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Broadcast, Glasgow
October 15th, 2023

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Broadcast, in Glasgow’s Sauchiehall Street, being a basement venue, like so many in the centre, is host to a multitude of gigs every month which makes it a hybrid of musical genres. Its stage holds a certain freedom. As I descended down its winding staircase the music of Fiza had a very soulful sound. She was there as support of headliner act Skinny Pelembe who I was there to see.

Fiza’s soulful blues and self written music poured from her guitar and vocal. The night was still young so there were only a few of us there to see her, but her style was an accomplishment in the field of female artists with great lungs and vocals even stirring memories of Aretha Franklin herself (perhaps was an influence). It was a pleasure to take in her half hour 8 song set, and in this mood the crowd began to come in.

As Skinny came onto a stage small, tricky and like a cave was a young already vibrant man with something big about to show. The four’s magic brimmed into the room with a confidence and certainty and of course great musical talent. Guitar and vocal, drum, keyboardist and bass kicked in with a strong unfolding presence, with a musical joy to draw us in with immediate effect from a kind of pure delectation.

Skinny is from Doncaster having spent time in Johannesburg, giving in itself a life at least very interesting, these things he amply expressed through a sound and vocal built to fit his essential lyrics. He has developed his sound drawing from a great many pools from 80’s heavy metal, to Jeff Buckley like vocal clearly playing around with his punch of creativity, finding his own new sound. And taking from so many styles of music we could enjoy its sporadic organisation. Coming up with fresh tones and rhythmically well constructed, passionate music making.

His clear ability in looking natural came through as his stance and body language set the scene, grasping the mike stand and turning his back to close in on his group, we could see friends performing to a dancing, edgy turnover of tempo’s quick and mixed in an elevated creativity.

I just found them so well equipped with a real readiness to jump into action directing his attention to the room and the fans there to hear his demanding, conferring lyric. As the song dictated his voice was soft, luxurious and perfect to then reveal some billowing heart ache about contemporary life.

A stage lit with the spectacle of the colour changing lights working their bodies in mysterious red and green. An experience of a rich and reaching exchange with a pulse on a thing going straight ahead, a gig of great reward. This band has become able to transform the inner word into a full bloom concert of critical music and great flavour.

Daniel Donnelly

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Burnley Mechanics
12/10/23

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What is the true raison d’etre of a tribute band? Emulation? Recreation? Perpetuation? Well, whatever a tribute band should be, or do, the general sentiment I was feeling after watching Carpenters Gold last night was, ‘where is that ouevre, I’ll be needing to listen to that quite soon, please?‘

The Carpenters are one of the classic groups that kinda bypass’d my ears; well. until last night in the Burnley Mechanics that is, where a selection of their best & most-lov’d tunes were deliver’d with perfect alacrity by our pseudo-siblings, Greg Stevenson as Richard Carpenter, & Vikky Holland-Bowyer as Karen, who apparently, according to the guy sat on my left, pull’d off the original Karen’s sunrisey vocalism with proper on-point accuracy.

Shooting to superstardom in the 1970s, the original Carpenters gave the world songs which seem’d to me firmly nestl’d in the two extremes – either laden with amorous pathos or bubbling with chirpy ebullience. The musicianship seems simple, country pop kinda vibes, & was perform’d wonderfully by the honied-harmony dripping backing band – so much so that I often felt I was in some kind of sonic dream-state. Yeah, it was well good.

That time was better than the last time, & the last time was really good
Greg Stevenson (Richard Carpenter)

The show was intervalis’d – the first half pack’d with massive hits such as Yesterday Once More, A Kind of Hush and (They Long to Be) Close to You; & the second half a bit more relax’d, including tunes from the Beatles, stuff like that. Their slower ‘Ticket to Ride’ was actually quite stunning. Throughout both halves I enjoy’d sneakily looking around & watching the audience singing along & really getting into it. I was at a church meeting, really, & Vikky Holland-Bowyer was our slick, stylish, pastor. She also had some fabulous changes of outfits, & all in all the show is a visual treat. All the band wearing 70s wigs, for example, really helps the suspension of disbelief.

