Archive for Music

Songlist Special: Songs That Captured the Spirit of The Old Grey Whistle Test (Part2) 

September 2, 2026 at 3:56 pm · Filed under Music, Songlist Special, Uncategorized ·Tagged , , , , , , , , , , , , , , ,

Welcome to another Songlist Special which effectively pays homage to The Old Grey Whistle Test.   

 Usually known as OGWT (and from 1983 simply Whistle Test) it’s probably no exaggeration to say that it was the most important music programme on UK TV.  Aired on BBC2 from 1971 to 1988, it attracted studious music lovers who wanted thoughtful analysis & interviews.  Album-oriented rock and ‘serious’ music was the order of the day.  (None of this was available on the BBCs main music programme Top Of The Pops – TOTP.) 

In future issues we’ll look at how the OGWT got its name and examine its roots and history.  We’ll also feature its presenters, including the iconic ‘Whispering’ Bob Harris. 

We’ll end by saying something that’s probably regarded as ‘controversial’ & not too popular these days. And that’s giving credit to the BBC for keeping the programme on air for so long.  For 17 glorious years the OGWT brought us an eclectic mix of musical genres, including rock, folk, reggae, progressive rock, punk, new wave, and more.   

 Will we see another music TV series like it ever again? 

 

THE SONGS 

 

The Damned – Smash it Up 

 The Damned made history when they became the first UK punk band to release a single – New Rose in 1976 – and an album – Damned Damned Damned in 1977 – and tour the US in spring, 1977. 

Here we feature their 1979 single Smash it Up (taken from their album Machine Gun Etiquette).  Their performance – rooted in glorious chaos, irreverence, raw energy & unpredictability – sums up punk.   

 

 Lynyrd Skynyrd – Sweet Home Alabama 

Lynyrd Skynyrd epitomise Southern rock, which is rooted in rock and roll, blues & country (but perfectly blended with elements of gospel, soul, and sometimes even jazz).  Sweet Home Alabama is an iconic homage to their homeland.  It’s a remarkable song as it’s instantly recognisable from the off. 

As free thinkers & non-conformists we love the ‘rebel spirit’ of Southern rock. Lynyrd Skynyrd are unapologetic & proud of their identity.  As we’ve noted many times before, all art forms must be free to provoke, unsettle, and challenge.  They certainly do this when they display the Battle Flag of the Army of Tennessee! 

 

Talking Heads – Psycho Killer 

Psycho Killer is another track that’s instantly recognisable due to its simple yet very distinctive bass intro.  Written by David Byrne, Chris Frantz, and Tina Weymouth in 1974 (when they were known as The Artistics) it’s an attempt to get inside the head of a “psycho killer” — portraying the character’s hysteria, detachment, and internal conflict.  

Talking Heads were a fascinating band.  Emerging from the New York punk scene they’re seen as pioneers of new wave, post punk and art rock.  We’re not too sure if this does them justice – they must be one of the most innovative & genre defying bands we’ve ever come across. 

 

Teardrop Explodes – Reward 

 The Teardrop Explodes were formed in Liverpool in 1978.  Described as post-punk/neo-psychedelic band they were fronted by the eccentric Julian Cope.  Cope is also an author and political/cultural activist.  

The band were short lived (1978–1982) but very influential.  They’re credited with reviving 1960s-inspired psychedelia & have been referenced by Blur, Morrissey and Inspiral Carpets. 

  

Gary Numan – My Name is Ruin & Are Friends Electric? 

We featured the original version – from the late 70s – of Are Friends Electric? in our first OGWT Special. It was very raw with a pounding bassline & later made history by becoming the UKs first synthesizer-based number one hit.  

The version we have here is much more polished.  Gary Numan is not as robotic.  My Name is Ruin – in particular – shows how far this electronic pioneer his come as a performer & songwriter.  

  

Police – Can’t Stand Losing You

During the late 70s/early 80s, the Police never seemed to be off the TV or radio.  Their line up was Gordon Sumner (better known as Sting) on lead vocals & bass guitar, Andy Summers on guitar & Stewart Copeland on drums.  Together they managed to weave elements of punk, reggae, new wave, jazz, and pop into a distinctive sound. 

Can’t Stand Losing You featured on their debut album Outlandos d’Amour (which was released in 1978) and was released as a single in August of the same year.  The song is written from the perspective of a teenage boy who is so devastated by a breakup that he contemplates or commits suicide.  

