his instruments, what they were for, what colours they inspire and also as means of healing, using I think specific notes and handling that you sneakily feel might have a truth to it.

I also think that the mood spilled a little love into the room, gradually becoming a kernel of strength that came from this sustained sound, vibrating, with hand making complex movement at speed. The sax kicked off at time and withdrew at times, but it all morphed into one by this gradual process of very great good will, an absolute pleasure to have been around for this.

Daniel Donnelly

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Traverse Theatre
May 4th, 2023

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I entered once more the Traverse Theatre to the blackened room with sloping seats that can hold a generous capacity. It was a full Gaelic entourage of music fans there to enjoy the full experience of Kim Carnie’s music, the widely loved singer was to present it will good humour and wit.

It is worth noting that she is a successful singer and songwriter, with vocals she is getting a lot of notice for. The performance at Tradfest had a wonderful line in up at this atmospheric concert. The treatment of music was of a care and tenderness that easily mesmerised in its true haunting beauty with that great connection of the highlands community.

Her voice had notes that with a technique of telling stories, was an evocable sound that her award winning talent has for this heartfelt music structured with the so ability transmitted to an big audience brimming with a Celtic connection.

Our interest peeked listening to stories that set moods both high and low with songs forlorn and alive in their deep and burrowing chests. She moved her vocals around and joked a little as a star onstage. Her work has brought her talent to include writing music for film and computer games, I look forward to finding them, and enjoyed her broad expertise.

The 4 piece band on piano, violin, vocal and guitar played a tightly wound set orchestrated to bring out this tradition of musical storytelling in everything down to a flow. Beginning with a song written about a tale of men who work at sea, the power of reflection took us in for a moment and captured the genre perfectly, as a performance of great wit.

The free flowing attitude concentrated in her solo abilities that ever so carefully gathered a momentum of composition rendering a sharp focus. Style and a great deal of taste called for each little rapture to behave in the arms of a beautiful song smith and mysterious interplay.

Now she has been offered a commission where she is writing work of fresh composition of new music for Blas Festival up in Portree. It was time to test it out and put it to a live show that also celebrates the 2022 release of her exciting debut album ‘And So We Gather’ she is doing things of immense power, with immense charm and sincerity.

The eyes could only close taking this in, we were at the whim of her artistry and her bands quietly faithful dedication that you could actually hear as it went by. The translucent energy full and charismatic set list also included playing covers of songs by bands who have inspired or deserved a playful rendition.

A large stage beckons for this unquenchable music elevated with a most distinctive flow. No little magic arose and I found myself an observer, in a state of listening and being at peace. Her warmth was an example of a bitter free heart.

Daniel Donnelly

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La Belle Angele
Edinburgh
07.05.23

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Have loved Depeche mode since I was a kid. From the humble Basildon beginnings, when Vince Clarke was the chief writer and composer that penned the first hits that propelled the band to stardom. When Vince Clarke left Depeche Mode, it brought the first incarnation of the band to an unexpected climax (Vince Clarke went on to form two megasuccwssful groups, Yazoo and Erasure.

The departure of Clarke pushed the songwriting genius of Martin Gore to the fore, pain and suffering never sounded or looked so good, inspiring an increasing audience with an increasingly Gothic slant. So much so that the legion of Depeche Mode Devotees were affectionately called The Black Swarm.

Of course Dave Gahan the unmistakeably brilliant voice that brought Martin Gores genius songwriting skills to life. It really was the Lennon and McCartney of Electronic music. By this time the band had Alan Wilder on board who offered a massive contribution that shaped musical history forever.

I was fortunate to see Depeche Mode touring Music For The Masses. The third in the cannon and a masterstroke, for it was the last time the band would perform in sensibly sized venues because it was from this point Depeche Mode became the biggest electronic band on the planet. A crown that hasnae slipped. since famously performing at the Rose Bowl Pasadena in 1988, A springboard gig that propelled them into being a global phenomenon. Recorded for prosperity, released as a double long player, and called it 101. Its deffo one of my favourite live albums of all time and is also the source material of tonight’s performance by Devout.

