logo
How wonky teeth became Hollywood's new status symbol

How wonky teeth became Hollywood's new status symbol

Telegraph24-03-2025
British teeth are back! Well perhaps not to an Austin Powers degree, but if you take a look at 2025's women of the moment – Aimee Lou Wood, Sabrina Carpenter, Ariana Grande, Cynthia Erivo, Ayo Edebiri, Zendaya, Myha'la, to name a few – you may notice they have something in common… Having characterful teeth is something to smile about in Hollywood once again.
'That I don't have veneers or Botox – it feels a bit rebellious,' said The White Lotus star Aimee Lou Wood in a recent interview with The Hollywood Reporter. The British actor – who has prominent front teeth and multiple gaps – has previously spoken about how having not embraced cosmetic dentistry has caused many people to comment on her smile, wondering if her teeth 'are real'. 'I don't think I look very American... It's the teeth… No Americans have my teeth,' Wood joked during a video interview for On Demand Entertainment last month.
Although, maybe that's not true any more? After decades of dental dominance from large and very white veneers or crowns, increasing numbers of young stars – also including men such as Joe Alwyn, Jacob Elordi, Timothée Chalamet, Kendrick Lamar – are choosing to stick with what nature gave them when it comes to their dentistry.
While gap-toothed smiles have long been the acceptable face of quirky dentistry – think Madonna, Elton John, Vanessa Paradis, Lauren Hutton – today's celebrity teeth confidently exhibit characteristics that previously would have been a problem in Hollywood; from over-to underbites, crooked teeth to crowded smiles.
For singer Sabrina Carpenter, it's slight crowding, a rotated tooth, pointy canines and mamelons (the bumps on the edge of a tooth which help it erupt through the gum) that contribute to her endearing youthful smile, says Harvard-educated dentist Dr Sara, who goes by the handle @veneercheck on TikTok. Dr Sara assesses whether celebrities have had work done on their teeth or not. Ariana Grande has 'small laterals, prominent centrals and mamelons,' says Dr Sara, whereas her Wicked co-star Cynthia Erivo has 'a diastema [gap between her teeth], no veneers and a stunning smile'. Zendaya has 'rotated teeth, pointy canines' and, in the opinion of Dr Sara, has had some orthodontic work – likely from using an Invisalign straightening device. 'I love it when patients keep the essence of who they are,' she says.
But similarly to those who claim to stay slim while eating junk food, fall pregnant at 50 or have a wrinkle-free face in later life without the aid of treatments, the reality is often a little more complex.
'I treat lots of big Hollywood figures and what they want from their smiles has changed. No one wants the 'done' look any more,' says London-based dentist Dr Brandon Nejati, who runs a cosmetic and anti-ageing dental clinic. 'At the moment I'm working on the smile of an important American celebrity who doesn't want anyone to know that she has had her teeth altered, and some British stars I am working with feel the same – a name that comes up a lot when we're talking about a look to avoid is people say they don't want their teeth to look like Simon Cowell's.'
Cosmetic dentist Dr Rhona Eskander of London's Chelsea Dental Clinic has seen the trend follow through in approaches to cosmetic treatments such as Botox and filler too. 'Patients are very much still having 'tweakments' but they don't want to look like they've had work done to their faces, and it's the same with teeth,' she says. 'I increasingly see clients for cosmetic dentistry who want some cosmetic work, but also to retain features such as a gap between their front teeth. I also see patients who have had their gaps closed when they were younger and then regret it.'
Celebrities too – the actor Dakota Johnson has spoken about her characteristic tooth gap unexpectedly closing when she had a permanent retainer removed: ' I'm really sad about it '. Although patients may not be going so far as to request a misalignment, 'There is a TikTok trend of people using a black marker to create the illusion of a space in their teeth,' says Eskander.
Take, for instance, the rise of increasingly popular alternatives to veneers such as 'micro-layering', a technique that applies very thin ceramic layers over the teeth rather than the 'caps' of veneers. The treatment is one of the most popular at the Nejati Clinic, described as 'the only biological anti-ageing dentistry clinic of its kind in the world' by its founder Dr Nejati. The treatment draws patients from Australia, New Zealand, Europe and North America, including Hollywood celebrities.