Like eating a cream pie with lots of filling, I had a thoroughly good time both learning, & enjoying, & realis’d I am something of a whoo-er. That is to say somebody who yelps out ‘whoo’ quite loudly when come the moments that the audience is invited to show their appreciation. The Burnley audience, btw, was well up for it, & on their feet in droves at the end as Carpenters Gold ran thro’ the hit-medley to conclude proceedings. Before then was perhaps the funniest fake finale I’ve ever seen – everyone knew they were coming back on, I mean the guitarist was tuning up for the next song for example – but it was all great fun, really, for we’d all fallen for the band along the way, so banterlike & beautiful were their inbetweeny bits.

Damo

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Broadcast, Glasgow
14th October, 2023

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Glasgow’s Sauchiehall Streets Broadcast venue had an inviting glow to it as we stepped into this late autumn gig. It’s just at the edge of the city centre where everyone was enjoying a Saturday night. The attractive layout offers a small winding staircase down to the cellar venue, we sat in the warm upstairs pub waiting for doors to open.

Westerman is a musician from London, with connections to Athens, who’s music is making its way to many hearts, the gig began when support act Joviale (a self titled name) took to stage as an image we could see somewhat silhouetted with great overflowing hair. She bravely and openly performed an acapella with a little haunting flavour before her two man show came to fruition, her sound would rest through vocals, guitar and bass in a performance of two.

Westerman is on a massive European tour this year and I think this Broadcast gig is among his first. This was my second gig by this tempting musician and I’ve got to say it has grown on me developing something that gets me deeper into his style, which is peppered with musical genre as though plucked from anywhere in the last 50 years. With a very gorgeous voice that raises or quietens the room (I’d be interested to see him in a bigger venue).

He comes from a very flexible world in his set up, and has grown so much and to so many ears that his current touring band has the elements of complimenting that sound off and offer his music a really great back up presence. As we were warmed by his support (pertaining to be friends) the stage was empty but stood ready with some interesting looking gear, vintage guitar, amps and a keyboard layout that just looked so handsome.

The basement holds up to 200 which when you see the space seems remarkable, but evening gigs there usually turn out about 50, it soon became clear that this audience were already followers and fans of his, they had their eyes closed in some kind of ecstatic bliss and all of his lyrics were whispered through their lips.

Considering his debut album came in 2020 (some kind of Covid thing) his fast progress is remarkable and his music is filled to the brim with brilliant flourishes. It was titled ‘Your Hero is not Dead’, and was released with a series of singles and was track listed with 12 songs as he brought together his sound that was received in a maverick spirit.

A sound that accompanies dance with electric guitar, racy and experimental drumming and very catching if not haunting keyboard progressions. His appearance, his voice, his songs were engaging
in the sense that you’re hooked for the gig, with an edge to make a statement about the modern life we are all in. His attire wasn’t too far away from a costume from the first Terminator movie in the 1980’s.

In his music he is forming a kind of figure head for his ever growing fans who enjoy a band hard at work and as I said embarking on a huge tour this year. He has such a grip that I’m sure there will be those who will follow them around Europe on their great adventure. Very sophisticated, gut grabbing gentility using music as a voice for and a liberation of his wide range of lyrical topics, strange sounding and melodically flowing modern music that was a joy to partake in.

Daniel Donnelly

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St. Marks Church
Edinburgh
9/10/2023

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Saint Marks Church on Castle Terrace Edinburgh had the privilege to play host to Jamie Irrepressible , also known as The Irrepressibles. The singer / songwriter and has 7 piece band consisting of Elliot Lyte (Violin), Charlotte Stock (Viola) , Rebecca Thomas (Cello) , Alice Phelps (Double Bass), Anja Kadir (Accordion, Clarinet and Backing Vocals), Sarah Kershaw (2nd Piano, Vocals, Organ & Clarinet), Thomas Twemlow (Folk Kit and Percussion); and on the Lead Vocals, Piano, Mandolin and Acoustic Guitar, Mr. Jamie Irrepressible.