  

Patti Smith Group – Because the Night

Patti Smith is an American singer, songwriter, poet, author, and visual artist (mainly drawings & photography). Universally known as the “Godmother of Punk” she fused rock ‘n’ roll with poetry & and was very influential in the 1970s New York punk scene.  Artists & bands such as Madonna, Michael Stipe (lead singer of alternative rock band R.E.M.), U2, Hole & Florence Welch lead singer of the indie rock band Florence + the Machine) all cite her as an influence. 

Because the Night is about the all-consuming nature of love & reflects Smith’s feelings for her boyfriend (and future husband) Fred “Sonic” Smith.  It’s probably her best-known song & has an anthem-like feel to it – which is not surprising as Brue Springsteen wrote the music and chorus! 

 

Supertramp – Dreamer 

 We just love the way Dreamer combines dreamy – almost ethereal – sequences with heavier moments.  Roger Hodgson’s distinctive vocals & the band’s harmonies all add to a memorable track. 

Founded in 1970, Supertramp found fame with the release of their third album, Crime of the Century (in 1974).  It uniquely blended their traditional progressive rock sound with that of pop. Dreamer is an excellent example of this sound, which has certainly stood the test of time. 

 

Thin Lizzy – Don’t Believe A Word 

This version of Don’t Believe A Word is really different to the one most people are used to.  Here, Phil Lynott shares lead vocals with Gary Moore.  It’s also far slower & heavily influenced by the blues.   

However, it does grow in intensity & speed. This reveals the heavy rock sound of Thin Lizzy that most of us are familiar with. 

 

The Who – Long Live Rock

 Formed in 1964, The Who progressed from the pop art & mod subcultures to become an English rock institution.  Their classic line up consisted of Roger Daltrey (lead singer), Pete Townshend (lead guitar), John Entwistle (bass). and Keith Moon (drums). 

 Long Live Rock was recorded in 1972.  However, it didn’t appear until 1974 on the album Odds & Sods (which consisted of 11 studio outtakes).  The band’s OGWT performance epitomised their energetic & sometimes frantic style. 

 

 

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French Chanson, American Jazz and Pure Charm from Andrea Carlson

August 29, 2026 at 7:36 pm · Filed under Edinburgh Fringe 2026, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2026, Jazz, Music ·Tagged , , , , , , , , , , , , ,

★★★★★ There are Fringe evenings that feel pleasant, and then there are those that feel charmed. Andrea Carlson and the Love Police belongs firmly in the latter category. The Royal Scots Club’s Speakeasy room, with its warm wood and old‑world elegance, proves an ideal setting for a night steeped in vintage jazz. It’s the kind of space where you half‑expect a 1930s bartender to slide a cocktail across the counter.

The Love Police are, quite simply, superb. Dr Bruce Goldman’s double bass has that deep, velvety resonance that anchors the room; David “Bopdrummer” Yager’s percussion is crisp, playful, and beautifully controlled. Together they create a sound that feels both classic and alive, a proper jazz trio with real chemistry.

Andrea Carlson herself is a delight. Born in Memphis and trained in classical guitar at the American Conservatory of Music in Chicago, she brings a fingerstyle technique that instantly evokes the 1920s and 1930s. Her playing is elegant, intricate, and full of character. When she sings, the room softens. In English, her voice has a velvet warmth; in French Chanson, she is luminous. Her love for the Great American Songbook is evident, but her affection for French repertoire gives the evening a distinctive charm.

Her songwriting credentials are impressive, and she shares them with an easy humility. “Cryin’,” her award‑winning piece from the Philadelphia Songwriters Project, and “Mysterious Moon,” honoured at the Montgomery/Bucks Music Awards, both reveal her gift for melody and mood. She speaks openly about her catalogue of more than sixty songs, and when she performs “Let Me Cook for You”—featured in Jazz Bridges and the Philadelphia Real Book of Jazz—the audience responds with clear delight.

Carlson also offers glimpses of her upcoming performances in the United States, but these feel less like promotion and more like an artist sharing her journey. Her albums—Love Can Be So Nice, Driving Myself Wild, Aimez-vous bien, and Out of My Dreams—reflect the breadth of her musical world: jazz, blues, chanson, romance, and the unmistakable sound of her guitar.

The hour at The Speakeasy feels like stepping into a New Orleans jazz bar in its golden era. The musicianship is impeccable, the atmosphere warm, and Andrea’s presence—gracious, talented, and quietly magnetic—makes the evening unforgettable.

A gorgeous, nostalgic, and musically rich Fringe experience.