Devout Personnel
Barclay Quarton: Frontman, Lead Vocals
Keith Trigwell : Programming and Production, Live Keys, Technical, Visuals
Reza Udhin : Lead Vocals, Guitars, keyboards, backing vocals and production
Glen Wisbey : Live keyboards, Production.

The Devout are a Depeche Mode Tribute Band that exist to replicate the Depeche Mode live experience. With Barclay Quarton playing the part of David Gahan. In Stature and looks Barclay’s voice is remarkably similar. Reza Udhin playing the part of Martin Gore again replicating Martins’s vocal parts perfectly. With Keith Tigwell and Glen Wisbey playing the parts of Andy Fletcher and Alan Wilder Together they brought 1988 back to life in La Belle Angele.

For a tribute band, The Devout have a massive following of Depeche Mode devotees, the venue was heaving with on the whole, a 40 something male audience all t-shirted up with current and past Dep Mode tour T-Shirts. The love that people have for the inspiration of tonight’s performance was completely evident.

Myself too, although at first I was a little sceptical, The Devout worked really hard to replicate the brilliant songs and music that make 101, one of the best-selling live albums of all time and they did so to fine effect, I couldn’t stop myself from dancing. From the first bars of the opening number Pimph, Devout had the complete attention of the capacity audience. It was a great singalong and everyone knew the songs performed word for word. All the singles that were released up to and before 1988, Were brought to life. However for Divine, It wasnae until the 90’s output, Songs from Violator, Songs Of Fath And Devotion and Ultra made an appearance that I let rip, I danced my heart out and sang along at full pelt. The Devout worked really really hard to entertain tonight and with a show that lasted 2 and a 1/2 hours absolutely no one was disappointed.

Part theatre, Part Rock Gig. All done in the best possible taste. Divine had a brilliant time, everyone else did too. The Devout fucking rocked. If you like Depeche Mode then you will love The Devout. Well Done Lads.

Mark ‘Divine’ Calvert

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Hello Duncan – so first thing’s first, where are you from & where do you live today?
I live at Blackpit Farm, a 430 acre event site and home to Stowaway Festival each year

Can you tell us a bit about Blackpit Brewery?
We started the brewery back in 2016, to brew beer for our events. We installed the brewery kit inside a beautiful old brick stable yard at Blackpit, where we craft the beer and run a small taproom. It’s been an amazing project to be involved with – and the beer’s not bad either!

So, Stowaway Festival – where, when & why did the idea for the festival first take place?
We’ve been running a variety of different events at Blackpit for the last 10 years. Having said that, with our wealth of event experience and love of music festivals, the progression was a natural step for us.

Why the name change?
The event began as ‘The Festival of Beer’, a traditional beer festival vibe, with live music and street food. As we started to book bigger acts over the years, the event quickly evolved into a music festival. We changed the name as we felt the Festival of Beer didn’t give the event the credit it deserves!

When do you start booking the acts, & how easy is it all?
Our wish list of acts usually looks very different to our final line up! A lot depends on timing. Sometimes we can’t believe how lucky we are to have secured a particular artist. Other times, it’s not that easy so you have to be flexible, but not compromise on the quality of the music.

Can you tell us about your site?
Blackpit is part of the former Stowe Estate, occupying 430 acres of beautiful parkland, ancient woodland and lakes. The site is a Grade 1 listed Park & Garden. It’s a stunning location to host Stowaway and we feel incredibly lucky to be able to share it with our Stowaways for the weekend!

What kind of a relationship do you have with your local council?
We’ve been working with Buckinghamshire County Council on events for nearly 15 years. We couldn’t have asked for better assistance from our local regulators, whether it be from Licencing, Environmental Health, or Policing departments, who have all been nothing but supportive of our events over that time.

What kind of line-up have you got for us this year?
Our music line-up is always very diverse. Our incredible daytime live performers this year include Little Dragon, House Gospel Choir, and Roy Ayers, who is now on his farewell tour. By night, revellers can find themselves deep in the woods, soundtracked by some of the UK’s most cutting edge electronic music from the likes of Eats Everything, Jamz Supernova & Dan Shake, as well as rave classics from the legendary Todd Edwards, Nicky Blackmarket and many more!

