{"JP":[ {"NewsSection":{"name":"whatson","detaillevel":"full", "Articles": {"count":25,"detaillevel":"full","articlesList":[ {"article": { "url":"https://www.scotsman.com/lifestyle/culture/music/interview-chvrches-singer-lauren-mayberry-on-the-band-s-third-album-love-is-dead-1-4743062","id":"1.4743062","articleHeadline": "Interview: Chvrches singer Lauren Mayberry on the band’s third album, Love Is Dead","commentCount":0,"publishedDate":1526993351000 ,"articleLead": "

When Eurythmics guitarist Dave Stewart recently informed Chvrches frontwoman Lauren Mayberry that she was “the punk rock Joan of Arc of pop”, he nailed her commercial credentials, warrior wit and tenacious integrity in one clumsy soundbite. Mayberry, to be fair, was a little flummoxed by this accolade from one of her musical heroes but it does fit – not just her band’s mix of pure pop hooks with DIY indie attitude but the way in which Mayberry has found herself at the frontline in calling out sexism in the music industry and battling the wider online trolling of women in the public eye.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743061.1526993348!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Lauren Mayberry of Chvrches PIC: Theo Wargo/Getty Images"} ,"articleBody": "

When Chvrches first emerged from their Glasgow rehearsal/recording bunker in 2012, their impact was almost instantaneous, with the band rather taken aback by their success. No offence to her dependable bandmates Iain Cook and Martin Docherty, but it was Mayberry who dazzled in the spotlight, emerging as one of the most relatable role models for teenage girls and young women since Paramore’s Hayley Williams.

And it was Mayberry who became the target of a steady stream of everyday sexism and a deluge of online abuse on the band’s social media feeds. When she spoke out about it with sober eloquence, the threats and abuse only intensified.

There was unwavering support from Cook, Docherty, her friends and the online community but still Mayberry says “I think back on it and it was pretty f***ing lonely to be honest, because there would be other women that we would see in passing at festivals and they would empathise but then they wouldn’t actually do anything themselves.

“I can look back on photos from that time and you can see when I started to get sadder and wearing baggier and baggier clothes and less and less make-up because I just wanted to be left alone. But I don’t think I would still be in the band if I’d had to put up and shut up and stand and smile and be pretty.”

This was three years before President Trump’s locker room talk was met with the million-strong Women’s March on Washington and four years before the Time’s Up movement was founded in the wake of a string of sexual assault allegations levelled against Harvey Weinstein and others in the film and television industries.

Mayberry had a ringside seat as these grassroots movements flourished and the testimonies mounted up. Since 2015, she has lived in New York, where Cook and Docherty are now also based, and Chvrches habitually tour the parts of the US that even domestic bands don’t make it to, thanks to the strong support they have always garnered from college radio stations across the south and Midwest.

“I think it gives you a better perspective on what it’s actually like, because if you weren’t ever playing in Alabama or Tennessee, I feel like you could get sucked into a one-sided view. There are so many people standing on either side of this line screaming in each other’s faces thinking that’s going to convince somebody to think something different, and I don’t really know if that’s how you get anything done. If you’re not listening to each other and trying to figure out what to do then I don’t know if we’ll make any tangible progress.

“I think it’s a positive thing that we’re having this conversation on a more mainstream platform,” she adds. “Now we don’t do an interview where we don’t talk about gender in one way or another.”

Mayberry says gender has always tended to be an issue in interviews, but the way in which it’s discussed has changed.

“We were [talking about gender before Time’s Up] because I would always be asked ‘what’s it like to be a girl in a band?’ I think it was Martin who said ‘never at any point in my day am I talking about being a man’, it just isn’t a thing.”

Mayberry is under no illusions that exposing sexist behaviour is the same thing as successfully combating it. As we speak, she is on a brief self-imposed internet break thanks to yet another wave of explicit, nasty trolling unleashed now that Chvrches are back in the public eye and set to return with their new album, Love Is Dead, where once again the brightness and catchiness of their synth pop tuneage belies the darker lyrical matter.

The first two Chvrches albums were self-produced in their native Glasgow – where they will appear at the TRNSMT festival this summer – but this time around the trio experimented with outside producers (which is where Dave Stewart entered the picture) before settling on Adele/Sia/Beck producer/songwriter Greg Kurstin as their main collaborator.

“There are definitely more direct moments on this album but I think there’s also some of the most macabre, weird stuff we’ve ever done as well,” says Mayberry, who has no shortage of material to draw on.

“The record’s not meant to be a bunch of manifestos,” she cautions. “When I listen to it, it sounds to me like somebody’s just trying to figure something out, that you’ve got to a certain stage in life and maybe you’re not as much of an idealist as you used to be but then how do you sit with that and then do something positive with it?

“I think if you don’t shine a light on this stuff then it’s just going to fester there in the darkness and I feel like I’ve had to find a balance. I don’t want to spend all my day thinking about that sort of negativity but I do think ‘what would 15-year-old me want if they were a fan of the band?’ I think grown-up me knows that women in bands aren’t superheroes but 15-year-old me would want to see the superhero kick some butt, you know? I feel it’s good to remind myself to be responsible with the platform that you have.

“When you have this opportunity, better make 15-year-old you proud of it, otherwise what’s the point? And I’d rather regret things I did do than things I didn’t do. I mean I’d like to regret nothing but if I have to regret something…”

Love is Dead is released by Universal on 25 May. Chvrches play the TRNSMT festival, Glasgow on 8 July

" ,"byline": {"email": "" ,"author": "Fiona Shepherd"} ,"topImages": [ {"image": {"url":"/webimage/1.4743061.1526993348!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743061.1526993348!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Lauren Mayberry of Chvrches PIC: Theo Wargo/Getty Images","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Lauren Mayberry of Chvrches PIC: Theo Wargo/Getty Images","landscapeurl":"/webimage/1.4743061.1526993348!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-bbc-sso-thomas-dausgaard-city-halls-glasgow-1-4743056","id":"1.4743056","articleHeadline": "Music review: BBC SSO & Thomas Dausgaard, City Halls, Glasgow","commentCount":0,"publishedDate":1526992848000 ,"articleLead": "

Kullervo may not be the most refined and musically cohesive of Sibelius’ large-scale works, but this enormous five-movement choral symphony, based on an epic Finnish poem, remains a fascinating, embryonic insight into the spiritual and technical seeds of what was become the composer’s signature style. Conductor Thomas Dausgaard chose it as the focus of his final programme this season with the BBC SSO, and in a performance populated also by the Lund Male Choir of Sweden and soloists Helena Juntunen and Benjamin Appl, and featuring an ultimately inconsequential preamble of linked music by Finnish folk musicians, he captured enough of the music’s heroic impact, stylistic adventurousness and violent emotions to justify his bold decision.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4723910.1526992845!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The BBC SSO"} ,"articleBody": "

Music review: BBC SSO & Thomas Dausgaard, City Halls, Glasgow ****

There was visceral hot-bloodedness in the largely unison singing of the lusty male voice choir, and two soloists whose character portrayals – the German baritone as Kullervo, the Finnish soprano as his sister – were a magnetic presence. Juntunen especially, singing off score and in thrilling voice, addressed her role with riveting theatrical conviction.

Dausgaard exuded visible enthusiasm, driving his forces forward with incessant energy, at their best in those raw, bracing outbursts that viciously punctuate the score. Brass and wind tuning posed the occasional problem but the burnished spirit shone through.

In the more thoughtful passages, we missed the defined intensity of Sibelian texture and colour, which SSO audiences will recall from this orchestra’s electrifying Osmo Vänskä days. There was an awakening, though, in the stirringly sung Finlandia encore, a mindful consummation of an intriguing evening.

" ,"byline": {"email": "" ,"author": "Ken Walton"} ,"topImages": [ {"image": {"url":"/webimage/1.4723910.1526992845!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4723910.1526992845!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The BBC SSO","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The BBC SSO","landscapeurl":"/webimage/1.4723910.1526992845!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/theatre/theatre-review-though-this-be-madness-scottish-storytelling-centre-edinburgh-1-4743055","id":"1.4743055","articleHeadline": "Theatre review: Though This Be Madness, Scottish Storytelling Centre, Edinburgh","commentCount":0,"publishedDate":1526992687000 ,"articleLead": "

Like Kane Power’s Mental, seen at the Tron last weekend, Skye Loneragan’s new 60-minute solo show is presented by Scotland’s Mental Health Arts Festival, as part of UK Mental Health Awareness Week; and it, too, looks at serious mental illness from the perspective of a loving family member.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743054.1526992684!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Though This Be Madness, written & performed by Skye Loneragan"} ,"articleBody": "

Theatre review: Though This Be Madness, Scottish Storytelling Centre, Edinburgh ***

In this story, Skye’s sister Ophelia has been diagnosed with schizophrenia; but the point of the show is that it sets Ophelia’s diagnosed mental illness alongside the more everyday madness of Skye – who is coping with the sleep-deprived derangement of early motherhood – and of their mother, an ageing, eccentric retired psychiatrist.

So on a set she describes as her “land of lounge-room”, Skye wrestles with the paraphernalia of her own problems – a bouncy inflatable Pilates ball, a baby monitor, a stepladder and a wall full of Post-It Notes designed to assist her addled memory – while conjuring up unforgettable cameos of her sister and mother, and of herself, encountering the madness of everyday life. The lack of any kind of narrative through-line sometimes makes Though This Be Madness hard to follow; fragments of experience come thick and fast, from many angles and in a fairly raw form, unassisted by changes of set, costume or lighting.

Yet Loneragan is such a gifted and engaging performer, both in words and movement, that the quiet integrity of her unadorned staging finally comes to seem like a gift; in a show that talks of madness, but also of how women’s lives, honestly described, always tend to defy the norms of our culture – including our ideas of sanity and exactly what it might look like.

" ,"byline": {"email": "" ,"author": "Joyce McMillan"} ,"topImages": [ {"image": {"url":"/webimage/1.4743054.1526992684!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743054.1526992684!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Though This Be Madness, written & performed by Skye Loneragan","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Though This Be Madness, written & performed by Skye Loneragan","landscapeurl":"/webimage/1.4743054.1526992684!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/theatre/theatre-review-forbidden-stories-traverse-edinburgh-1-4743053","id":"1.4743053","articleHeadline": "Theatre review: Forbidden Stories, Traverse, Edinburgh","commentCount":0,"publishedDate":1526992429000 ,"articleLead": "

Working between Edinburgh and Cyprus, Ludens Ensemble are well known on the capital’s fringe theatre scene for their shake-ups of classics such as Macbeth and Ubu Roi. With this latest show, though, they move into new territory, constructing a careful and passionate verbatim drama – based on real-life testimonies – about the shocking partition of Cyprus that followed the Turkish invasion of 1974, itself provoked by a Greek-dominated island government which had proposed a complete union with Greece.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743052.1526992426!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Forbidden Stories"} ,"articleBody": "

Forbidden Stories, Traverse, Edinburgh ***

Yet despite the crisis of the 1970s – still unresolved 45 years on – Cyprus remains an island with a rich history of peaceful cohabitation; and with the help of the city of Paphos, European Capital of Culture 2017, Ludens have created a fragmented but haunting 75-minute reflection – with powerful, understated visual imagery and sound – on the human tragedy of a partition that displaced 200,000 Greek Cypriots from the north of the island and 60,000 Turkish Cypriots from the south.

The performance style is sometimes hesitant, not least because only one of the four performers is working in her mother tongue.

There’s no resisting the power of these stories of return, though, as a younger generation seize rare opportunities to cross the green line and revisit the homes from which their families were driven more than a generation ago.

In an ideal world, Cyprus – now a member of the EU – could become a model of how to heal old wounds; but in an age when incitement of conflict and contempt for compromise is becoming a new normal among world leaders, the task of nurturing peace falls increasingly to ordinary citizens, and not least to artists like Ludens, who seek to advance understanding, in good times and bad.