Reviewed by Jacqueline Sharp

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Edinburgh Days: A Sweeping Tale of Hardship and Hope

August 28, 2026 at 7:06 pm · Filed under Edinburgh Fringe 2026, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2026, Music, Musicals ·Tagged , , , , , , , , , , ,

★★★★ There’s something immediately striking about walking into St Bride’s Centre for Edinburgh Days. The auditorium, with its worn wood and shadowed corners, feels steeped in history. It’s not a polished Fringe venue, and that works entirely in the production’s favour. The darkness, the age, the sense of a place that has held countless stories—perfectly matched to a Celtic rock, gothic‑tinged musical set in the 1800s.

The show opens on a world of hardship. The stage is dressed in muted tones, the costumes rough and work‑worn. Poverty hangs over the characters like a permanent fog. Yet the production never wallows. Instead, it channels that bleakness into something muscular and theatrical. The music—catchy, rhythmic, and surprisingly uplifting—cuts through the gloom with real force. The Celtic rock influence gives the score a pulse that keeps the audience leaning forward.

The cast throw themselves into the material with conviction. Jaydean Cramb’s Jean is a standout: fierce, grounded, and emotionally clear. Debbie McKenna brings a quiet strength to Mary, while Orla Jones’ Catriona has a sharp, compelling presence. Dave Graham, as Dunoon, anchors the darker moments with a performance that feels lived‑in and honest. Together, they create a community onstage—fractured, struggling, but undeniably alive.

The production’s ambition is unmistakable. This is a large, sweeping musical with a full emotional arc, not a quick Fringe sketch. And that ambition is admirable. The only drawback is the running time. At over two hours, the show stretches beyond typical Fringe expectations, and there are moments where tightening the pace would sharpen the impact. A 90‑minute version would likely land with even greater power.

Still, Edinburgh Days has atmosphere, heart, and a strong ensemble driving it forward. It’s a bold piece of theatre that embraces its gothic grit and Celtic soul, and the venue’s old bones only deepen the experience.

A dark, stirring musical with memorable performances and a score that lingers.

Reviewed by Jacqueline Sharp

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26/08/26 – Counter Culture – Midweek Song List (162)

August 28, 2026 at 3:27 pm · Filed under Midweek Song List, Music ·Tagged , , , , , , , , , , ,

Welcome to the last Midweek Song List of August — and what a month it’s been. As ever, our readers keep us on our toes. At the start of August, one long‑time follower reminded us of the 80th anniversary of the King David Hotel bombing in Jerusalem. The same reader has now added another grim footnote: Menachem Begin — later Prime Minister of Israel — was also responsible for the kidnapping and hanging of two young British sergeants, Clifford Martin and Mervyn Paice, in July 1947. Both men were unarmed, off‑duty, and simply visiting a café. Their bodies were later strung up in a eucalyptus grove with a booby‑trap mine set beneath them. Our reader believes both men were from Belfast and hopes to confirm more details soon.

With that sombre history lesson out of the way, let’s lift the mood with our traditional mixed bag of music — a selection that goes out midweek on Facebook and later appears on our website in a slightly different written style, but always with the same eclectic choices.

THE SONGS

2e REP – “Le Diable Marche Avec Nous”

If “Le Boudin” is the Foreign Legion’s famous march, then this is its darker, more aggressive cousin. “Le Diable Marche Avec Nous” (“The Devil Walks With Us”) is associated with the 2nd Foreign Parachute Regiment — the elite airborne unit forged in Indochina, Algeria and later Chad. The song’s origins lie in Legion folklore: hard marching, brutal campaigns, and the idea that the regiment carries its own demons into battle. Musically, it’s a driving, percussive chant — the kind that makes the hairs stand up on the back of your neck even if your French is as bad as ours.

Cocteau Twins – “Evangeline”

Released in 1993, “Evangeline” is one of the Cocteau Twins’ most shimmering dream‑pop creations. Elizabeth Fraser’s vocals — half‑lyric, half‑incantation — float over Robin Guthrie’s lush guitar textures. The band formed in Grangemouth in 1979 and became pioneers of ethereal, atmospheric music. “Evangeline” captures their mature sound: wistful, weightless, and emotionally ambiguous. A perfect contrast to the military thunder of the Legion.

Criminal Class – “Fighting The System”

A slice of raw, early‑80s British Oi! from Coventry. Criminal Class formed in 1979 and were part of the second wave of street‑punk bands. “Fighting The System” is exactly what it says on the tin: a snarling, defiant anthem built on chanted vocals and driving bass. It’s rough, uncompromising, and politically charged — a reminder of the era when punk was still dangerous.