What else is on offer outwith the music?
There is much more to Stowaway than just the music. All of the activities in our Kid’s Kingdom are available to young Stowaways of all ages and included within the ticket price. Our comedy line up is headed up by the incredible Jack Dee, Lou Sanders and Jessica Fostekew. We have fine dining, presented by Chef James Cochran of North London’s 12:51 restaurant and Great British Menu winner. For those wishing to relax after a night of partying we also have a rejuvenating spa, complete with hot tubs, ice baths and more! But, above all of that, our site is a stunning place to enjoy a party; you can swim in the lake or party late into the night down in the woods. There’s something for everyone.

Every festival is a step in the great learning curve of life, what improvements have you made on last year’s festival?
We’ll be making tweaks here and there. We’ll be introducing a new late night venue in the woods and have some exciting plans up our sleeves for that. We’re just going to keep doing what we’ve always done, which is welcoming people into our beautiful home for a great party!

To somebody who has never been to your festival before, what are they to expect?
An amazing party set in a beautiful location, built by a small team of festival lovers, for festival lovers. Come & see for yourself!

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August 18-20
Stowe, Buckinghamshire

www.stowawayfestival.co.uk

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Traverse Theatre
May 2nd, 2023

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The house was pack at the Traverse Theatre Edinburgh for the evening’s performance of The Foghorn String band. Hailing from America they enjoy no little popularity, have created an international presence as one of the greatest Blue Grass acts out there. They are a four piece group who took over the room with exciting togetherness. Instruments included banjo, double base, guitar violin and more. They stepped into the room and went straight into that most iconic delivery of music.

We discovered that the band has had more than one line up feeling refreshed by the two new female’s who were present with voices harmonising y with a powerful and full of fun was all that there could be. It was speedy, complex and held the rhythm that the soul taps its feet to. It felt like a community event that must busy itself in the fun these guys have taken to travel the world with.

The instruments and equipment looked like they hailed from a bygone time, and they used a very great microphone that could pick up their voices from quite a distance. They stood in a close group that to my mind again offered some kind of iconic rendering; it was stacked and very figurative.

There was no question to their talent that had a feeling of discarding nerve and exhaustion having been very busy up in a festival north of Scotland saying that a good energy was coming from the audience who were loving this multi dimensional music in the strong style of the blue grass hit.

Storytelling is the purpose as well as the sounds of the music, so deeply rooted in musical culture of any kind. The song’s ‘Tradwell Station’ and ‘Green Sleeve’ (not to be confused with that ancient one) told very well the thicket culture of down there in Southern USA.

It was music that had vocal lyrics, musical lyrics each shared at the whim of this tightest and loosest of bands, the filled room unveiled a great many dedicated followers. Their shows include any and every kind of venue and to all kinds of audiences. They enjoy nights where the room is hot and they fan this heat with more and more of the songs and music that people just love.

Everything was in perfect proportion, from how they looked, sounded and conquered with the fun that this music is always conspiring for. In effect it was the quintessential live concert that outshines fellow groups who perhaps have tried and learning the fast paced music. Compared to this way the Foghorn Stringband play who have found the correct sound of this style so well loved by aficionados and music revellers alike.

The on fire side of this music must be widespread especially in Southern America whose tails were told, but thankfully the howling cry of hard times was softened a little and the energy was moulded more for a celebration of good things. Holding the torch for heroism and failure, it’s wonderful how music can blossom and boom and just continue as a tremendous force for the expression of human life and any other kind, captured in Blue Grass.

In the world of performance it is ever popular and this band have grown far and away above the rest of the forest. Their short songs kicked in once everyone joins and the double bass held is finely form it stole in a resounding testimony of skill and coupling energy.

Nothing but a good time, I could feel all the rows of seats were itching to join in and offered up those whoops that are easily found in a crowd. They faced us with a kind of revelry, totally at ease, lovingly playing and making for some good tones in a big world, see-able for all kinds of reasons.