" ,"byline": {"email": "" ,"author": "Joyce McMillan"} ,"topImages": [ {"image": {"url":"/webimage/1.4743052.1526992426!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743052.1526992426!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Forbidden Stories","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Forbidden Stories","landscapeurl":"/webimage/1.4743052.1526992426!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-interview-pianist-paul-harrison-on-the-controlled-experiments-of-jazz-quartet-sugarwork-1-4743048","id":"1.4743048","articleHeadline": "Music interview: Pianist Paul Harrison on the controlled experiments of jazz quartet Sugarwork","commentCount":0,"publishedDate":1526991828000 ,"articleLead": "

There’s nothing saccharine about Sugarwork. The quartet, formed by Glasgow-based pianist Paul Harrison, combines decidedly non-traditional avenues of improvisation and pre-composed music with a simmering reservoir of electronica, from industrial to psychedelic. Having just released their eponymously titled debut album, with an Edinburgh launch at the city’s Jazz Bar on Thursday past and a Glasgow gig at the Blue Arrow in Sauchiehall Street tonight, the band assembles four of the Scottish jazz scene’s most inventive and open-minded musicians – Harrison playing piano, keyboards and effects mixing, Stuart Brown on drums and percussion, tenor saxophonist Phil Bancroft and guitarist Graeme Stephen.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743047.1526991825!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Paul Harrison"} ,"articleBody": "

The album’s music, largely written by Harrison, veers from the grinding riffing of the opening Habit Control to moments of hanging stillness with sax, piano and chiming guitar in After the Forest the Sky, before Brown’s drums whip up a stormy undercurrent. Short Story Long, with its ruminative guitar and lingering, melancholy sax is reminiscent of one of Stephens’s silent film scores, while The Stairs features sax squalling over what sounds disquietingly like a rack being cranked ever tighter – Gothic or what?

Harrison’s playing credits encompass classic songbook jazz with singer Carol Kidd, US saxophonist Dave Liebman’s collaboration with the Scottish National Jazz Orchestra and the Brazilian flavoured Trio Mágico. He has, however, long nurtured an interest in electronic music: his first solo album, a few years ago, mainly featured jazz standards, with just a few subtle shimmers of electronica augmenting the Steinway; in contrast he and drummer Brown have an all-electronic duo, Herschel 36, which notably provided an atmospheric live score to the German proto-sci-fi Wunder Der Schöpfung at the 2016 Bo’ness Hippodrome Festival of Silent Film.

Brown brings eclectic percussive experience to the group, not least his Twisted Toons project revivifying the classic cartoon music of Carl Stalling and Scott Bradley, Bancroft’s similarly expansive CV includes the ebullient Trio AAB with brother Tom, collaborations with Scottish folk musicians and Indian music, while guitarist Stephen, who played with both Harrison and Bancroft in the organ trio Breach, also straddles folk and jazz and has established a wide reputation with his live scoring for silent film.

Such a line-up, says Harrison, could create problems for him, “because I want to write music which sounds a certain way but I’m also aware of just how much creativity these guys have between them.”

His vision was to try and combine jazz harmony, improvisation and electronica “without straying into jazz fusion”. Asked how he would differentiate what his quartet does from what’s generally referred to as jazz fusion, he concedes: “That can get a bit technical, and what we’re doing in Sugarwork is by no means unique, but I hear a lot of bands using keyboards and electronics and I hear certain tendencies – with jazz fusion there’s a certain cliché with guitar solos that go on for ten minutes and keyboard breaks with eight million notes and I wanted to steer away from that.

“A lot of my compositions, and Graeme’s, are more cyclical, something coiled quite tightly, in a way, reflecting my love of electronica.”

Some of Sugarwork’s electronic effects are central to certain compositions, he continues, so there will be an element of pre-prepared material: “Some compositions are written in the studio to an extent, knowing there will be an element of improvisation, but the concept of the tune might be around a bassline on a synthesiser or a slightly rhythmic effect from Stuart. I’m trying to make it more organic as we go along, because we are, after all, full jazz musicians and want it to be different to some degree each time.

“That creates a bit of tension in how you go about things. These are mainly my compositions so to my mind they should sound a certain way, but it can be joyful when things go off in a different direction.”

For further information, see www.sugarwork.me

" ,"byline": {"email": "" ,"author": "Jim Gilchrist"} ,"topImages": [ {"image": {"url":"/webimage/1.4743047.1526991825!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743047.1526991825!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Paul Harrison","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Paul Harrison","landscapeurl":"/webimage/1.4743047.1526991825!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/theatre/theatre-preview-glasgow-s-second-take-me-somewhere-festival-promises-to-explore-the-outer-edges-of-performance-1-4743046","id":"1.4743046","articleHeadline": "Theatre preview: Glasgow’s second Take Me Somewhere festival promises to explore the outer edges of performance","commentCount":0,"publishedDate":1526991642000 ,"articleLead": "

If you like your theatre conventional, well-dressed, and contained within a proscenium arch, then the one Scottish arts festival you should probably avoid is Take Me Somewhere, set to fizz and sparkle across Glasgow over the next two weeks. If, on the other hand, you think you might enjoy wandering from a one-to-one show about the experience of Syrian refugees staged in the Kibble Palace at the Botanics, to a massive moon-inspired installation in the Mackintosh Church at Queen’s Cross, to a bus that will carry audiences from Tramway to Tron to the Platform at Easterhouse – taking in a new Swedish-British exploration of aerial art, sound and visual imagery called Liquid Sky, and legendary New York avant-garde duo Split Britches in their latest show UXO – then Take Me Somewhere is probably the event for you, a thrilling two-and-half-week celebration of the outer edges of theatre, and of where performance might take us next.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743045.1526991639!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Liquid Sky, part of Take Me Somewhere PIC: Jack Wrigley"} ,"articleBody": "

The idea of Take Me Somewhere was born in Glasgow in 2016, after former Arches artistic director Jackie Wylie conducted a survey into what Glasgow’s emerging performers and theatre-makers needed most, following the abrupt closure of the Arches in the spring of 2015. The idea was to focus on the future, to support artists in developing their work, to create an international platform that would help inspire, energise and showcase Glasgow’s performance scene, and – not least – to explore the amazing network of performance spaces, both permanent and temporary, that Glasgow still offers.

Within a few months of launching Take Me Somewhere, Jackie Wylie was appointed artistic director of the National Theatre of Scotland; but she saw through the first festival, in February 2017, before her departure, and handed over the artistic directorship to her closest collaborator at the Arches in its last half-decade, LJ Findlay-Walsh, who is taking Take Me Somewhere forward in the same positive and fiercely exploratory spirit.

“We’re definitely focusing on what we have rather than what we’ve lost,” says Findlay-Walsh, in a brief break from final preparations, “but we are still responding to the priorities that emerged from that 2016 consultancy. So there’s a mix of invited work and newly-commissioned work, a terrific range of venues – including new ones like Queen’s Cross Church and the Britannia Panopticon – and plenty of opportunities to discuss work during the festival, and of course to have a couple of parties. Never let it be said that there was a festival in Glasgow where there was no opportunity to party….”

This year’s Take Me Somewhere programme includes 14 shows, two installations, two cabaret acts, four discussion events, and a closing party; and among the performing companies and artists, Findlay-Walsh has succeeded in striking a fine balance between international acts, invited work from Scotland and England, and shows newly created for Take Me Somewhere 2018. Apart from Split Britches, the international acts include Dead Centre’s Dublin Festival smash-hit Hamnet – an astonishing live-video spectacle in which a young teenage actor plays Shakespeare’s son – and Mouthpiece, a Canadian two-woman show about cutting adrift from gender stereotypes, acclaimed on the 2017 Edinburgh Fringe; there’s also a visit, at the close of the festival, from the acclaimed New York transgender artist and cabaret singer Mykki Blanco.

UK visitors to the Festival include leading LGBT artist David Hoyle and singers the Lipsinkers, who appear in Hoyle’s LGBT history show Diamond. From Scotland, there’s a work-in-progress glimpse of Cora Bissett’s planned Edinburgh Festival show What Girls Are Made Of, and Mamoru Iriguchi’s much-loved children’s show, Eaten. And the new work includes shows from former Arches artists including FK Alexander, Eilidh MacAskill and Rosana Cade, Ultimate Dancer, and – at the Britannia Panopticon – Peter McMaster.

“One thing I’d like to emphasise,” says Findlay-Walsh,” is that it’s not really about new or emerging artists, this year. It’s rather about giving new opportunities to artists who have already been working for some years, but who now need support to develop in new directions. So we’re trying to do that. Then, our close knowledge of the directions Glasgow-based artists are taking also informs our international programme, and the shows we invite – sometimes because the themes are similar, but sometimes because the work is entirely at odds with anything we’re seeing here, and that can speak to us, too.”

Findlay-Walsh is also intrigued by the rich pattern of influences and family relationships in international performance art; this year, she has invited the Belgian-based artist Florentina Holzinger, strongly influenced by former Arches regular and queen of New York experimental performance art, Ann Liv Young. And she acknowledges that on the Glasgow performance scene – and internationally too – there is an almost overwhelming preoccupation with shows that radically challenge conventional ideas on gender and sexuality, and that reflect on the experience of gay, transgender and bi-sexual or non-sexual people.

“It’s interesting to analyse exactly why that theme is so strong,” says Findlay-Walsh, “and it certainly isn’t universal. But I do think there’s something about a rejection of the forms of toxic masculinity that we see all around us in the news, and about a refusal to let that worldview set the agenda any longer.

“And one of the most thrilling things about this festival is that when we’re presenting new work, we often don’t know ourselves exactly what’s going to happen. FK Alexander’s new show is called Violence, for instance, and she describes it as an ‘anti-love tribute to crushed hope and renewed desire.’ Apart from that, though, I have no idea how it’s going to turn out; all I know is that I’ll be there with the rest of the audience – and I’m really looking forward to seeing it.”

Take Me Somewhere is at venues across Glasgow until 2 June, www.takemesomewhere.co.uk

" ,"byline": {"email": "" ,"author": "Joyce McMillan"} ,"topImages": [ {"image": {"url":"/webimage/1.4743045.1526991639!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743045.1526991639!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Liquid Sky, part of Take Me Somewhere PIC: Jack Wrigley","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Liquid Sky, part of Take Me Somewhere PIC: Jack Wrigley","landscapeurl":"/webimage/1.4743045.1526991639!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/interview-violinist-arabella-steinbacher-on-why-her-edinburgh-performance-of-a-tchaikovsky-favourite-will-be-a-one-off-1-4743044","id":"1.4743044","articleHeadline": "Interview: Violinist Arabella Steinbacher on why her Edinburgh performance of a Tchaikovsky favourite will be a one-off","commentCount":0,"publishedDate":1526990801000 ,"articleLead": "

How does a musician, who performs the same concerto time after time in various far flung corners of the globe, keep it fresh to the point that each audience believes it is listening to the music for the very first time? Sounds like the perfect question to ask 36-year-old German violinist Arabella Steinbacher, who has been playing the Tchaikovsky Violin Concerto since she was 14, ranks it high among the pillars of the violin repertoire she is most often invited to play, and will be performing it yet again next Sunday at the Usher Hall in Edinburgh as part of her current UK tour with the Dresden Philharmonic Orchestra and its principal conductor, Michael Sanderling.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4743043.1526990798!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Arabella Steinbacher PIC: Shotview"} ,"articleBody": "

“Yes, it’s always interesting to see how a piece you have played so often changes every time you perform it,” she replies. “As you change as a person, your interpretation of a piece changes also.”