St. Marks Church is a beautiful space and auditorium and was well suited to the orchestral pop like music that has a sprinkle of cathartic-ness. I could sense the acoustics within this religious Ampitheater were going to melt the Autumn chill that filled the air. His tour has coincided with the release of his new EP Self Love and Acceptance which appears to have been written and created through his own personal journey into this chapter of his life. Having already released the heart warming and self thought provoking tracks “In This Shirt” and “Two Men in Love” and not forgetting the internationally acclaimed song “Most Beautiful Boy” this was sure to be an evening of pure musical indulgence.

The Church was full and with a varied audience age the overall feeling was one off tranquility and stillness. Jamie has an ability to bring his fans into a musical haven that creates a closeness between artist and audience . His lyrics are poignant but also with a lathering of love. Jamie’s music delves deep into the soul and unleashes a meditative state of calmness and warmth. Travelling through his set list was like going on a mind and body cruise which touched you with every chord and lyric. If enlightenment, magic and meditation had a sound it would be Jamie and The Irrepressibles. With human love featuring heavily within his creative work, Jamie allows you to open up the doors of your perception and unlock those thoughts that keeps us constricted to our daily do’s and don’ts in life.

The ambience was felt throughout the entire Church and the silence was deafening. The collaborations of so many wonderful musicians was awe inspiring and leaves you with a warm glow in your heart. Moving, relaxing, endearing and beautiful, I left with a big smile from cheek to cheek. If there is any films out there without a film score then Jamie and The Irrepressible would fill that gap perfectly. A wonderful evening with a very talented collection of amazing musicians that delivered a memorable performance.

Raymond Speedie

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Manchester Academy
27-09-23

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Woah – Manchester – yes! – music – cool music – yes! – let’s do this, eh? So off I went to see Brummieband ‘Jaws’, a decade into their unification as a quirky, quality, quintessentially catchy quartet – whose shoegazing, starry-laden anthems are so infectiously cool, like, it’s a reyt smart do. So, off I tripp’d to the nation’s second city, piercing it’s night-breathing streets into the university district & the Academy venues, of which the ‘Club’ was playing host to tonight’s frolics.

Getting down with the kids, I arriv’d half way thro the support band, Sounds Mint, another quartet, this time from London – I got Red Hot Chilli Peppers meets Joy Division kinda vibes -, who seem’d to be going completely over the heads of the student-dominated, Manc-infus’d crowd. I could see what they were trying to create, they were delivering, but weren’t really energizing the place.

I think if I’d have witness’d them in their natural environment the room would have exploded – especially when the dreadlock’d singer whipp’d his top off. I’m not gay, like, but wow, what a physique & scowl-a-prowl; I’ve never felt the intensity & the feel of music increase so much, elevating with of tribal energy, after such a Chippendales moment before!

Then the crowd got bigger, & excited, & on postur’d Jaws. Like I said at the start of the review, wow! really cool, especialy after a few shots of ‘tequila no fucking about’ (i.e. no lime & salt). Jaws embellish our lives with decent guitar music – like a less in-your-face Gomez -, all melodical & twangy & droney ubercool & bangin’!

As I engag’d completely with the experience, I found myself surrounded by proper true fans – a seven yearer on one side, six gigs into his odyssey, & four yearer on the other who’d seen just as many gigs – & me in the middle goin’ I can see why yer fuckin’ like these boys, boys! A few of the tunes really stood out on my first hearing, which I’ll embed in the reviews – ‘Just a Boy,’ ‘End of the World,’ ‘Think Too Much Feel Too Little’ & ‘All My Friends Are Alright.’

Jaws are a right mad band, an ark of supergeekerie! Front man Connor Schofield sings beautifully as he strums his shiny guitar, while Eddy Geach pounds his drums, who to me is probably the real star of the show, he is reyt good. There’s also a riduculously funky-looking geezer on bass call’d Leon Smith, & the constantly chirpy, sound-effect carouselly Alex Hudson on lead guitar.