The Kinks – “Sunny Afternoon”

Released in 1966, this Ray Davies classic is one of the great British pop songs of the decade. Written during a period of tax disputes and personal frustration, Davies channels his irritation into a lazy, sun‑drenched melody. The track topped the UK charts and became a defining moment in The Kinks’ shift toward more observational, character‑driven songwriting. A timeless tune that still feels like a cold drink on a hot day.

Ocean Colour Scene – “The Day We Caught The Train”

From their 1996 breakthrough album Moseley Shoals, this Britpop anthem remains one of OCS’s most beloved songs. It’s nostalgic, melodic, and full of that mid‑90s optimism. The track reached No. 4 in the UK charts and helped cement the band’s place in the Britpop landscape. A perfect sing‑along for late summer.

Robyn – “Always”

Robyn has spent decades redefining pop music, and “Always” is another example of her ability to blend melancholy with dance‑floor energy. Released in 2020 as part of her collaboration with Yaeji, it’s a shimmering electronic track built on repetition, longing, and Robyn’s unmistakable emotional clarity. Modern pop at its most elegant.

Social Distortion – “Ring Of Fire”

Johnny Cash’s 1963 classic gets a punk‑rock makeover courtesy of Social Distortion. Their 1990 cover is louder, faster, and full of swagger — yet still respectful of the original’s melody. Social Distortion formed in 1978 and remain one of America’s most enduring punk bands. Their live shows are legendary, and this track is often a highlight.

Sol Heilo – “Rock Paper Scissors”

Norwegian multi‑instrumentalist Sol Heilo (formerly of Katzenjammer) released this track in 2017. It’s quirky, melodic, and full of her trademark folk‑pop inventiveness. The song blends vulnerability with playfulness, using the childhood game as a metaphor for emotional conflict. A beautifully crafted piece of Scandinavian songwriting.

The Dead Flowers Graves – “Prophetia”

Italian doom metal with atmosphere to spare. The Dead Flowers Graves formed in 2017 and specialise in slow, heavy, ritualistic soundscapes. “Prophetia” is a perfect example: deep riffs, funereal pacing, and a sense of looming dread. Doom metal at its finest — and yes, we’re getting more into it as we get older and slower.

The Valvetones – “The Chance I’ll Have To Take”

A modern rockabilly track with classic 1950s DNA. The Valvetones channel the spirit of Sun Records — slap‑back echo, upright bass, and heartfelt vocals. “The Chance I’ll Have To Take” is a bittersweet love song built on simple, effective storytelling. A gem for fans of vintage‑style Americana.

Kanye West – “Heartless”

Released in 2008 on 808s & Heartbreak, “Heartless” marked a major shift in Kanye’s sound. Built on auto‑tuned vocals and minimalist production, the track explores loneliness, betrayal, and emotional numbness. It became one of his biggest hits and influenced a generation of artists who embraced vulnerability in hip‑hop.

White Lion – “Broken Heart”

A classic slice of 1980s glam metal. White Lion formed in 1983 and blended melodic hooks with big guitar solos. “Broken Heart” first appeared on their 1985 debut and was later re‑recorded in 1991. It’s pure hair‑metal drama: soaring vocals, emotional lyrics, and a chorus built for arenas. A perfect counterpoint to the doom metal earlier in the list.

CONCLUSION

That wraps up the final Midweek Song List of August. As always, this selection goes out first on Facebook midweek — raw, immediate, conversational — and later appears on our website with a slightly different write‑up but the same eclectic mix. Thanks to everyone who sends suggestions, history lessons, and musical rabbit holes. Keep them coming.

See you in September.

 

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Ali Affleck Shines in Queens of Country at the Scottish Arts Club

August 28, 2026 at 2:07 pm · Filed under Country, Edinburgh Fringe 2026, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2026, Music ·Tagged , , , , , , , , , , , ,

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★★★★ There is always a particular pleasure in seeing an artist step into new territory, especially one as seasoned and versatile as Ali Affleck. Known across the Fringe for her jazz, blues, folk and traditional roots performances, Affleck arrives this year with something different: a heartfelt celebration of classic Country music and the women who shaped it – Ali Affleck Presents the Queens of Country.

The Club Room at the Scottish Arts Club is an intimate space, warmly lit and comfortably arranged, and it suits this show perfectly. Affleck leans into that homely atmosphere, creating what feels less like a formal concert and more like a gathering in someone’s living room — a place where stories, songs and memories can settle easily.