But, of course, there are many other factors at play. “In the case of such popular pieces as the Tchaikovsky the most important thing is to keep flexible,” Steinbacher argues. “Every conductor has their own interpretation of it, and every orchestra plays in a different way, so no matter how much you rehearse, at the end of the day it will be something new, because it just happens at that particular moment.

“It could just be that someone in the orchestra plays a solo a little differently, so there’s that wonderful moment when I have to react. If I’m not flexible, and play it the same way regardless, the magic is lost. But actually, this is the wonderful thing in music. I just try to be inspired by what is happening that moment on stage.”

These surprising moments are what truly excite Steinbacher, who can be certain there will be something genuinely fresh about next Sunday’s Edinburgh Tchaikovsky performance. For even though she’s starred many times with Sanderling and his Dresden orchestra, this week’s tour marks their first collaboration with this particular concerto. “I’m curious to see how it will go,” she says.

As any follower of Steinbacher’s career will know, she devours repertoire with a voracious appetite. She’s noted for having all the core concertos at her fingertips as well as a sizeable stock of challenging contemporary works. Her partnership with conductor Vladimir Jurowski in their 2017 recording of the Britten and Hindemith concertos was recently described by Gramophone magazine as “made in heaven”.

Encouraged by her musical parents to take up the violin at an early age, Steinbacher studied from the age of eight with the celebrated teacher Ana Chumacheno, eventually winning a place in her 20s on the prized Anne Sophie-Mutter Foundation scheme. “Ana Chumacheno was the most important influence in my life, not only in a musical way, but personally,” she recalls. “You have many ups and downs at that age; it was so wonderful to have her help and advice.”

The hunger to learn began early on. “It’s very important for young musicians to learn the big repertoire,” she believes. “It’s the only way to develop as a solo musician. I started with all the classical repertoire, later on adding contemporary pieces. The point is, when I started to give concerts and go on tour, you don’t have time to learn any more new things; or you can, but never in the same way you do as a youngster, when you are exclusively focused on learning.”

These days, she plays the “Booth” Stradivarius, so-called because it was once owned by one Madame Wilhelm von Booth. More recently it belonged to the late great British violinist Iona Brown. Steinbacher has it on loan from the Nippon Music Foundation and holds an affection for it she describes as “like being in a relationship”.

Does such an instrument live up to its seven-figure price tag? “I’ve played it for quite a while now,” says Steinbacher. “It’s a wonderful instrument from 1716. But it’s not only brilliant from the sound perspective like most Strads; it’s very big and bright, yet it also has a lot of warmth and darkness. Mostly though, it’s interesting to see how it has changed over the years, just as I have.”

Many soloists who play Strads describe the process of getting used to them as hard and challenging. “There are instruments that you really need lots of time with to get to know,” says Steinbacher. “With this one I really had an immediate, close connection. It depends on the instrument.”

The impression gleaned of Steinbacher in the course of conversation is that of composure and contentment. But that’s something she has consciously nurtured in striking a balance between the relentless travelling of concert life and the tranquillity she seeks when switching off.

“That is so important for every artist,” she says. “I always say that making music is the easiest part. The most difficult is what is happening all around: all the craziness of travelling; dealing with jet lag. It needs a lot of discipline, also how to stay focused, not to get distracted too much by all that’s happening around you. I do meditation, try to save my energy. That way I can go on stage and feel completely free.”

August, though, is a no-no when it comes to working. “I used to do festivals then, but now I prefer just being at home, enjoying the quietness and the opportunity to refresh my thoughts.”

Arabella Steinbacher performs Tchaikovsky’s Violin Concerto with the Dresden Philharmonic at the Usher Hall, Edinburgh on 27 May at 3pm. Michael Sanderling also conducts Shostakovich’s Symphony No 5. Tel: 0131-228 1155 / www.usherhall.co.uk

" ,"byline": {"email": "" ,"author": "Ken Walton"} ,"topImages": [ {"image": {"url":"/webimage/1.4743043.1526990798!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4743043.1526990798!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Arabella Steinbacher PIC: Shotview","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Arabella Steinbacher PIC: Shotview","landscapeurl":"/webimage/1.4743043.1526990798!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/tv-radio/10-tv-shows-you-might-not-know-were-filmed-in-glasgow-1-4742596","id":"1.4742596","articleHeadline": "10 TV shows you might not know were filmed in Glasgow","commentCount":0,"publishedDate":1526912316357 ,"articleLead": "

Here are ten of the most interesting - and occasionally surprising - examples of TV shows that have been filmed in Glasgow over the years

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4742593.1526912388!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Vicky McClure in The Replacement (Photo: BBC)"} ,"articleBody": "

The city has provided the backdrop to many modern TV series, from high-profile dramas to internationally renowned comedy.

It’s not just classics like Still Game and Taggart which have been filmed in Glasgow.

The Secret Agent (2016-)

The 2016 BBC adaptation of Joseph Conrad’s dramatic thriller was set in London, but mainly filmed in Scotland. One of the most notable Glaswegian landmarks in the series was the Glasgow City Chambers. They were transformed into the Victorian-era Russian Embassy for the small screen.

In Plain Sight (2016)

Based on a true story, this three part miniseries focused on Detective Peter Muncie as he tried to capture notorious serial killer Peter Manuel, who terrorised Lanarkshire in the 1950s. Glasgow locations such as The Laurieston, Sloans and George V Bridge were used for filming. Also used was the South Portland Street Bridge. Actor Martin Compston threw his gun into the Clyde in the same spot as the real murderer.

The Book Group (2002-2003)

After American Claire Pettengill (Anne Dudek) moves to Glasgow, she sets up a book group in order to make new friends with similar interests. But she ends up with an eccentric group of lonely, discontented misfits instead. This black comedy was set in and filmed around Glasgow, starring actors such as Michelle Gomez, Rory McCann and James Lance.

Outlander (2014-)

Historical drama Outlander has a huge cult following among those who enjoy a bit of romantic Scottish escapism. Featuring lots of stunning Highland scenery and Scottish countryside, it has also been partially filmed in Glasgow. George Square, the Merchant City, Glasgow Cathedral and Pollok Country Park have all appeared on screen.

Rillington Place (2016)

This three part drama starring Tim Roth told the true story of serial killer John Christie, who murdered several people at his home during the late ’40s and early ’50s. Glasgow stood in for London during the filming. West Princes Street was used as the fictional version of Rillington Place. Additional filming took place at West Street, the Western Baths and a studio set in Dumbarton.

Parks and Recreation (2009-2015)

Although the majority of the series takes place in the fictional town of Pawnee, Indiana, one episode of Parks and Recreation was particularly popular with Scottish fans. In the season six episode ‘London Part 1’, Ron Swanson (Nick Offerman) stops off at Glasgow Central Station before heading to Islay to visit the home of his favourite whisky. The station concourse is instantly recognisable, as Ron deciphers the timetables and hops on a Scotrail train with Glaswegian commuters.

Lip Service (2010-2012)

Glasgow’s answer to the popular L Word series, Lip Service follows a group of twenty-something lesbian friends navigating love and life in Glasgow. The series was both set and filmed in the city. Shooting often took place in the Merchant City and city centre. The Tron Restaurant, Hummingbird and the Trans-Europe Cafe all made appearances in the show.

The Replacement (2017)

Last year’s hit BBC thriller The Replacement, about an architect who begins to harbour dark suspicions towards her maternity cover, was filmed on location in Glasgow. Locals will recognise places like George Square, the People’s Palace, Glasgow Green, The Trading House and Hutcheson’s Bar & Brasserie. The fictional offices where the women work were created inside Commonwealth House on Albion Street.

Fried (2014-)

Following the exploits of a mismatched group of workers in a struggling fried chicken shop, BBC3 sitcom Fried was filmed in Glasgow – despite being set in Croydon. An empty retail unit on Albion Street (next to the Spoon Cafe) was transformed into a fictional Seriously Fried Chicken takeaway.

Lovesick (2014-)

Originally titled ‘Scrotal Recall’, but renamed after Netflix picked it up for a second series, this focuses on inept romantic Dylan – who finds out he has chlamydia. He then has to contact all of his former sexual partners to tell them the bad news. Lovesick is set in Glasgow (although a big focus isn’t put on the city), and it was filmed there too. Shooting for the second series took place over eight weeks in locations like Broomielaw and the Merchant City, and nearby Loch Lomond.

Written by Gillian McDonald

" ,"byline": {"email": "Central.content@jpress.co.uk" ,"author": "Gillian McDonald"} ,"topImages": [ {"image": {"url":"/webimage/1.4742593.1526912388!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742593.1526912388!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Vicky McClure in The Replacement (Photo: BBC)","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Vicky McClure in The Replacement (Photo: BBC)","landscapeurl":"/webimage/1.4742593.1526912388!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4742594.1526912388!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742594.1526912388!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Some Outlander scenes were shot in Glasgow","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Some Outlander scenes were shot in Glasgow","landscapeurl":"/webimage/1.4742594.1526912388!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4742595.1526912389!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742595.1526912389!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "In one episode of Parks and Recreation, Ron Swanson arrives in Glasgow","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "In one episode of Parks and Recreation, Ron Swanson arrives in Glasgow","landscapeurl":"/webimage/1.4742595.1526912389!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-rsno-europe-tour-1-4742419","id":"1.4742419","articleHeadline": "Music review: RSNO Europe Tour","commentCount":0,"publishedDate":1526897363000 ,"articleLead": "

Peter Oundjian kicked off (or almost) his tenure as the Royal Scottish National Orchestra’s music director with an international tour – an energetic five-stop New Year trip to China just a few months into the role. And only weeks before his final season concert with the orchestra, he’s led the players overseas again, this time on a more laid-back but no less whistlestop tour across Europe, covering five cities, four countries and five concerts in five days – and joined, as on previous tours, by violinist Nicola Benedetti.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4742418.1526897360!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Violinist Nicola Benedetti, cellist Jan Vogler, pianist Martin Stadtfeld and the Royal Scottish National Orchestra performing Beethoven's Concerto for Piano, Violin and Cello to a sold-out audience at the Festspielhaus Bregenz, the first concert of the Orchestra's 2018 European Tour."} ,"articleBody": "

First stop was Bregenz, Austria, where the super-modern concert hall backs onto the town’s famous opera stage floating on the waters of Lake Constance (currently offering two gigantic hands ruffling a deck of oversize cards as a backdrop for Carmen). The hall’s rather analytical acoustics, however, didn’t exactly flatter the orchestra’s playing at its opening concert (****). Nor did they help with the slight feeling that Oundjian and the band were still settling into the tour repertoire.

They might have done with a little more fire and fury, but Oundjian’s opening Four Sea Interludes from Britten’s Peter Grimes were assertive and vibrant nonetheless – and the audience’s rather tentative response was almost certainly down to Austrian listeners’ unfamilarity with this music. Beethoven’s Triple Concerto was received far more warmly, however, in an energetic, finely detailed performance from Benedetti, joined by cellist Jan Vogler and pianist Martin Stadtfeld. Benedetti and Vogler made a natural pairing, ideally matched in their crisp, clean, characterful playing, but Stadtfelt seemed the odd man out, his somewhat mannered, effortful playing strangely at odds with the no-nonsense lyricism of his colleagues. In the many phrases that Beethoven passes back and forth between his three soloists, for example, it struck a disconcerting note.

Oundjian completed the opening programme with a granitic Brahms Fourth Symphony, its outer movements delivered with gritted-teeth determination, though it wasn’t without humour in its boisterous scherzo. The audience lapped it up – as well as the exuberant Khachaturian and Scottish reels in the orchestra’s duo of encores.