As a whole they work really well, & let’s hope they take the bull by the horns, find some, like, Welsh farm house somewhere, pop a load of shrooms & write that eternal classic album that’s in their collective soul somewhere.

Damo

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The Castle Hotel, Manchester
19-09-23

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My, my, my; that was a treat. System Exclusive were in town – Manchester town that is, the Vaticanesque hub of the great God of British music. The System are actually American, LA folks, & are currently touring the UK. The previous night they were in Glasgow – then after some car troubles they finally hit the NW, well less hit, more slam dunk’d their sinthy-riffy-beatbouncy songs into the lovely back room of the Castle Hotel, in the city’s Northern Quarter.

Underneath the church-like beams & rafters, & with a fascinating array of pedals & L.E.D.-flashing sound boxes, System Exclusive are Ari Blaisdell and Matt Jones – she’s on a bolt-of-lightning-strapp’d guitar, he’s on drums, while the sound is fill’d out by all manners of weird & wonderful digitalized sound effects. Blaisdell is an addictive watch, she pulls some reyt moves, like; & faces, & postures, & statuesque stances. Meanwhile, Jones is pulsating us all thro the set with some proper tom-pounding, overdrive drums. Not so much dancey, more transfixing you & locking you into something very special.

Blaisdell’s guitar playing is ethereal, she has a massive affinity for the instrument, & her voice is full of nuance – Adam & the Ants yelps, Joy Division drones – she is in complete command of her coolness. In general a gig is a spectacle, but I sometimes found myself closing my eyes & diving into the music, & it was on these occasions where I was transported to another place – eyes full of rainbows & phosphenes & an ectoplasmic aura surrounding my dark peripherals. Arcane, almost. My favorite song, by the way, I don’t know it’s actual name, had a chorus line of ‘I want to see regret in your eyes.’ A remarkable piece!

Their songs are all quality, tho’ not so much catchy as such. It was funny when they play’d their only cover, of a song by Eddie Murphy, & tried to explain it goes down brilliant Stateside – I don’t think anyone in the UK even new about the song. Outwith that, however, everything was just peachy, especially when they play’d songs they’d been writing prolifically on the road. I’m sure they’d written one in Glasgow the previous day call’d Changing Rooms, & the way they polish’d thro it’s funky staccato chunk seem’d to me as if they’d been playing it years. I mean, that’s cool, right – well, it was to me.

Damo

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The Usher Hall
Edinburgh
8th September, 2023

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Oh my God ! What did I just witness ?

Christine and the Queens took Edinburgh by storm last night. With their only Scottish date at Edinburgh’s Usher Hall, this was surely going to be a night to remember. With tickets selling out quicker than Lewis Hamilton’s fastest lap, there will be a lot of disappointed fans in Scotland tonight. Christine, Redcar or simply Chris, is a French innovator with an incredible ability to write soul-searching songs which cut deep into your human spirit.

Born and raised in Nantes in France during the new wave era of the 1980s, Christine battled the elements of the music business to create this French genius we now see standing in front of us. Since 2011, Chris had been chipping away at several projects and slowly becoming a powerful and influential figure in and around France and the UK with the debut album Chaleur Humaine, released in 2014. This received so much critical acclaim it was inevitable that the talent within was about to explode. To be so young and so direct in your beliefs is empowering; be who you are, be what you want to be and hide from no one is the best of being human. Doors were built to be opened not closed, and Christine has the key to them all – the master of expression is the master of their own destiny… it is a choice we all have to make so choose well.