Country music may be new ground for her, but she embraces it with obvious affection. She has chosen the repertoire herself, drawing from the greats: Patsy Cline, Dolly Parton, Loretta Lynn and Tammy Wynette. There is a particular tenderness when she speaks about Loretta Lynn, whose songs she delivers with a mix of reverence and bright, personal joy. Affleck’s voice, rich and expressive, adapts beautifully to the storytelling heart of Country — the longing, the humour, the grit and the sweetness.

She is supported by a superb band, each musician bringing their own flair to the evening. Timmy Allen’s award‑winning guitar work is crisp and confident; Roy Percy’s bass lines are warm and grounding; Jim Drummond’s drumming adds subtle lift and drive; and Duncan Findlay rounds out the ensemble with easy, assured musicianship. Together they create a sound that fills the room without overwhelming it — a balanced, generous accompaniment that lets Affleck shine.

Affleck’s connection with the audience is relaxed and genuine. She chats between songs, sharing her enthusiasm for the material and her delight in exploring a genre she has long admired. There is no attempt to reinvent Country here; instead, she honours its traditions, its women, and its emotional directness. The result is a show that feels both fresh and familiar, carried by affection rather than imitation.

This is not her only Fringe offering this year — she also presents Ali Affleck’s Queens of Swing at the Argyle Cellar Bar — but Queens of Country stands out for its warmth and simplicity. It is a lovingly curated tribute to the women who defined the genre, performed by an artist who understands how to make a room feel at ease.

The music echoes beautifully around the Club Room, the band are a joy to hear, and Affleck’s charm carries the evening effortlessly. For anyone who loves traditional Country — or simply loves seeing a performer stretch into new creative spaces — this show is well worth seeking out.

Reviewed by Jacqueline Sharp

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Le Vent du Nord Fill The Queen’s Hall With Joyful, Deeply Rooted Québécois Folk

August 28, 2026 at 1:28 pm · Filed under Edinburgh Fringe 2026, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2026, Folk, Music ·Tagged , , , , , , , , , , , , , ,

★★★★★ Some venues feel like they’re waiting for the right musicians to unlock them. The Queen’s Hall auditorium — all warm wood, elegant height and natural resonance — is one of those spaces. On this Fringe evening it becomes a perfect home for Le Vent du Nord, whose instruments sit across the stage like a small travelling museum of Quebec’s musical heritage.

The band’s roots stretch back to Saint‑Antoine‑sur‑Richelieu in Quebec, where the group was founded in 2002 by Nicolas Boulerice, Olivier Demers, Sébastien Dufour and Frédéric Samson. Over the years the ensemble has grown and shifted, welcoming Benoit Bourque, Bernard Simard, Réjean Brunet, and in late 2017, André Brunet. Their newest member, André (Dédé) Gagné, joined in March 2024, adding fresh energy to a group already rich in tradition.

Tonight’s line‑up showcases the full breadth of their craft:

  • André Brunet — vocals, fiddle, and the distinctive seated foot percussion known as podorythmie.
  • Réjean Brunet — vocals, diatonic button accordion, acoustic bass, piano, jaw harp.
  • Olivier Demers — fiddle, guitar, mandolin, podorythmie, vocals.
  • André (Dédé) Gagné — guitar, Irish bouzouki, vocals.
  • Nicolas Boulerice — vocals, hurdy‑gurdy, piano accordion, piano.

Québécois folk music is a tapestry woven from French and Celtic threads — echoes of Brittany, Normandy, Ireland and Scotland carried across centuries. Le Vent du Nord honour that lineage without ever feeling bound by it. Their sound is rooted, but never static; traditional, but never nostalgic. The rhythmic foot‑tapping, heard even from the back rows, becomes a heartbeat under the melodies — steady, earthy, and unmistakably Québécois.

The instruments themselves create a vivid soundscape. The hurdy‑gurdy’s mechanical drone cuts through the hall with a hypnotic hum; the bouzouki rings bright and clear; the accordion breathes with warmth; fiddles dance across reels and laments; guitars and piano round everything with a grounded, human pulse. It is a music that feels both ancient and immediate, carried by musicians who understand its history and its living present.

Since releasing their debut album Maudite Moisson in 2003, the band have produced a dozen more recordings. Their most recent confirmed band album is Territoires (2019), though individual members have released other projects since. Awards have followed them throughout their career: two JUNO Awards, the Grand Prix du Disque Charles Cros, a Songlines Music Award, and multiple Canadian Folk Music Awards. Yet none of that quite captures what happens in the room tonight.