But what a difference a hall can make. Three hours down the motorway, the 1960s Congress in Alpine Innsbruck had a very wide, very shallow stage – meaning brass and percussion were flung out to the furthest reaches – but an exceptionally fine acoustic. On the programme (*****) was the same music as the previous evening, but it now felt ideally balanced, glowingly assured and bristling with detail – indeed, the players’ unusual geographical spread only intensified the sense of many voices working as one. Oundjian and the musicians beautifully captured Britten’s unsettling combination of surface exuberance and menace underneath, and an equally vibrant account of the Beethoven Triple Concerto drew a tumult of applause – and a thoughtful encore of the slow movement from Beethoven’s early Gassenhauer Trio from the three soloists.

All change, however, with a hop over the border into Bergamo, Italy, whose Teatro Sociale is almost hidden among the narrow, winding streets of the hill-perched old town. This was a very different venue – an intimate opera house dating back to the start of the 19th century (its opening concert is reputed to have featured a young Gaetano Donizetti, a Bergamo native, as vocal soloist), with tiers of boxes overlooking the intimate stage – the modest size of which also required a slightly reduced orchestral line-up. The sound here was superbly bright and lively, if not overly resonant – but an ideal setting, it turned out, for the evening’s new programming (*****).

Bernstein’s Plato-inspired Serenade has not been a regular feature of Benedetti’s repertoire but it looks set to be in future (she brings it to the Edinburgh International Festival on 25 August) and it fits her like a glove. She excelled in its subtle picture painting, its brittle rhythmic intricacies and its sheer sense of exuberant joy, all conveyed with a simple, direct sense of authenticity. The orchestra was on punchy, incisive form, too, and it went down a storm with the audience. Oundjian’s concluding Brahms Fourth was slightly brisker, slightly lighter than the previous two evenings but that was no bad thing – and the listeners went wild for his closing encore of reels: he did his best to keep the barely controlled frenzy between orchestra and clapping, stamping audience in some kind of order.

Virtually a day’s drive away, Saturday evening saw the orchestra in the grand, cavernous space of Ljubljana’s Cankarjev Dom cultural centre (*****) playing to a Slovenian crowd just as enthusiastic as the Italians, with blazing Britten, gutsy Beethoven and a Brahms Fourth that was nimbler and more sharply defined than ever – and the barely restrained exuberance of Oundjian’s closing Scottish reels raised the crowd to their feet in appreciation.

The tour culminated in Dresden last night, at the music festival where soloist Jan Vogler is artistic director. It has been a deeply rewarding, revealing journey through cities and music, and a fittingly warm-hearted farewell foray for Peter Oundjian.

" ,"byline": {"email": "" ,"author": "David Kettle"} ,"topImages": [ {"image": {"url":"/webimage/1.4742418.1526897360!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742418.1526897360!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Violinist Nicola Benedetti, cellist Jan Vogler, pianist Martin Stadtfeld and the Royal Scottish National Orchestra performing Beethoven's Concerto for Piano, Violin and Cello to a sold-out audience at the Festspielhaus Bregenz, the first concert of the Orchestra's 2018 European Tour.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Violinist Nicola Benedetti, cellist Jan Vogler, pianist Martin Stadtfeld and the Royal Scottish National Orchestra performing Beethoven's Concerto for Piano, Violin and Cello to a sold-out audience at the Festspielhaus Bregenz, the first concert of the Orchestra's 2018 European Tour.","landscapeurl":"/webimage/1.4742418.1526897360!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-aidan-moffat-rm-hubbert-st-luke-s-glasgow-1-4742415","id":"1.4742415","articleHeadline": "Music review: Aidan Moffat & RM Hubbert, St Luke’s, Glasgow","commentCount":0,"publishedDate":1526896977000 ,"articleLead": "

Arab Strap’s frank frontman Aidan Moffat and virtuoso acoustic guitarist RM Hubbert go back a long way, first crossing paths in Glasgow around 20 years ago and occasionally sharing stages since then. But this was their first tour as a bona fide duo, cryptically billing themselves as Aidan Moffat & RM Hubbert for the purposes of debuting their collaborative album.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4742414.1526896974!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Aidan Moffat and RM Hubbert"} ,"articleBody": "

Music review: Aidan Moffat & RM Hubbert, St Luke’s, Glasgow ****

Here Lies the Body is a smart, funny and intriguing suite of songs about a long-term relationship and the work required to keep it afloat, which allowed both of them to showcase their quite particular musical skills – Moffat’s merciless yet poetic pen portraits and Hubbert’s dexterous picking, strumming and tapping which blends flamenco and classical techniques with his own background in math rock bands.

They were backed on this inaugural outing by Arab Strap drummer David Jeans and singer and multi-instrumentalist Siobhan Wilson, whose fragrant vocals contrasted starkly with Moffat’s gruff half-spoken delivery on Cockcrow.

With Mz Locum, a raucous song of sexual surrender, Moffat wryly noted that they had got the happy song out of the way near the start of the set but, while the music was typically downbeat, it was full of interesting textures and embellishments and great, economical storytelling.

Moffat has said he laboured long over the lyrics for these songs but you would never know from the casual eloquence on display. Meanwhile the spontaneous repartee between the pair turned what could otherwise have been a fairly bleak odyssey of a mid-life crisis into a warm and witty celebration of shared experience.

Party On, driven by a percussive samba rhythm, was their best attempt at an original pop tune but they genuflected at the genius of Vince Clarke with a singalong cover of Yazoo’s Only You, rough round the edges but rendered with utmost tenderness.

They were also wise to a potential showing-up at the hands of Wilson’s opening set. The Glasgow-based musician is a seductive songwriter and a magnetic performer who can hold a room rapt with the subtlest whisper, possibly learned during her years as a jobbing musician in Paris. J’Attendrai is her sultry French language chanson, Make You Mine a coquettish yet steel-willed pursuit of a desired partner, and All Dressed Up a forlorn appeal for appreciation which never fails to get its way.

" ,"byline": {"email": "" ,"author": "Fiona Shepherd"} ,"topImages": [ {"image": {"url":"/webimage/1.4742414.1526896974!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742414.1526896974!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Aidan Moffat and RM Hubbert","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Aidan Moffat and RM Hubbert","landscapeurl":"/webimage/1.4742414.1526896974!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-kathleen-turner-queen-s-hall-edinburgh-1-4742411","id":"1.4742411","articleHeadline": "Music review: Kathleen Turner, Queen’s Hall, Edinburgh","commentCount":0,"publishedDate":1526896277000 ,"articleLead": "

THE question “where are they now?” might fairly be applied to Kathleen Turner, who effortlessly dominated female roles in Hollywood throughout the 1980s, including her famously sexual debut Body Heat in 1981 and a successfully recurring double act with Michael Douglas which began with 1984’s Romancing the Stone. The short answer is, she’s right here, presenting a life-story-with-music which is both frank and impassioned.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4742410.1526896274!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Kathleen Turner"} ,"articleBody": "

Kathleen Turner, Queen’s Hall, Edinburgh ***

The long explanation for her whereabouts is more complex than that, and the tale she relates of her rise and fall opens a window upon the life of a female Hollywood actor of Turner’s generation, who had to trade on her youth and vitality as much as her acting ability. By the start of the 1990s, Turner was beginning to be offered lesser, older roles (John Waters’ dark comedy Serial Mom was a favourite, she says), yet it was the unexpected onset of paralysing rheumatoid arthritis at a young age which really waylaid her career.

“I went from doing my own stunts to being told I’d never walk again,” she said here, the 63-year-old’s famously husky voice deepened by an apparent sore throat, and the version of Send in the Clowns which followed was appropriately dramatic. That’s little surprise, because when new drug treatments put her illness in remission, Turner reinvented herself for the new millennium in smaller roles for television and the stage.

Amid a set of smoky showtunes backed by her live trio, Turner’s reminiscences are the real box office. She speaks warmly of befriending Dame Maggie Smith at the stage door while she was playing The Graduate in London (“I got a script which described a character as ‘37 but still attractive’,” she spat to loud applause, “which pissed me off so bad I decided to go nude onstage at 48”) and of her enthusiastic current activism for causes including Meals on Wheels and Planned Parenthood. “I am angry about the politics in my country,” she sighed, “but I’m an optimist.” Her life is evidence of that.

" ,"byline": {"email": "" ,"author": "David Pollock"} ,"topImages": [ {"image": {"url":"/webimage/1.4742410.1526896274!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742410.1526896274!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Kathleen Turner","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Kathleen Turner","landscapeurl":"/webimage/1.4742410.1526896274!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/film/derelict-leith-cinema-being-brought-back-to-life-for-final-screening-1-4742171","id":"1.4742171","articleHeadline": "Derelict Leith cinema being brought back to life for final screening","commentCount":0,"publishedDate":1526882851000 ,"articleLead": "

A dusty, derelict cinema which was once a palace of the silver screen is to revisit its glorious past before being lost forever.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4742167.1526882699!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "editorial image"} ,"articleBody": "

The long-shuttered State Cinema, opened in 1938, showed everything from newsreels to The Lone Ranger serial to Hollywood classics over the years, before closing in 1972.

But, with planning permission granted to demolish the Great Junction Street cinema and build flats on the site, organisers of Edinburgh’s Hidden Door Festival - who made headlines last year by injecting new life into nearby Leith Theatre - saw an opportunity to re-open the State for one last time.

This week the venue will host a number of festival events, including a screening on Saturday of Snow White And The Seven Dwarfs, released the same year the cinema opened.

David Martin, the festival’s founder and creative director, said: “After the buzz and excitement surrounding our use of Leith Theatre last year, we decided we would keep at it and try to provide something unexpected again.

“We thought it would likely be in the centre of Edinburgh and we had a shortlist of 30 unused buildings, but then the State cinema came up.

“We had previously tried to find out who owned it without luck, but when we saw an interview online with the new owner, we got in touch and told him what we would like to do. He said it sounded like a great idea to use it one last time.”

Once permission was granted from the council and a full safety check was carried out, artist David and his army of volunteers got to work. “It’s much more stripped down and derelict than the theatre was, but that makes it more exciting and edgy,” said David, who teaches at Leith School of Art.

“The interior has changed a lot over the years. Once the cinema closed in 1972 it became a bingo hall and then a nightclub, at which point everything was changed internally, with bars, walkways and platforms added.

“It’s certainly rough and ready, but also evocative. It’s more of a shell now. We started building a floor - because it no longer had a floor - about three weeks ago. Before that people went in and cleared it, as it was full of rubble and dust.

“The festival is volunteer-run and we currently have a team of 400 from all walks of life helping out.”

This is the fifth year of the Hidden Arts Festival.

“I originally approached the council and they allowed use of the arches behind Waverley Station. It was more of a street festival, but went so well that the following year the council let us use an old street cleaning depot just off Grassmarket.

“That was when the festival came into its own. There are pop-up venues during the Fringe, so why not outside of August?”

Fundraising contributed almost £10,000 towards state-of-the-art lighting and rigging, and by the weekend the curtain will open in the State one final time for a multi-sensory screening of Snow White.

“It will be an extended variation, with audience participation, and things like toffee apples instead of poisoned apples. We hope people will come down and be quite nostalgic.

“It’s a unique experience - there will be nothing else quite like it.”