The songs “Tilted” and “Saint Claude” propelled Christine and the Queens to a level of popularity that opened the mind-doors of many a sceptic whom had previously had a barrier of confusion clouding their thoughts. Like the Joan of Arc of music, Christine was given the gift of a non-judgemental existence and that is proven and delivered through the poetry and songwriting of the last 20 years. Lyrics that delve deep into places normally reserved for personal consumption break through the traditional barricades of our wavering society that have kept us trapped within a hideous lie for too long. Statues of goddesses, stairways to heaven, fallen angels with blackened wings were all aspects of this not-so-regular show. The Usher Hall was transfixed and intoxicated with what was being witnessed -powerful, deep, dark but light, thought-provoking, beautiful and sinister. Honest, courageous and mind-blowing.

Blood, sweat and tears are all part of the human development and should never be ignored. Life is, and should be, an education and tonight’s performance served up concoction of the arts like no other. The pure physical and spiritual presence of Christine and the Queens was so refreshing. My long time soul-mate was turned to tears during the show, as were a few others. The door to the deep part of our hidden emotions can only be unlocked through certain channels and music is truly one of the main sources.

Strength is derived from being strong which in turn comes from being you, and Christine and the Queens are exactly that. A person who introduces new methods, ideas and new beginnings deserves all the blessings the gods have to offer. I bless you Christine / Chris / Redcar for being just you. I have never felt so inspired and uplifted at a gig before like I was tonight.

Suave and sophisticated, Christine embodies all that it is to be human. Sculp your own sculpture is the message that sticks with me. Contemporary Dancing, theatre and music are my passion and a Christine and the Queens gig combines it all into one fine cocktail glass. Big love and thanks for gracing Edinburgh with your musical genuis.

Raymond Speedie

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Edinburgh: Sneaky Petes
Glasgow: The Old Hairdressers
September 6th & 7th, 2023

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So the Edinburgh Fringe ground to an inevitable halt, & to everyone here at Mumble Towers, the world ‘culture’ sent a haunting-shiver thro the very roots of our souls. But time waits for no man, nor woman, & nor is it waiting for ‘Iraina Mancini’s burgeoning musical, rock opera vibe talent. For the past couple of nights she swoop’d thro the Central Belt on the back of her slick, dragonesque band, with Raymond Speedie writing the review over in Edinburgh, & myself heading down to the Old Hairdressers in Glasgow last night. Honestly, some of her 55 minute’s worth of bangin’ material were, well, better than bangin’, eh, uberbangin! I’ve pick’d out my three favorites, but now over to Raymond for the review…

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In the small, intimate & fabulously famous musical hub that is Edinburg’s Sneaky Petes, we had the pure pleasure of being introduced to Iraina Mancini, hjeading north to delight us with performance of her debut album, Undo The Blue. Iraina Mancini is a singer, songwriter, DJ and model from London, and with her father being close friends to the late David Bowie I can only imagine the magnitude of the musical influences that Iraina was surrounded by as a youngster.

From her humble beginnings in the electro pop group called Mancini, Iraina has strived to achieve and obtain her own direction in the music world. Like a sculpture with their chisel and hammer, Iraina has chipped away at the rough edges of the music business and created a masterpiece with the album Undo The Blue which was produced by the legendary Jagz Kooner. Quality over quantity is the driven spirit in music, and Iraina’s Undo The Blue delivers on all fronts. Nothing less than perfection will do, and that is evident in the diversity of her songwriting and singing. Like a spring flower, Iraina is awaiting her time to Blossom, and I think that time is now.

With a chic psychedelia dress-code, Iraina took to the stage amid an applause of great eagerness and warmth from her fans. The atmosphere was electric. Feeling like one was propelled back to the days of The Velvet Underground and Andy Warhol, the excitement began to grow. Within a heartbeat the venue was ignited, and like a spark on a stick of dynamite the place exploded into a dancing fireball. The 1960s and early 1970s are a clear influence in Irainas music and Undo The Blue, with its songs like, Cannonball, My Umbrella, What You Doin, Need Your Love, and not forgetting the psychedelic Undo The Blue, are not a blast from the past but a new fresh introduction to Psychedelic music.