The audience respond with unfiltered joy — clapping, tapping, singing, and leaning forward as though pulled by the music itself. There is generosity in how the band share their stories, their humour, and their heritage. They speak about their long touring life, their influences, and the traditions they carry. It feels less like a concert and more like being welcomed into a culture.

Their Fringe performance is one stop in a long international tour running from September through February 2027, with dates across Canada, the US and the UK. But nothing on a tour list can quite convey the atmosphere of this night: five musicians, each a master of their craft, filling the Queen’s Hall with a sound that is both deeply rooted and joyfully alive.

Le Vent du Nord deliver a Fringe concert that is technically superb, emotionally uplifting, and rich with cultural depth. It is the kind of performance that lingers — in the tapping of a foot, the hum of a drone, the memory of a room full of people carried together by music.

Reviewed by Jacqueline Sharp

 

 

 

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Airlie Scott Leads a Mischievous, Music‑Rich Mystery on the Jazz Express

August 27, 2026 at 3:09 pm · Filed under Edinburgh Fringe 2026, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2026, Jazz, Music, Uncategorized ·Tagged , , , , , , , , , , , , , , , , ,

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★★★★★ This show sweeps you up before you’ve even found your seat. All Aboard the Jazz Express is a high‑spirited, mischievous cabaret that transforms Theatre 1, fheSpace @ Surgeons’ Hall, into the dining car of Europe’s most glamorous train, rattling from Paris to Istanbul with a suitcase full of swing, secrets and delightful nonsense.

The Hot Jazz Vagabonds are the engine of the piece, and what an engine they are. Pete Watson’s accordion curls around the room like cigarette smoke; Alan Gibson’s double bass keeps everything steady with unflappable charm; David Ahmed and Andy Ruiz Palma trade guitar lines with the shimmering ease of musicians who know exactly how to make a room feel alive. Their sound — a blend of hot 1930s swing, smoky chanson and gypsy jazz — is rich, warm and utterly irresistible. It’s no surprise they’ve graced stages from Glastonbury to Ronnie Scott’s; they play with the confidence of a band that has seen every kind of audience and knows how to win them all.

Into this musical whirlwind steps Airlie Scott, elegant, playful and gloriously unpredictable. As Vivienne Valise, she welcomes us aboard with a conspiratorial smile and the revelation that she is, in fact, a spy en route to Istanbul. She suspects one of the musicians is a spy too — and from that moment on, the show becomes a deliciously tongue‑in‑cheek mystery, full of coded glances, sudden revelations and the kind of theatrical chaos that makes audiences beam.

At each stop along the legendary route, the tone shifts just enough to keep things lively. In Belgrade, she slips a message to a spy hidden in the audience. In Vienna, documents are exchanged with suspicious flourish. In Sofia, she bursts into “Joseph Joseph” with infectious energy. And in Milan, her rendition of Tu Vuo’ Fa’ l’Americano is a cheeky delight, capturing the post‑war swagger of Italians playing at being American. She moves with ease from English to French to Italian, each song delivered with a storyteller’s instinct and a cabaret singer’s flair.

One of the loveliest moments sees her seated at a small table, singing in French with a softness that hushes the room. Another has her clicking her fingers to the gypsy jazz beat, weaving through the space with a dancer’s lightness. She is a performer who understands atmosphere — how to build it, how to break it, and how to let the band breathe inside it.

The murder mystery element is handled with a wink rather than a weight. A sudden “shot” rings out; Airlie ducks; the audience follows suit, half‑laughing, half‑startled. Two agents appear on the platform. Papers are shuffled. Suspicions rise. And by the time the train reaches Istanbul, the final twist — involving Alan’s double‑bass‑playing fugitive — lands with just the right mix of absurdity and theatrical satisfaction.

Musically, the show is a joy. The Vagabonds play with precision and personality, never missing a beat, never losing the thread of the story woven around them. The journey from Paris to Istanbul becomes not just a route but a rhythm — each city a new flavour, each song a new clue, each moment another reason to smile.

Theatre‑wise, it’s brisk, charming and beautifully pitched. The audience is drawn in without ever being pushed; the humour is light but clever; the atmosphere is rich without being heavy. It’s the kind of Fringe show that leaves you feeling brighter than when you walked in — a little dazzled, a little amused, and very much entertained.