" ,"byline": {"email": "" ,"author": "GARY CARTER"} ,"topImages": [ {"image": {"url":"/webimage/1.4742167.1526882699!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742167.1526882699!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "editorial image","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "editorial image","landscapeurl":"/webimage/1.4742167.1526882699!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4742168.1526882839!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742168.1526882839!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The State Cinema in Leith, which is opening its doors again for one night only after being closed since 1972.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The State Cinema in Leith, which is opening its doors again for one night only after being closed since 1972.","landscapeurl":"/webimage/1.4742168.1526882839!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4742169.1526882845!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742169.1526882845!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "editorial image","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "editorial image","landscapeurl":"/webimage/1.4742169.1526882845!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4742170.1526882847!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4742170.1526882847!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "editorial image","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "editorial image","landscapeurl":"/webimage/1.4742170.1526882847!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/theatre/theatre-reviews-the-strange-undoing-of-prudencia-hart-chic-murray-a-funny-place-for-a-window-1-4741648","id":"1.4741648","articleHeadline": "Theatre reviews: The Strange Undoing Of Prudencia Hart | Chic Murray: A Funny Place For A Window","commentCount":0,"publishedDate":1526657743000 ,"articleLead": "

IT’S seven years since the young Edinburgh academic Prudencia Hart first took to the road, on her way to an ill-fated seminar in Kelso on the Border ballad tradition; but the National Theatre of Scotland’s famous pub show about her strange undoing – now celebrated across two continents – has lost none of its strange comic and erotic allure, as David Greig gives a funny, compassionate, stylish and whimsical 21st century makeover to Scotland’s grand ballad tradition.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4741677.1526660573!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Strange Undoing of Prudencia Hart"} ,"articleBody": "

The Strange Undoing of Prudencia Hart, Assembly Roxy, Edinburgh ****

Chic Murray: A Funny Place For A Window, Oran Mor, Glasgow ****

So we sit at pub tables, tearing up napkins to create the story’s opening snowstorm, and hear the rhyming tale of Prudencia, an uptight but lovable postgraduate student who drives to Kelso through a gathering blizzard – overtaken en route by her annoying colleague Colin Sime, on his motorbike – only to find herself stranded there, and, like many a ballad hero before her, stepping through a gap in time into eternity – in this case the bed-and-breakfast from hell, run by the devil, a charmer called Nick.

Millennia pass timelessly, as Pru browses in the devil’s library; but eventually, the pain of imprisonment becomes too much for her, and she triggers a terrific battle of wit, passion, seduction and willpower that only ends when she leaps back through the gap into the waiting arms of – yes–- that same Colin Sime.

It’s a tremendous tale, brilliantly and ingeniously told in Wils Wilson’s production; and this latest cast is 
perhaps her finest yet, a brilliantly focused, fast-moving ensemble that includes 
Wildcat veteran George Drennan as narrator and lead musician, and the enthralling and magical Jessica Hardwick as Prudencia.

The Strange Undoing is a joyously postmodern show, famous for its glorious collision between some of the oldest ideas in Scottish literature, and 21st century popular culture; and when, this time round, Prudencia finishes her final super-seductive karaoke performance of Kylie’s Can’t Get You Out Of My Head, the audience just can’t resist jumping to their feet, and giving this fine company a standing ovation.

This week’s Play, Pie And Pint show – written and directed by Stuart Hepburn – also contains some vintage and exquisite Scottish comedy, this time from the school of whimsical surrealism pioneered by the great Scots comic Chic Murray, between the 1930s and his death in 1985.

Subtitled with the punchline of one of Murray’s favourite jokes – “I opened the window in my pyjamas; funny place for a window…” – Hepburn’s play is essentially a gentle one-hour biopic, narrated by Kate Donnelly as Murray’s long-suffering wife and sometime professional partner, Maidie Dickson, and tracing their story from their first meeting at Chic’s mother’s theatrical rooming-house in Greenock in 1934, to Chic’s poignant death in the house next door to the Edinburgh home of the now estranged Maidie.

The heart and soul of the show, though, lies in David Anderson’s wonderful portrayal of Murray, as he finds his remarkable comic style, develops it into a glittering stage and film career, and at the same time destroys his wonderful marriage to Maidie, through a mixture of faithlessness and booze.

Brian James O’Sullivan offers magnificent support as musician and as every other character in the tale, from the friendly Edinburgh neighbour who offers Chic a final bed for the night, to that beaming variety king of the piano keys, Liberace.

And the overall effect is of a delicious, complex, and loving tribute to a vital piece of Scottish showbiz history, and the man who created it; the Tall Droll to Maidie’s Small Doll, unique, hilarious, and inimitable – but happily not unplayable, as David Anderson so eloquently demonstrates in this memorable show.

The Strange Undoing of Prudencia Hart is at Assembly Roxy, Edinburgh, tonight, and on tour to Mull and Oban next week. Chic Murray: A Funny Place For A Window is at Oran Mor, Glasgow today, and the Lemon Tree, Aberdeen, next week.

" ,"byline": {"email": "" ,"author": "Joyce McMillan"} ,"topImages": [ {"image": {"url":"/webimage/1.4741677.1526660573!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741677.1526660573!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Strange Undoing of Prudencia Hart","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Strange Undoing of Prudencia Hart","landscapeurl":"/webimage/1.4741677.1526660573!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4741686.1526660577!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741686.1526660577!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Chic Murray: A Funny Place for A Window","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Chic Murray: A Funny Place for A Window","landscapeurl":"/webimage/1.4741686.1526660577!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-ben-folds-glasgow-royal-concert-hall-1-4741557","id":"1.4741557","articleHeadline": "Music review: Ben Folds, Glasgow Royal Concert Hall","commentCount":0,"publishedDate":1526651944000 ,"articleLead": "

TOWARDS the end of this two hour solo show, Ben Folds took a surprising detour from the expected repertoire of smart, funny, sensitive indie piano pop he’d been playing up until that point. His road crew darted from the wings and assembled, with lightning speed, a drum-kit, upon which he performed a wild virtuoso solo. This, clearly, is a man who understands the value of showmanship.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4741556.1526658787!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Ben Folds conducts the audience"} ,"articleBody": "

Ben Folds, Glasgow Royal Concert Hall ****

Like Elton John, Folds knows that, no matter how strong their material is, a piano-based singer-songwriter lacks sustained dramatic interest. You need to jazz things up. That’s why he tells amusing stories, teaches the audience to sing four-part harmony – the results, with Folds 
conducting like a groovy music teacher, were sweetly shambolic – and turns his piano into an emotional assault weapon.

He can play with real grace and tenderness, but he also summons dissonant thunderclaps by hammering the bass keys at judicious intervals.

He’s also fond of improvising songs to suit the occasion; tonight he created an enjoyably rambling ditty about someone kindly giving him a copy of Belle & Sebastian’s then rare Tigermilk LP after an early show at Glasgow’s King Tut’s.

If Folds wasn’t so darn genial, this would look like showing off. His penchant for sarcastic nerd satirical songs – eg Rockin’ The Suburbs – would be insufferable if he didn’t choose valid targets, wrap them in killer tunes and balance them with touchingly heartfelt, ten-tiered wedding cakes like Landed and The Luckiest.

A Ben Folds show is an irresistible tightrope walk.

" ,"byline": {"email": "" ,"author": "Paul Whitelaw"} ,"topImages": [ {"image": {"url":"/webimage/1.4741556.1526658787!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741556.1526658787!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Ben Folds conducts the audience","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Ben Folds conducts the audience","landscapeurl":"/webimage/1.4741556.1526658787!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/frightened-rabbit-create-memory-book-for-grieving-fans-1-4741512","id":"1.4741512","articleHeadline": "Frightened Rabbit create memory book for grieving fans","commentCount":0,"publishedDate":1526649594000 ,"articleLead": "

Scottish band Frightened Rabbit have created a way for fans to record their tributes to and memories of the group’s late frontman, Scott Hutchison, who was found dead last week.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4741510.1526645769!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The bandmates of late Frightened Rabbit singer Scott Hutchison have created a way for fans to pay tribute (Photo: Shutterstock)"} ,"articleBody": "

As announced via an Instagram post from the band’s official account, the remaining members have left a notebook titled ‘A Wee Book For Scott’ at famous Glasgow music venue, King Tut’s Wah Wah Hut.

Fans and friends of the singer are encouraged to fill the pad with messages, stories or any other kind of inscription they like, using the markers provided.

Fans and contemporaries pay their respects

Tweets and obituaries have flooded in continuously since the news of Hutchison’s death, and several of the musicians and promoters who worked with and knew him are now arranging their own tributes.

Edinburgh-based artist Withered Hand will perform at charity fundraiser Tiny Changes 2018 (a reference to a Frightened Rabbit lyric) in Perth on Sunday 27 May.

Taking place The Green Room, the gig will raise money for two charities - Andy's Man Club (a mental health charity for men), and Help Musicians, who offer assistance to musicians throughout their careers. Other acts on the bill include PAWS, The Ninth Wave and Dante.

Elsewhere in the country, the organisers behind a planned Frightened Rabbit performance at The Piece Hall in Blackledge, Halifax, on Saturday 26 May have announced that they will not replace the band on the bill. Instead, those attending the event will honour the memory of Scott Hutchison with a minute of applause and noise, beginning at 7:30pm.

The other artists appearing will have extended set times, and collections for a local mental health awareness charity will be made during the evening.

A tragic end

Scott Hutchison was publicly reported missing by his brother and bandmate Grant via social media on Wednesday 9 May. On the morning of Friday 11 May, it was announced that the body of a man had been found in Port Edgar marina, close to South Queensferry where the singer was last seen.

Later that day, it was confirmed that the body was indeed Hutchison, who had taken his own life. The performer was open about his ongoing struggles with mental health throughout his life.

" ,"byline": {"email": "Alex.Watson@jpress.co.uk" ,"author": "Alex Watson"} ,"topImages": [ {"image": {"url":"/webimage/1.4741510.1526645769!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741510.1526645769!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The bandmates of late Frightened Rabbit singer Scott Hutchison have created a way for fans to pay tribute (Photo: Shutterstock)","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The bandmates of late Frightened Rabbit singer Scott Hutchison have created a way for fans to pay tribute (Photo: Shutterstock)","landscapeurl":"/webimage/1.4741510.1526645769!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4741511.1526645770!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741511.1526645770!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Frightened Rabbit posted about the memory book on Instagram (Photo: Instagram)","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Frightened Rabbit posted about the memory book on Instagram (Photo: Instagram)","landscapeurl":"/webimage/1.4741511.1526645770!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ {"video": {"brightcoveId":"5783601239001"} } ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-trio-hlk-with-evelyn-glennie-queen-s-hall-edinburgh-1-4741475","id":"1.4741475","articleHeadline": "Music review: Trio HLK with Evelyn Glennie, Queen’s Hall, Edinburgh","commentCount":0,"publishedDate":1526643073000 ,"articleLead": "

AN UNSUSPECTING fragment from one of Bach’s cello suites mustn’t have known what hit it, as Trio HLK, joined by percussion virtuoso Dame Evelyn Glennie, hijacked it amid a melee of heavy-metal intensity. With Glennie’s vibraphone ringing and Ant Law’s eight-stringed guitar howling ferociously over slams from pianist Richard Harrold and drummer Richard Kass, The Jig as they cursorily titled it, was the climax and arguably the highlight of a striking launch concert for the trio’s debut album, Standard Time.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4741474.1526643822!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Trio HLK and Evelyn Glennie"} ,"articleBody": "

Queen’s Hall, Edinburgh ****

As the album title slyly suggests, along with the disembodied clock parts on its sleeve, Trio HLK are all about the deconstruction of fragments, not mention time signatures, of often familiar numbers, which they do with sometimes cerebral, sometimes explosively visceral intent. Thus Dizzy Gillespie’s Anthropology became Anthropometrics, dissected by Harrold’s jagged boogie lines and by the seemingly multi-armed Kass’s bewilderingly shifting rhythms.

Glennie, hemmed in by a veritable stockade of vibes, marimba, tympani and assorted percussive gewgaws, emerged for a solo spot, hands flickering in an urgently driven piece for steel handpan and prepared tape, and to spar energetically on a separate drum kit with Kass in a number which concluded with a formidable break from the HLK drummer.

It wasn’t all thunder, however, as the sumptuously shimmering opening of their take on Wayne Shorter’s ESPdemonstrated, or the spooky sound world of vibe and piano chimes, woody marimba mutterings and guitar sighs which sometimes alternated with industrial drum clamour.