Iraina is a captivating and intriguing singer whose stage presence is intoxicating. Do what you love and do it well was the message. You know, if Jimi Hendrix and Nico (The Velvet Underground) were present in the audience I am sure Iraina would end up at an after party with them, as clearly she belongs in the same category of these musical legends. Should Iraina Mancini choose to continue down this road it wont be long until she is on the highway to greatness. Music is a huge part of human entertainment but also a privilege and honour to be part of, and tonight, for me, was one of those heady moments. Energetic, vibrant, exciting, inspiring and uplifting, this is in my top 5 of gigs this year list. Its upwards and onwards for Iraina and her amazing band. Big love and all the best.

Raymond Speedie

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Night Owl Shows presented an eclectic range of tributes to a wonderful array of music icons. From Aretha Franklin to Amy Winehouse, there’s always something spicy on the menu. This meal is one of the hottest, with the incredible Cleopatra Higgins fronting The Whitney Houston Story to glorious effect.

Houston has some of the most cathartic tunes in pop – that intangible tension and release, pulling something eternal up from your soul and making you sing it out to the universe with abandon. This band was able to capture that sheer joy in being alive that only the greatest pop can deliver, with Houston being one of the greatest ever in delivering that feeling.

Higgins has such a set of pipes on her and a stage presence that she can lay claim to being a legitimate queen of the night. Two shows a day for the whole of the Edinburgh Fringe and I saw this show at the end – about one of the greatest pop singers in history with an incredibly difficult technically ability to replicate – and she sounded as fresh and strong as if it were opening night.

The respect for Whitney is endearing and you feel honoured to bare witness to the love for her that is being celebrated. With Higgins, it feels like you’re going to church. Not just because of her gospel influence (she heads the Aretha Franklin show earlier in the day) but also because she leads a worship beyond the simple concert format, so we’re on our feet, crying out high notes and tears for a trail-blazing women of colour who sat on the throne of pop music.

Sitting in the audience, during the bows at the end, we got a surprise when Derek from the Derek Awards presented her with an award for best voice and best show. She cried with honour, played a bows, we danced, Derek danced and for a moment, we were reminded of the power of music to heal the world. An utterly joyous experience.

Stuart Bruce

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theSpace @ Venue45
Edinburgh Fringe, 2023

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The French say “joie de vivre”, the Germans, “Lebensfreude”. For blues musicians, you take ‘groove’, add ‘mojo’ and when the room is just right, it brews that sweet elixir – the joy of living. For the Rhythm and Booze Project, they’ve cracked the recipe because they have the secret ingredient – whiskey.

Felipe Shrieberg (lap steel guitar and vox) and Paul Archibald (drums and washboard) are true bluesmen and as purveyors of live music experiences, like wizards with their alchemy. It’s a potent brew; a sensory marriage that will seat you at the table of the gods. Two highly somatic stimuli, aural and alcoholic, envelope your being and leave you with a deeply healing case of the warm and fuzzies.

Shrieberg’s rich, gravelly voice intones with soul and experience, like it too was aged in an old, oaken barrel. He slides to whispered sweetness with such gentleness you submit to falling inside his sublime guitar-work as it sings a sombre lament of the soul. Watch out, the washboard’s out, and in the hands of the immensely talented Archibald, the crowd whoops with delight as we rock along to a time-warp that puts a skiffle rhythm in rhythm and blues.

Along with three samples of top notch whiskeys, you’re also tasting a blues education, from Willie-Dixon-era Chicago blues, to the deep south and Mississippi Delta, they draw from rich seams of blues history. The audience participation was like the drink, spirited. If you conjured correct adjectives for your nips (a small portion of whiskey), you got a second one but don’t worry, they’ll teach you how to talk about it and access the enchanting treasures of the drink.

It felt like everything had that rare ‘in the pocket’ perfection, until you realise these master entertainers have deliberately cultivated that feeling to make their show the sweetest night of the Fringe. They played, ‘I put a spell on you’, a classic tune originally recorded by “Screamin’ Jay” Hawkins when he was totally drunk on whiskey. Reeling from this magic, the night already feels like a dream – a warm and fuzzy one.

Stuart Bruce