Reviewed by Jacqueline Sharp

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Night Owl’s Kate Bush Celebration Captures the Spirit of a Creative Icon

August 27, 2026 at 11:08 am · Filed under Biographical, Edinburgh Fringe 2026, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2026, Music, Night Owl ·Tagged , , , , , , , , , , , , , , , , ,

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★★★★★ Some artists resist simplification, and Kate Bush is one of them. Any production attempting to chart her life and work has to grapple with that complexity — the imagination, the eccentricity, the discipline, the sheer strangeness of her creative world. Night Owl Shows’ The Kate Bush Story does exactly that. It doesn’t flatten her. It doesn’t imitate her. It illuminates her.

Led by Hannah Richards, whose expressive presence and vocal intelligence anchor the evening, the production moves confidently through Kate Bush’s catalogue and biography. Richards never slips into impersonation; instead, she channels the emotional and theatrical charge that defines Kate’s work. It’s a performance built on clarity, commitment, and a deep respect for the material.

The band — Edwin Sealey, Ross Taylor, Noah Nelson, and Max Timlin — are superb throughout. Their musicianship is tight, textured, and responsive, giving the show the sonic richness it needs. Kate Bush’s music is famously intricate, and this ensemble handles that intricacy with assurance. Running Up That Hill becomes a rhythmic surge; Cloudbusting lands with warmth and uplift; Wuthering Heights retains its wild, uncanny edge.

Hannah Richards interprets Kate’s music with style

What distinguishes this production is its narrative intelligence. The storytelling sections are crafted with care, offering insights into Kate’s early development, her family’s influence, and her lifelong fascination with technology and experimentation. The show makes clear that Kate Bush wasn’t simply a gifted songwriter — she was a creative architect, shaping sound, image, and atmosphere with equal precision.

Her determination also comes through strongly. The production highlights her ability to say no, to protect her artistic integrity, and to build a career on her own terms. It’s a portrait of an artist who was imaginative, yes, but also quietly formidable.

The audience responds instinctively to this approach. There’s delight, recognition, and a palpable sense of affection in the room. Night Owl Shows have built a reputation for performance‑led productions that combine musicianship with storytelling, and this show fits squarely within that tradition. It’s polished, confident, and clearly made by people who understand why Kate Bush matters.

Two songs stand out as emotional touchstones. Army Dreamers — simple, direct, devastating — reminds us of Kate’s political claritt y and her ability to write anti‑war material with disarming softness. The Man with the Child in His Eyes remains one of the most astonishingly mature (for someone writing at just 13 years old) love songs ever written, and the performance here brings out its tenderness and wisdom.

By the end, the atmosphere is unmistakably feel‑good — warm, engaged, and full of admiration. The Kate Bush Story succeeds not by recreating Kate Bush, but by celebrating her imagination, her courage, and her unmistakable artistic fingerprint.

A vibrant, thoughtful, musically rich tribute to one of Britain’s most distinctive artists.

Reviewed by Pat Harrington

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Fringe Audiences Unite in a Joyful Farewell to Dolly Parton

August 27, 2026 at 10:46 am · Filed under Biographical, Country, Edinburgh Fringe 2026, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2026, Music, Night Owl ·Tagged , , , , , , , , ,

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★★★★★ In the days following Dolly Parton’s death, Night Owl Shows made a clear and strong choice: this would be a celebration, not a vigil. Led by Hannah Richards, the company and audience leaned into joy rather than grief, honouring Dolly’s life and music with determination, warmth, and a shared sense of gratitude. Just as she would have wanted.

Some productions arrive at the Fringe with a clear sense of purpose. Night Owl Shows’ The Dolly Parton Story is one of them. Returning to Edinburgh with a fully renewed 2026 staging and a live band, the company leans into what they do best: narrative‑driven musicianship, emotional intelligence, and an instinct for how to honour an artist without embalming them. The result is a show that understands Dolly Parton not as a pop‑culture mascot, but as a woman whose life, work, and impact deserve to be taken seriously.

The production traces Dolly’s rise from her early country roots to becoming one of the most recognisable and decorated figures in modern music. Hannah Richards, backed by the Night Owl Band, anchors the evening with vocal clarity and interpretive restraint. She doesn’t impersonate Dolly; she interprets her. That distinction matters, because this show isn’t chasing kitsch or rhinestone nostalgia. It’s telling a story.