" ,"byline": {"email": "" ,"author": "Jim Gilchrist"} ,"topImages": [ {"image": {"url":"/webimage/1.4741474.1526643822!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741474.1526643822!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Trio HLK and Evelyn Glennie","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Trio HLK and Evelyn Glennie","landscapeurl":"/webimage/1.4741474.1526643822!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-ray-lamontagne-clyde-auditorium-glasgow-1-4741473","id":"1.4741473","articleHeadline": "Music review: Ray LaMontagne, Clyde Auditorium, Glasgow","commentCount":0,"publishedDate":1526643022000 ,"articleLead": "

RAY LaMontagne comes over as a gentle, even fragile soul but there is something admirably bloody-minded about the uncompromising way he conducts his live affairs. His latest tour, in support of ravishing new album Part of the Light, could hardly be more simple in set-up – LaMontagne on acoustic guitar, all the better to serenade the gathering, with subtle embellishment from Wilco’s John Stirratt on electric bass and clear, honeyed harmonies.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4741472.1526643375!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Ray Lamontagne may not say much, but his music does all the talking any audience may need'' (Photo by Neilson Barnard/Getty Images)"} ,"articleBody": "

Ray LaMontagne, Clyde Auditorium, Glasgow ****

Were it not for the non-budget-busting proscenium arch scenery and calming clouds on the backdrop, this introverted show could easily have found a more natural home in the backroom of a pub. Of the two musicians, Stirratt appeared to be the more outgoing. Or was at least prepared to make eye contact with the rapt audience. Lamontagne stretched to the occasional song introduction or muttered thanks.

But his music did all the talking required. LaMontagne is an old school troubadour, understated to a fault and entirely out of step with the vogue for manicured angst. His soft, breathy tone was perfect for the gorgeous ache of his material, and his lithe strumming harked back over a generation to the ace songwriters circle who populated LA’s Laurel Canyon in the early 1970s. There was even a touch of Love’s sunshine psychedelia on Lavender and a Van 
Morrisonesque clipped, 
rhythmic soul to the delivery of Airwaves, caressed by the sweetest and subtlest of harmonies.

For all his easy listening appeal, LaMontagne was utterly hardcore in his unremitting reticence, his face in shadow under his hat throughout his zen performance. But though he does not encourage interaction – either you were on board or you were not – the warmth of his music invites engagement and intimacy.

The tender mercy of You Should Belong To Me is as good an example as any of a song to lean in to, inspiring an enraptured hush, but his well-behaved listeners in Glasgow could not be contained for too long and there were whoops of approval for Burn and other material from his debut album Trouble, including the soft heartbreak of All The Wild Horses and the more rousing acoustic blues of the title track itself, LaMontagne’s introduction to the world 14 years ago and by far the most extrovert performance of the night from this modest man.

" ,"byline": {"email": "" ,"author": "Fiona Shepherd"} ,"topImages": [ {"image": {"url":"/webimage/1.4741472.1526643375!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741472.1526643375!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Ray Lamontagne may not say much, but his music does all the talking any audience may need'' (Photo by Neilson Barnard/Getty Images)","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Ray Lamontagne may not say much, but his music does all the talking any audience may need'' (Photo by Neilson Barnard/Getty Images)","landscapeurl":"/webimage/1.4741472.1526643375!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/music-review-don-mclean-glasgow-royal-concert-hall-1-4741471","id":"1.4741471","articleHeadline": "Music review: Don McLean, Glasgow Royal Concert Hall","commentCount":0,"publishedDate":1526642940000 ,"articleLead": "

Don McLean does as Don McLean wants. His 50-year career playing and writing folk, pop, country and rock’n’roll songs testifies to his desire not to be tied down and, fortunately for his Glasgow audience, it also meant a bumper live set because, as he mentioned more than once, he never knows when he’s going to be back.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4741470.1526644095!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Don McLean wasted no time in providing a bumper set"} ,"articleBody": "

Don McLean, Glasgow Royal Concert Hall ****

With zero fanfare and no time to waste, he and his five-piece band rollicked straight into Guy Mitchell’s Singing The Blues and freewheeled through a Buddy Holly 
double bill of Everyday and It Doesn’t Matter Anymore, the latter being the song a 
teenage McLean requested on the radio the day after Holly died, and therefore a neat set-up for his own most enduring hit.

But as he informed a couple of young fans in the front row, that was for later. First, some of his contemporary standards such as a solo, plaintive and richly resonant Empty Chairs, and the vulnerable 
romantic ballad And I Love You So, which developed into a battle between sumptuous slide guitar and cheesy keyboards.

McLean’s voice remains a strong, sonorous instrument but with a casual Willie Nelson-like looseness in the phrasing, as heard onCastles in the Air and an unamplified Stardust.

There was time for a couple of the more upbeat numbers from his excellent new album Botanical Gardens, including the swaggering title track, before the entire room was pressed into service on a suitably celebratory American Pie and captivated by a solo encore of the evergreen and quite devastating Vincent.

" ,"byline": {"email": "" ,"author": "Fiona Shepherd"} ,"topImages": [ {"image": {"url":"/webimage/1.4741470.1526644095!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741470.1526644095!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Don McLean wasted no time in providing a bumper set","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Don McLean wasted no time in providing a bumper set","landscapeurl":"/webimage/1.4741470.1526644095!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/justin-timberlake-delays-uk-tour-dates-and-cancels-glasgow-show-1-4741330","id":"1.4741330","articleHeadline": "Justin Timberlake delays UK tour dates and cancels Glasgow show","commentCount":0,"publishedDate":1526634106000 ,"articleLead": "

Justin Timberlake has apologised to fans after delaying the start of the European leg of his The Man Of The Woods Tour and cancelling three UK shows.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4741329.1526634102!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Justin Timberlake has delayed the start of the European leg of his The Man Of The Woods Tour. Picture: PA Wire"} ,"articleBody": "

The singer was due to kick off his live dates in Paris on June 22 but will now begin on July 3, Live Nation announced.

He will commence the UK leg in Glasgow on July 7, rather than July 5 as originally planned, followed by the originally scheduled shows in London on July 9 and 11 at the O2 Arena.

Tickets for the July 5 performance will be honoured at the rescheduled July 7 event, the concert organisers said.

READ MORE: Justin Timberlake to bring Man Of The Woods tour to Glasgow

Tickets for a concert at the Birmingham Arena on June 27 will now be honoured at the new date of August 27 and in Manchester, tickets for the originally scheduled July 1 concert at Manchester Arena will be honoured at the new date of August 29.

Concerts in Birmingham on June 28, Manchester on July 2 and Glasgow on July 6 have been cancelled and fans holding tickets will receive a refund at point of purchase.

A statement from Live Nation said: “Justin Timberlake and Live Nation apologise for any inconvenience to fans.”

The European leg of the tour will take Timberlake, who is currently on tour in the US, to countries including the Netherlands, Denmark, Belgium, Norway and Germany

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4741329.1526634102!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741329.1526634102!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Justin Timberlake has delayed the start of the European leg of his The Man Of The Woods Tour. Picture: PA Wire","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Justin Timberlake has delayed the start of the European leg of his The Man Of The Woods Tour. Picture: PA Wire","landscapeurl":"/webimage/1.4741329.1526634102!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/theatre/stars-of-new-scottish-musical-on-being-a-band-as-well-as-a-cast-1-4741239","id":"1.4741239","articleHeadline": "Stars of new Scottish musical on being a band as well as a cast","commentCount":0,"publishedDate":1526619600000 ,"articleLead": "

It is a gloomily grey morning in Glasgow – but on the banks of the Forth and Clyde Canal images are being conjured up of far-off adventures framed by crystal-clear waters, deserted beaches and dreamy sunsets.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4741238.1526628995!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Adam Ross. Picture: John Devlin"} ,"articleBody": "

Inside a rehearsal room at Rockvilla, the new “engine room for Scottish theatre,” a brand new Scottish musical is swiftly taking shape before my eyes.

The small group of actors stepping in and out of character and switching accents are all wielding musical instruments as they run through the show. There hardly seems time for them to catch their breath between scenes before they have to break into another, oddly-familiar, musical number.

Billed as a “bittersweet tale of heartache, loss, recovery and discovery,” The Isle of Love is also being sold as Scotland’s first ever indie-pop jukebox musical, which is set to cast a whole new light on Scotland’s Hebridean islands as well as showcase one of its rising songwriting talents.

The show, which will embark on a four-week tour after opening this weekend in Inverness, will be set to a soundtrack drawn entirely from the back catalogue of Randolph’s Leap, the seven-piece Glasgow band fronted by Adam Ross.

Almost all of the action in the show unfolds on a fictional island which has drawn a disparate group of characters to its shores in search of something – or someone.

Although many of the songs are directly inspired by Ross’s experiences of the Hebrides – including childhood visits to Skye, Mull, Iona, the Uists and Luing – The Isle of Love show was instigated after one of its two writers, Euan Martin, heard the song which was to provide the show’s title on the radio on a late-night car journey home.

Its promise of a distant paradise offering the chance to “get away from the noise and chatter and reconnect with the things that matter” had Martin hooked right away on the idea of a show set on an island with the power to ease the “stress and strain” of everyday life.

After three years in development, The Isle of Love is finally set to see the light of day, while Ross has been persuaded to star in the show he has created with Martin and regular collaborator Dave Smith.

Theatre company, Right Lines, has already enjoyed success with shows set at a Highland wedding, a ceilidh dance and a flood-hit village hall, as well as a play about the race to secure a super-rare malt whisky and another inspired by the antics of the Naked Rambler.

Its track record has helped win the backing of national arts agency Creative Scotland to take The Isle of Love out on tour across the country, including Aberdeenshire, Moray, Dumfriesshire and Perthshire, as well as island dates in Skye, Lewis and Harris.

At least 20 songs drawn from Randolph’s Leap back catalogue are due to feature in the final production, which Martin says will explore the “beauty and healing qualities of island life.”

However the show is also set to mark a departure from the company’s usual feel-good stage shows, with The Isle of Love’s characters dealing with the aftermath of domestic abuse, a failing marriage, loneliness, stress and depression when they arrive on the island.

Martin explains: “All the characters are on their own personal journeys. The island is a constant, but it is also a catalyst assisting each character to confront their circumstances and arrive at a better place.

“At a time when mental health issues are very much in sharp focus, one of the themes of the show is the positive impact of people and place when folk are dealing with the stress and strain of everyday life.

“The narrative nature of Adam’s lyrics allowed us to work the songs into the storyline of each character.

“They are a reflection of the characters’ emotions and add tone and mood rather than directly progress the storyline as you might find in a more traditional musical.”

Ross had to get special approval for time away from his day job as an RSPB officer in Aberdeenshire – where he is currently leading a dolphin watch project – to take part in the show, which he has been involved in since Martin and Smith came to see his band play on their home turf in Glasgow – and pitched the idea of turning some of their best-known material into a stage show.

Ross says: “Quite a few songs are actually inspired by the Hebrides. A strong theme running through a few of our albums is city versus countryside and the pros and cons of each. When I think of being out of the city it’s quite often places like the Hebrides where I feel I would rather be.

“I had lots of holidays there when I was growing up. I love the wildness of it, the uniqueness of the landscapes, the smells, the sounds, the sights. They are peaceful, but exciting places.”

Apart from a brief prelude scene set in Glasgow six months before the main events, The Isle of Love largely unfolds over the space of a week and focuses on a set of characters who arrive off the ferry at the same time.

Director Mark Saunders says: “There are several different narratives in this show.

“The island is almost a holding place for these stories and it becomes a very significant place for the characters who arrive there. They are people looking for different answers and ways of sorting themselves out.”