Daniel Donnelly

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Traverse Theatre, Edinburgh
May 2nd, 2023

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Up at the Traverse Theatre Edinburgh this year’s Tradfest folk music festival was now well underway. Stepping onto the stage of this smaller venue, it was with great glee that the invited Swedish musician, with the stage name Fredy Clue, had been asked to perform. His actual name is Fredy Samuel Lundh, all would be explained as his show began with a spoken introduction to his life of travelling.

Fredy’s appearance was something of interest and worth a little digging into, it looked in decoration, cut, sleeve and accessory like a very ancient dress but with his tunic reaching his knees we discovered his distinctive taste and style. He had found a completeness and vibrancy for himself as he chose to wear female clothing with panache.

His presence as a tall man presented in itself a formula for captivating the room as something large and really somewhat mythical or sacred. The songs that hailed from this traditional Swedish origin were a stunning exercise on his instrument known there as Nyckel Harpa, an absolutely fabulous instrument that can also be called Keyed Fiddle that you play waist high.

A sense of atmosphere was also so ably created as he lit up with great notes vocally and music, just following with music was like some kind of butterfly in the state of transformation. And that was an overriding focus for his content as someone in need of sharing some kind of aura of sincerity.

Accomplishment was found in my introduction to this instrument that can play in duel forms as a centre for composition, an old Keyed Fiddle played with the gods. It is a 16 string instrument and I was mesmerised and fascinated by it in its entirety. It seemed to enjoy the great space of this small room. We were wholly absorbed in the stage action of a craft in a charmed state that he invited us to simply enjoy.

His uniqueness of style and commanding classical persona where effective in an alternate in the joy of moving in mime like celebrating a rich musical tradition at the heart and head of the culture we have had both old and new.

Bravely bringing together a vocal, instrument relationship (small keyboard included) harmonising to a degree of very clear tunefulness, having come from a clean and keen spirit. As the inner journey continued his journeying revealed to him the persona he took up Fredy Clue, preserving his first name perhaps a exploration of biographical text!

He was magically involved describing not only in word but in sound and movement too. He had a way of pouring emotive life through in a measured glass, and out popped a creativity to deeply reverberate an inclusiveness of embracing it wherever it may be.

We listened to his voice with particular vigour leaning forward to strain for the next line. And found ourselves in the throes of capable vocals of luxury and remittent beauty finding gracious impermanence. Constantly washing the human fabric and vitalising it with the aim of putting great music to the fire.

He effectively confronted ways out of anxiety soothing it with waves that felt like looking at a calm sea. Formally underlying a truth we found just behind this small bond of joy and he made a platform for it, eventually daring to live.

Comfort levels were in evidence and encouraged from the sultry tones of his vocals to the 16 string instrument and spontaneous and covetous motif with flexible fingers installing a unique sound.

His very act was as toned as breathing, encouraged by a perfect vagueness of the harmonious weapon in the hands of a master at work. Presence played a part not to be ignored in this thoughtful, gentle and importantly passionate concert which held in precision every moment.

Daniel Donnelly

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Eden Court
Inverness

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Taking place in Inverness tonight, the happiest city in Scotland, is the Karawane Takeover. This is a wonderful concoction of live DJ”s ( Mark), live drummers and the smooth as silk South American delight that is Los Chichanos, live on stage for the first time in Inverness. Los Chichanos are an Edinburgh based band which have come together from far and wide to create a unique one-of-a-kind style of music that originates from the depths of South America. They induce a style of Psychedelic Jungle Cumbia music also known to many as Chicha and given rise to a new dawn within the Scottish music scene. Music is like travel, it should be shared and enjoyed buy all societies and cultures, therefore creating an education within us all that is passed on from generation to generation. Los Chichanos do this very well. Bringing the flavour of Brazilian and Colombian rhythms with the zest of some indigenous sounds of the Andes, these genres mix perfectly, like a well-constructed cocktail which delivers a taste of pure genius.