The early biographical section is handled with the respect it deserves. Dolly’s childhood poverty in East Tennessee wasn’t a folksy anecdote — it was a crucible. The show makes that clear, reminding the audience that her songwriting wasn’t accidental brilliance but hard‑won craft shaped by circumstance. Songs like Joshua and Coat of Many Colours aren’t just hits; they’re autobiographical artefacts. When Richards reaches Coat of Many Colours, the staging is deliberately simple, allowing the emotional weight of the song to land without theatrical clutter. It’s the moment where the room collectively leans forward.

Night Owl’s signature format — live performance interwoven with narrative — works particularly well here. The production highlights aspects of Dolly’s life that casual fans often miss. Her philanthropic work, especially the Imagination Library, is given proper space. The revelation that her father never learned to read, and that this shaped her charitable literacy mission, adds a layer of poignancy that deepens rather than sentimentalises her legacy. Likewise, the segment on Dollywood avoids trivia and instead emphasises its cultural and economic impact on Tennessee.

Musically, the show delivers exactly what audiences want: Jolene, 9 to 5, Islands in the Stream, Here You Come Again, Coat of Many Colours, Joshua — performed with enough freshness to avoid the jukebox trap. Richards’ vocals are strong throughout, and the band (Ross Taylor, Sam McDonald, Harry Whitty, Max Timlin) provide the kind of tight, unfussy musicianship that keeps the focus where it belongs: on the songs.

Audience response is warm, vocal, and deeply engaged. Night Owl Shows have built a reputation for sell‑out runs and award‑winning productions across Edinburgh, Brighton, Adelaide, and beyond, and this show fits neatly into that lineage. It’s polished, confident, and built with care.

What elevates The Dolly Parton Story is its balance. It honours Dolly’s catalogue without becoming a greatest‑hits conveyor belt. It celebrates her life without slipping into hagiography. It acknowledges the emotional weight of her story without drowning in sentiment. It’s a production that understands Dolly Parton as a cultural force — musical, philanthropic, economic — whose influence ripples far beyond the stage.

A thoughtful tribute. A strong piece of musical storytelling. And, for many in the room, a necessary celebration.

Reviewed by Pat Harrington

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1518: The Dancing Plague — Satire, Chaos and Queer Heart at the Fringe

August 25, 2026 at 7:30 pm · Filed under Comedy‑drama, Drag, Edinburgh Fringe 2026, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2026, History, LGBT+interest, Music, Theatre ·Tagged , , , , , , , , , , ,

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★★★★★There’s something deliciously Fringe about a show that invites you to “shake your a** and dance ’til you (hopefully don’t!) die,” and 1518: The Dancing Plague leans into that promise with full satirical commitment. Based on the very real medieval mass hysteria that had Strasbourg’s citizens dancing themselves into oblivion, Hannah Ponturo’s comedy arrives at theSpaceUK fresh from Los Angeles—armed with a sold‑out reading, a Daredevil Festival pedigree, and the kind of chaotic energy that thrives in late‑night Edinburgh.

At its heart is a queer romance between Katherine and Anna, two peasants whose long‑fractured relationship reignites just as the city collapses around them. It’s a smart dramatic anchor: while clergy and civic authorities scramble to contain the outbreak, the play keeps circling back to the human impulse to connect even when the world is wobbling off its axis. The production promised “uncanny parallels” to our own recent crises, and the show doesn’t shy away from them—Covid echoes, political absurdity, and the familiar spectacle of institutions panicking while ordinary people try to make sense of the mess.

We loved the drag devil/angel narrator

Ponturo’s writing has that LA‑meets‑NYC flavour: punchy, self‑aware, and unafraid of silliness as a delivery system for something sharper. The production, created with Open Variations Theater, fits neatly into their mission of reimagining lesser‑known stories with contemporary bite. You can feel the interdisciplinary New York influence in the way the piece layers satire, history, and outright party vibes into a single 50‑minute burst.

And yes, it is a dance party. The show wants you complicit in the hysteria—laughing at it, recognising it, maybe even feeling the tug of it. The absurdity of people dancing themselves to death becomes a mirror held up to the way we cope with uncertainty now: distraction as survival, movement as denial, rhythm as rebellion.

It’s messy, cheeky, knowingly ridiculous, and unexpectedly tender. Exactly the sort of Fringe show that sneaks up on you: you arrive for the chaos, and leave thinking about the systems that shape how we behave when everything goes sideways.

If you’re looking for a satire with historical weirdness, queer heart, and a healthy disrespect for authority, 1518: The Dancing Plague earns its place on your August shortlist.

Reviewed by Pat Harrington

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