Ross, who says he is “pretty much playing myself” in the show, is one of six performers, along with musical director John Kielty, Kevin Lennon, Amy McGregor, Deborah Arnott and Ross Allan.

Ross says: “The show paints the islands in a positive light, but they’re not entirely romanticised.

“The story isn’t really about the island. It focuses more on the people who have arrived there – people who are quite detached from the resident community. The story is more about them finding their own place.”

Lennon plays one of the locals, “The Old Man of the Island,” as well as Alan, who has arrived after a difficult relationship break-up.

He says: “My character has come to the island at a bit of a crisis point in his life. He is a bit stuck, he is feeling depressed and has reached an impasse.

“The Old Man represents the spirit of the island. He has wisdom to impart to everyone who has come there.”

Allan plays Bob, who has brought his wife Amy to the island in the hope of reviving their stale relationship.

He says: “They have never been to the island before. They’ve never done anything like this before. Bob has been getting pressure from his wife to be a bit more adventurous. He has taken that quite literally. He has taken her to live almost as off-grid as they possibly can.”

Saunders adds: “We get little snapshots of their lives punctuated by these wonderful songs, which reflect the feelings of the characters and their various situations.

“The lyrics have actually hardly been changed at all – the songs have only been slightly rearranged to suit the musical skills of the various performers.”

Allan adds: “I don’t really think of it as a musical – I like to call it gig theatre myself. We’re all playing instruments and singing. We’re a band as well as a cast.”

Ross, who will be performing with the full Randolph’s Leap line-up after the show in Glasgow on 9 June, says: “The whole project has been great so far. I’ve been really impressed at how quickly things have evolved since we started rehearsing, the way the cast have learned the lyrics and their lines, and also the way they have pulled the emotion out of scenes.

“It’s been really rewarding and gratifying to see the songs take on a new life.”

The Isle of Love opens in Inverness tonight and is on tour around Scotland until 16 June, for tickets see http://rightlines.net

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4741238.1526628995!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4741238.1526628995!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Adam Ross. Picture: John Devlin","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Adam Ross. Picture: John Devlin","landscapeurl":"/webimage/1.4741238.1526628995!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/film/film-reviews-deadpool-2-filmworker-cambodian-spring-1-4740863","id":"1.4740863","articleHeadline": "Film reviews: Deadpool 2 | Filmworker | Cambodian Spring","commentCount":0,"publishedDate":1526555297000 ,"articleLead": "

While the Deadpool sequel is funnier and filthier than the original, its ruthless send-up of the superhero genre belies the fact it is a cash-making franchise itself

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4740862.1526555295!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Deadpool (Ryan Reynolds) reacts to a threat from Colossus (voiced by Stefan Kapicic)"} ,"articleBody": "

Deadpool 2 (15) ***

Filmworker (15) ****

Cambodian Spring (15) ****

One of the most hilarious things about the original Deadpool wasn’t the script – the film wasn’t particularly laugh-out-loud funny – but the commentary surrounding its appetite for deconstruction. Pitched as the antidote to the glut of family-friendly, hugely profitable, somewhat risk-averse superhero films that have dominated cinemas for much of this century, its ultra-violent evisceration of every comic book movie convention clicked with audiences who seemed to get a kick out of seeing Ryan Reynolds annihilating the fourth wall the way the Avengers destroy cities. There was just one thing: the lesser-seen Kick-Ass had already performed this function for superheroes in the modern age and the recent Jump Street movies had pushed self-aware genre satire to its glorious endpoint. Deadpool’s unexpected success wasn’t so much the shock of the new, then; it was the shock of seeing how effectively a big studio could monetise genre subversion now that general audiences were fully conversant in the cinematic language of superheroes.

Which isn’t to say it wasn’t entertaining. It just wasn’t as transgressive as its inbuilt self-referential marketing campaign would have had you believe. The same might be said for Deadpool 2. The inevitable sequel draws attention to its own inevitability right from the off and the pop culture gags come thick and fast, from ongoing digs at X-Men stablemate Wolverine and DC rivals like Batman and Superman, to Marvel’s current box-office behemoth, Avengers: Infinity War (both Infinity War and Deadpool 2 star Josh Brolin as their respective villains so you can probably guess what the joke might be). This time out the film kicks off with the indestructible Deadpool attempting to commit suicide for reasons soon revealed in an elaborate flashback. But even this flashback functions as a call-back to the first film’s own flash-backing structure, which along with Reynolds’s sardonic voice-over immediately serves as a wink and a nod, reassuring us that the new film will have the same irreverent tone. And so it proves. After swiftly establishing, commenting upon and making fun of the most cliché-ridden plot motivation imaginable for an antihero in love, the bulk of the film focuses on Deadpool attempting – in his cynical, trying-not-to-care way – to save a rage-filled mutant teenager with pyrotechnic powers from a super-soldier from the future (Brolin’s Cable) intent on killing him, Terminator-style.

The good news here is that the kid – he’s called Russell – is played by Julian Dennison, the break-out New Zealand star of Taika Waititi’s Hunt for the Wilderpeople. Dennison does a nice line in adolescent petulance, calling out the lack of opportunities for plus-sized superheroes while hinting at a darker aspect of his character’s backstory.

The film’s other plus-point is up-and-coming actress Zazie Beetz as new character Domino, a preternaturally lucky superhero whom Deadpool recruits as part of a team of reprobate caped-crusaders he’s banded together to help him save Russell. The Avengers/Justice League/Suicide Squad-mocking team-up results in the films most inspired set-piece – involving a disastrous parachute jump and a blink-and-you’ll miss it cameo from certain Hollywood A-lister – but its hilarity is sullied come the end of the movie by the realisation that this is also the film’s own insidious way of setting up another team-based superhero spin-off franchise. And that’s where the film repeatedly blunts its own edge.

Though in many respects Deadpool 2 is funnier, filthier and certainly better directed in the action stakes than its predecessor (thanks to the presence of John Wick director

David Leitch behind the camera), it’s also a film that gleefully sacrifices sacred cows while remaining reluctant to touch any labelled “cash”.

The cult of Stanley Kubrick is taken to a new extreme with Filmworker, director Tony Zierra’s fascinating documentary portrait of Leon Vitali, a classically trained British actor who gave up a promising career in front of the camera to serve at the feet of the master. Having fallen in love with Kubrick’s work after seeing 2001, Vitali scored a major role in Barry Lyndon and became so enamoured with Kubrick on set he dedicated himself to working behind the scenes – from helping cast child actor Danny Lloyd in The Shining to more mundane tasks, such as creating a feline surveillance system so the director could keep track of his pets. As the previous sentence suggests, the film simultaneously dispels and reinforces various myths about the director and offers some incredible insights into the making of several Kubrick classics. Yet none of this detracts from how fascinating a figure Vitali himself is, or how vital he‘s been in the preservation of Kubrick’s legacy.

Cambodian Spring director Chris Kelly spent six years following local activists protesting the impact of developers on the residents of the Phnom Pen-suburb of Boeung Kak. Facing forcible eviction from their homes, they’re pitted against not just a faceless corporation in cahoots with Prime Minister Hun Sen’s dissent-blocking government, but against each other as the years-long struggle takes it toll personally on the women (ordinary wives and mothers) who emerge as its leaders.

The results are eye-opening and upsetting, putting paid to any notion that the country’s rapid transition

to a free market economy has enabled it to move on from the tragic, still-raw history of Pol Pot without creating a whole new set of bleak scenarios in the dubious name of progress. ■

" ,"byline": {"email": "" ,"author": "Alistair Harkness"} ,"topImages": [ {"image": {"url":"/webimage/1.4740862.1526555295!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4740862.1526555295!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Deadpool (Ryan Reynolds) reacts to a threat from Colossus (voiced by Stefan Kapicic)","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Deadpool (Ryan Reynolds) reacts to a threat from Colossus (voiced by Stefan Kapicic)","landscapeurl":"/webimage/1.4740862.1526555295!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/under-the-radar-lost-in-vancouver-1-4740803","id":"1.4740803","articleHeadline": "Under the Radar: Lost In Vancouver","commentCount":0,"publishedDate":1526553293000 ,"articleLead": "

Edinburgh indie rock quartet Lost In Vancouver are beginning to generate a real buzz. They’ve performed at Tenement Trail, Carnival 56 and BBC at the Edinburgh Festivals, played alongside artists as diverse as Mark Ronson and The Fratellis, as well as supporting up-and-coming bands such as Lional and Glass Caves.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4740802.1526553291!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Lost In Vancouver"} ,"articleBody": "

The band have gained airplay from Jim Gellatly through his Amazing Radio show and been featured by Clash magazine for their brilliant new single Pinot Noir, a spiky, immediate and energetic slice of alt-pop. See Lost In Vancouver live tomorrow when they support The Vegan Leather and NOAH NOAH at Sneaky Pete’s in Edinburgh, at The Hug & Pint in Glasgow on 9 June or at The Mash House in Edinburgh for a hometown headline show on 20 July. For more information go to www.facebook.com/lostinvancouver.

Olaf Furniss and Derick Mackinnon run music industry seminar and social night, Born To Be Wide.

www.borntobewide.co.uk

Under the Radar in association with The Hidden Door Festival, which takes place at the Leith Theatre and the State Cinema, Edinburgh, from 25 May until 3 June, featuring performances from Young Fathers, Sylvan Esso, Nadine Shah, Admiral Fallow, Submotion Orchestra, Romare, Dream Wife, C Duncan and many more, plus theatre, film, dance, visual art and spoken word. Free entry from 12-6pm, tickets from 6pm till late available at http://hiddendoorblog.org

" ,"byline": {"email": "" ,"author": "Olaf Furniss and Derick Mackinnon"} ,"topImages": [ {"image": {"url":"/webimage/1.4740802.1526553291!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4740802.1526553291!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Lost In Vancouver","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Lost In Vancouver","landscapeurl":"/webimage/1.4740802.1526553291!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/business/companies/media-leisure/why-stv2-failed-and-what-it-means-for-broadcasting-in-scotland-1-4740277","id":"1.4740277","articleHeadline": "Why STV2 failed and what it means for broadcasting in Scotland","commentCount":0,"publishedDate":1526498510000 ,"articleLead": "

When the late media baron Roy Thomson launched Scottish Television in 1957, he famously quipped it was a “a licence to print money”.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4740276.1526472779!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Fountainbridge Show, with presenters Ewen Cameron and Hayley Matthews, was a cornerstone of the original STV Edinburgh channel that would later become part of STV2. Picture: Jane Barlow/JP License"} ,"articleBody": "

It was a remark that caused many staff at STV to roll their eyes in subsequent decades. Thomson, a former owner of The Scotsman, was behind a string of local radio and TV stations in his native Canada. His comment illustrated his belief that advertisers would back the company that had won the Scottish franchise of ITV - and in the long term he was proved right.

But STV has endured ups and downs throughout its 61-year history. The restructure announced today is just the latest stop in an on-going journey to position itself as a serious competitor to BBC Scotland. While of no comfort to the more than 50 staff whose jobs are at risk, it was no secret at the station’s Glasgow HQ that bosses viewed the loss-making STV2 as a luxury they could no longer afford.

An upbeat launch

It was June 2014 when the new STV Glasgow channel was broadcast for the first time, with STV Edinburgh following in January 2015.

They were a legacy of former culture secretary Jeremy Hunt, who believed a genuinely local TV network - similar to the set-up in the US - would engage viewers across the UK.

Some industry experts were surprised when STV opted to bid for the two initial licences available in Scotland, and questioned whether they could ever make money.

Both city channels offered a mixture of original programming and repeats. The Glasgow-based Riverside Show and Edinburgh-produced Fountainbridge Show were the centrepieces. The familiar magazine format offered a breezy mix of studio guests and live performances. While not everyone on screen was a household name, there was a confidence on display and pleasing desire to avoid the tartan-clad Scottish broadcasting clichés of old.