With band members spanning the globe they collectively empower each other with individual influences of magical musical talents. The name of the band derives from a combination of influences. The name Chichanos comes from the term “Chicha” and Chicanos is term used to describe members of the Mexican communities living in the USA in the last century. This name suits the band and the band suits this name, like two peas in a pod they are complimentary to each other.

Having over two years of experience together, Los Chichanos are building a concrete following throughout Scotland and the Uk. Playing at festivals, Jazz Bars, public bar venues and now theatres their Salsa style music is creating a real buzz within the dance culture. With the charismatic Sandino Borges Leitao on lead guitar and vocals, the warm hearted Georgia Ollier on keyboards and backing vocal, smiling Moises Prieto on Timbales, the magician Andy Cooke on Congas and bringing up the bass and backing vocal is the mysterious Conal Mckintosh, all congealing together to deliver a masterpiece of traditional music. Eden Court Theatre was alive with happy dancing feet and a beautiful sense of contentment filled the air. From stage to dancefloor the joy was clear to see. This wasn’t just a musical revolution it was also a cultural revolution. Beautiful music by beautiful people is what Los Chichanos are all about.

Raymond Speedie

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Traverse Theatre
April 30th, 2023
Tradfest

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Edinburgh’s Traverse Theatre is a hot spot for this year’s Tradfest celebration in its nonremittent 10th year. The 1st stage had a wonderfully steep slope from up and down to the stage, gets you excitement in your stomach. As we waited for another of the 2023 Tradfest performance’s this time called simply the Ciaran Ryan Band it was to unveil the greatest urge to dance.

Quick paced Scottish/Irish traditional music played as a band having fun times. As usual many artists at this festival share their skills in their flexible collaborations and lend their hand to the spinning rock of organisation. Ciaran’s music and band formation depend on peoples love for music, not only music but importantly style, the kind that has lived in this form for many centuries in the heart of rural and urban, far out or next door. But still cries from its bountiful origins with the intention of super celebration.

Their thumping rhythm played incidentally by the revered Shooglenifty drummer James Mackintosh was just a pleasure, something quite different about it that I could not place but ruckus beats shook us in our seats.

The fun time of this band grew within the room, to an audience simply bursting to dance. Ciaran has wound his way up for over a decade of dedicated banjo playing (banjo and accordion have been main theme this year) as the music adheres to the past but also the future and all the semblances in-between.

Touring as he has, with various members, his quick tones and lead rhythms create something of a cavalcade that worked every time in the 2 hour set. I felt a sense of finding freedom going to the festival this year and I wonder how big the world must be and revel in what I haven’t come across yet, the music is just so flavoursome.

Ciaran dances with his original compositions and his lightning banjo playing is propelling him into something of a phenomenon and should I say into becoming a most revered star. The set leaped forth, pulled back, even got distracted in its elements; the sense of forging forth in a way as old as the hills and as young as time itself.

Spirits were captures whoops were blown the occasion rose to the delight of making a kind of traditional magic happening. My view at the top grew more and more involved with every song and nuance of the moment. The crowd swelled so much it could no longer contain itself people leaped from their seats to jive righteously to the right of stage and the musicians smiled a righteous smile and bled into the thunderous, fabulous, height creating music held in its long held traditions.

There was an upkeep and a filter with signs of life everywhere lifting in the presence of unity that the music screams of fit for all, shaped by all and so graciously performed by all. Tones of surprises, timing (with those wonderful skipped beats and quiet to loud walks so well suited to any Celtic music) we were as lively as they were experiencing their very whim as they set the sense of greatness bringing into the occasion a whole shore of wonders. They played their socks off and hearts out, you could see how strong each of their bonds were with the splendour that is always captured with each instrument making history.

For they did make for history and celebrate it wherever they go; so as to make a call on the grounds that they are the best at what they do. Fun was outpouring, overwhelming, frank and joyfully so, lovingly young and on fire that just makes you feel alright, then splendid then long over the moon. A desire is cast into it whipping up spirit and a need for all things human, achieving the communal saying setting the house on fire. We thank you for spreading this joyful heightened mood.

Daniel Donnelly