READ MORE: Shake-up at STV continues with departure of Alan Clements

STV2 rebrand

In April 2017 the two existing city channels were combined with three new licences for Aberdeen, Ayr and Dundee under one distinct brand, STV2.

Station bosses described it as “the first commercial TV channel with a distinct schedule for Scotland”.

It was delivered in partnership with further education colleges and universities from across the country. While allowing students valuable experience of working in the industry, some broadcasting observers believed it was proof of a limited budget.

Decline

The reason many new entures eventually fail is a lack of cash. But commercial television, as well as print and online media, has been squeezed hard in recent years by a decline in traditional advertising revenues.

STV2 did not lack talent in front of or behind the camera. The city channels provided first broadcasting jobs for numerous younger journalists who have since joined the main STV network or went on to other positions in the media, including the BBC. Those working for the channel were motivated and keen for it to succeed.

But STV2 was losing money and proved a gamble that ultimately did not pay off for the broadcaster.

The confirmation that BBC Scotland was planning its own dedicated Scottish channel, complete with primetime news show, was likely the final nail in STV2’s coffin.

" ,"byline": {"email": "" ,"author": "CHRIS McCALL"} ,"topImages": [ {"image": {"url":"/webimage/1.4740276.1526472779!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4740276.1526472779!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Fountainbridge Show, with presenters Ewen Cameron and Hayley Matthews, was a cornerstone of the original STV Edinburgh channel that would later become part of STV2. Picture: Jane Barlow/JP License","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Fountainbridge Show, with presenters Ewen Cameron and Hayley Matthews, was a cornerstone of the original STV Edinburgh channel that would later become part of STV2. Picture: Jane Barlow/JP License","landscapeurl":"/webimage/1.4740276.1526472779!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/business/companies/media-leisure/stv-confirms-channel-closure-and-job-losses-as-part-of-restructure-1-4740075","id":"1.4740075","articleHeadline": "STV confirms channel closure and job losses as part of restructure","commentCount":0,"publishedDate":1526489397000 ,"articleLead": "

Scotland’s leading commercial broadcaster has confirmed it will close one of its channels and shed jobs across its news team as part of a group-wide restructure.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4740074.1526970732!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The STV headquarters in Glasgow. Picture: Leslie Barrie/Geograph"} ,"articleBody": "

STV will close the loss-making STV2 in June, with station bosses blaming the “challenging economics of local television and anticipated increased competition from BBC Scotland” for the decision.

The Scotsman understands 34 jobs in the news division are at risk - the majority of which are production roles - with a two-week period of voluntary redundancy being followed by a consultation.

The digital newsdesk will be reorganised with many existing roles going.

Some staff reacted with anger at the station’s Glasgow headquarters following the announcement on Wednesday, which will see five local TV licenses that were part of STV2 sold, and 25 roles associated with the channel cut.

Viewers in Edinburgh and the east coast will lose the separate edition of STV’s flagship evening news bulletin as a result of the changes. Instead, 10 minutes of local content will be broadcast with the remainder of the 30 minute programme being produced by a central team in Glasgow.

STV said in a statement its broadcast business remained “strong” and was likely to outperform the ITV network due to a favourable deal with ITV which insulates STV from a decline in the national advertising market.

Staff were informed of the restructure this morning. While the closure of STV2 was widely expected, one staffer told The Scotsman they were “stunned” at the scale of the changes.

READ MORE: Why STV2 failed and what it means for broadcasting in Scotland

STV has been undergoing a period of transition following the appointment of Simon Pitts as chief executive in August 2017. Announcing a strategic review in March, Pitts said the company’s performance had been resilient in what he described as a “tricky year” in the marketplace.

In a statement issued today, the STV chief executive said the broadcaster remained committed to delivering the “best news service in Scotland” despite cut-backs.

Mr Pitts described the restructure as a “positive vision” that would “reestablish the company as a creative force in Scotland and beyond”.

He continued: “Our de-risked broadcast business is resilient and provides the engine room for STV’s growth. We will use our unique marketing platform to showcase new formats from STV Productions, drive viewing to STV Player and get even closer to advertisers through the launch of our new Growth Fund for Scottish business.

“News is fundamental to the STV brand and we remain committed to offering the best news service in Scotland. However, given how quickly news consumption is changing it is vital that STV evolves to stay competitive, and we are therefore launching a comprehensive change programme - STV News 2020 - that will see us invest in skills, technology and digital as well as delivering cost savings.

“As a result of the challenging economics of local television and anticipated increased competition from BBC Scotland, we have taken the difficult decision to close our loss-making STV2 channel to focus our future content investment on STV and the STV Player. I’d like to thank the STV2 team for everything they have achieved over the last four years.”

Scottish Conservative culture secretary Rachael Hamilton said: “This is a hammer blow to broadcasting in Scotland, and to journalism here more generally.

“STV is a trusted news source and should be investing in people, not sacking them.

“At a time when the BBC is expanding in Scotland, and with talk of Channel 4 moving here, people will wonder what on earth STV management are doing.

“Clearly these projects which are now being cut – at huge human cost – were not properly thought through or organised by senior management.

“They’re the ones who have the questions to answer, not hard-working journalists and editorial staff.”

John Toner, national organiser of the NUJ in Scotland, said: “Today’s announcement to cut 59 jobs across STV news and STV2 is a devastating blow to the staff who work tirelessly to provide some of the best news and current affairs programmes in Scotland.

“The loss of 34 jobs in news and the closure of STV2 with the ending of the flagship STV News Tonight Scottish and international news programme will lead to a massive reduction in the breadth and depth of news coverage viewers in Scotland currently enjoy.

“It is also clear that a multi-platform newsroom will introduce an entirely new way of working, which will have consequences for the way that news is gathered and delivered.

“Staff have worked extremely hard on the STV2 channel, and the quality of the output is not in doubt. The decision to bring this channel to an end is no reflection on the abilities or professionalism of the staff.

“We also find it bizarre that the Edinburgh edition of STV News at Six will cease and will be replaced with a ten-minute opt.

“The NUJ will work with STV management to try to reduce the number of redundancies required, and we are resolved that compulsory redundancies will be strongly opposed.”

READ MORE: Shake-up at STV continues with departure of Alan Clements

" ,"byline": {"email": "" ,"author": "CHRIS McCALL"} ,"topImages": [ {"image": {"url":"/webimage/1.4740074.1526970732!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4740074.1526970732!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The STV headquarters in Glasgow. Picture: Leslie Barrie/Geograph","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The STV headquarters in Glasgow. Picture: Leslie Barrie/Geograph","landscapeurl":"/webimage/1.4740074.1526970732!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"https://www.scotsman.com/lifestyle/culture/music/interview-snow-patrol-s-jonny-quinn-on-the-band-s-first-album-in-seven-years-1-4740555","id":"1.4740555","articleHeadline": "Interview: Snow Patrol’s Jonny Quinn on the band’s first album in seven years","commentCount":0,"publishedDate":1526488176000 ,"articleLead": "

Seven years is a long time in pop music. Sure, some bands have taken longer between releases but when Snow Patrol announced that their first new album since 2011’s Fallen Empires was to be called Wildness, there must have been those who misread the title as “wilderness”.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4740554.1526488174!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Snow Patrol, with Jonny Quinn far right"} ,"articleBody": "

“Bands have split up and reformed in that time, people have put out two albums, all sorts,” says drummer Jonny Quinn. “It’s a big gap, but we just played our first gig in five-and-a-half years and there was a feeling that people were really happy we were back.”

Probably not as happy as the band themselves. Quinn admits that there was a point when he wondered if there would be a new album at all, as frontman Gary Lightbody wrestled with writer’s block over in Los Angeles while the rest of the band, mostly London-based, sat on the music they had prepared and ready to go.

“Gary didn’t feel he had something to write about, and then that became something of a mountain where he couldn’t see the top,” says Quinn. “It’s not something we would ever have put pressure on Gary to do. There was never a point when we thought he was sitting on his arse, it was more that I felt for him because I knew he wanted to write this album and he couldn’t, so it became something self-perpetuating. But there were definitely points of thinking ‘will this ever happen?’ We’ve never had that sort of break before, he’s always been so prolific.”

It has since transpired that Lightbody had plenty of potential lyrical material on his plate but needed to deal with some significant demons first. He had been self-medicating on drink and drugs for years instead of appreciating that, as he has said, “you have to put your arm around” the black dog of depression.

“He was definitely quite isolated,” says Quinn. “LA can be that sort of place, like I suppose London can be.”

In the end it was the extreme physical symptoms, alcohol-related sinus infections affecting his eyes, ears and voice, which provided the wake-up call. Acupuncture helped his physical health; psychotherapy and meditation slowly led to an improvement in his mental health, and a cleansing of those creative pores. “Then there was a big shift and after one song, two songs came out, the tap opened and the rest of the record came.”

In the meantime, a proposed two-year break after 15 years of constant touring had turned into an indefinite hiatus for Snow Patrol. “There was one point where we had done T in the Park ten years in a row, we’d played the most of any band or something crazy like that and it just felt like everyone needed a break,” says Quinn.

Inevitably, there were restless moments, and thoughts of plugging the gap with the now common practise of touring a classic album from the back catalogue. “We could have done the Final Straw tour or the Eyes Open tour,” agrees Quinn, “but I just don’t think we would do that quite yet, so it had to be something new and not repeating what we’d done before.”

In the end, everyone stepped off the traditional treadmill and took up other projects. Quinn even got himself a “proper” job, parlaying his interest in the latest music industry developments into his own publishing company, Polar Patrol Publishing, which takes a hands-on approach to artist development, and boasts the likes of Belle & Sebastian, Kathryn Joseph and Declan O’Rourke on its roster.

One of Polar Patrol’s first signings was Snow Patrol guitarist Johnny McDaid, who has written songs with the likes of Ed Sheeran, Robbie Williams and P!nk, and Snow Patrol themselves were signed up for a while. “We were but we aren’t now,” laughs Quinn. “Our manager got a better deal elsewhere!”

Quinn’s role as the band’s resident industry expert goes right back to the mid-1990s when he first promoted a gig by an early incarnation of the group, called Shrug and then Polar Bear, and was subsequently invited to join the fledgling band. Quinn made the move from his native Belfast to their new base in Glasgow just as Polar Bear released their debut EP, Starfighter Pilot, on the student-run label Electric Honey.

“It was incredible coming to Glasgow from Belfast and seeing how so many bands from different genres got on with each other so well,” says Quinn. “There’s something special about that that I’ve never really seen anywhere else. In London, it’s very disjointed, there’s no one community, whereas in Glasgow there were rehearsals rooms or [music bar and basement venue] Nice’n’Sleazy where all the bands hung out and everyone put their new record in the jukebox with the white label on it. It felt like there was a centre point which you just wouldn’t have here in London.”

Back then, the newly christened Snow Patrol were more of a grungey indie proposition, who followed their Electric Honey labelmates Belle & Sebastian on to Jeepster Records. The commercial breakthrough came six years later with the Final Straw album and its epic single Run which set the band up as reliable purveyors of middle-of-the-road pop/rock anthems, a reputation they have been straining against every since.

While Wildness doesn’t quite live up to the feral connotations of its title, there is a sense of open space and possibility in the music, even as Lightbody sings of battling addiction and isolation.

“We definitely got the album we wanted,” says Quinn. “A lot of it was written on the acoustic guitar. I really like sonically the way it sounds quite different. The idea was maybe not to have the wall of guitars we’ve used before, not throw loads of strings at the production and leave a lot more space. Gary’s voice is a bit different as well. There’s a couple of songs where it sounds like he’s smoking 20, 40 cigarettes a day…But whatever happens with this record, it’s just amazing that we are together again.”

Wildness is released by Polydor Records on 25 May

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