Nejati, who was a portrait painter at a young age, describes the treatment as being 'like a manicure for the teeth', and says he takes inspiration from the artistic technique of sfumato (used in works such as The Mona Lisa), which hazily blends colours, blurring transitions between them: 'We build up layers, starting with opaque ones. The result you get is very fine and very vibrant with an amazing depth. By the time I have painted 15 to 16 layers on each tooth, the resin is still only 0.3mm in total. When you compare before and after, the result is like night and day, but afterwards people like that others don't notice they have 'done' their teeth.'
While it would be easy to see the undone or 'natural' look that is increasingly popular in dentistry as another step towards body positivity, there is undoubtedly a certain tyranny that goes alongside it (and, of course, the cost – micro-layering starts from £795 a tooth at the Nejati Clinic). Are people who look naturally incredible without seeming to have to make an effort or wear much noticeable make-up (Pamela Anderson, for instance) actually setting more realistic beauty standards or ultimately flexing how good they themselves look without it? Perhaps it doesn't matter – simply amplifying more normal-looking teeth (actor Ayo Edebiri, of cult TV hit The Bear, who has an overbite, bejewelled her two slightly rotated front teeth at this year's Golden Globe awards) will have a snowball effect: the fewer people in the public eye have very done teeth, the fewer people want very done-looking teeth.
'A big thing growing up for me was my mouth, because it was the thing that everyone pointed out and it was the thing that made me different and I'd never seen an actress on TV with teeth like mine,' Wood said in an Instagram video for beauty brand Merit earlier this month. 'When [model] Georgia Jagger did 'Get the London look' [TV advert for Rimmel] and she had the gap teeth, that was a huge moment and I thought, 'No, I am going to put red lipstick on, and I am going to draw attention to it.''
'I've really seen this change over the past five years since Covid, when people have become more health-conscious and the overall look they want to achieve is one of 'natural wellness' rather than uniformity,' says Dr Nejati. 'Patients look like they've changed something, maybe done some whitening, but it is hard to pin down. Ultimately, teeth should be in harmony with the rest of the face.'
This about-face is obviously bad news for anyone who's indulged in the trend of so-called ' Turkey Teeth ' so prevalent on reality TV stars and social media influencers. 'People are seeking reversal of those veneers, having them replaced with things that look natural,' says Dr Nejati. '' Turkey teeth ' are more like the old-fashioned Hollywood veneer look. The new status symbol is when dental work looks undetectable – that is what people at the higher end are having. Usually the dental work that looks the most noticeable is the cheap dentistry.' Natural teeth also retain their feminine and masculine dental characteristics, adds Dr Eskander: ''Feminine' teeth tend to be softer and more rounded in shape, whereas 'masculine' tend to be squarer and more angular. Women's mouths also often feature more embrasures (the V-shaped valleys) between teeth.' People are also accepting a lower level of whitening, she says: 'They no longer desire that 'flashbulb' look.'
Dr Tim Bradstock-Smith has been one of the pioneers of cosmetic dentistry in the UK, having set up The London Smile Clinic in the capital in 1999. He notes that there have always been people in the public eye who have embraced their natural teeth – Willem Dafoe, Chris Martin, Steve Buscemi, Kate Moss, Kirsten Dunst, to name a few – but agrees 'there has been a backlash against veneers, whether deserved or not'.
'Aesthetics are so personal, no one has the right to tell anyone they need to have anything done to their teeth. If someone feels confident, it doesn't matter. But dental issues can cause people to lack confidence and, for those people, fixing them is life-changing,' says Bradstock-Smith. 'Cosmetic dentistry has really moved away from just putting veneers on everything, because adult braces have become so much more comfortable and efficient. Saving and enhancing your own beautiful natural teeth is the best solution overall. Once they're aligned they can be retained in that position – we've very much been at the forefront of that here.'
For performers, too much messing with the mouth can have other knock-on effects. 'If you are a singer, having crowns or changing the length or shape of the teeth with big veneers can affect the sounds that come out of your mouth,' adds Bradstock-Smith. 'Having dental appliances such as bridgework [a device which can replace missing teeth] can mean air can escape. I've just been working on this issue with a patient who is an opera singer.'
Judy Counihan is an executive producer on film and television. She says that while there is more diversity in casting and an increasing number of on-screen roles that embrace natural-looking teeth – even in Hollywood – they're a factor.
'We are definitely seeing a rise of less plastic, less glossy stars, but there is still an industry pressure to conform to many traditional beauty standards,' she says. 'If you're going to have unusual teeth in film or TV, you either need to be a great actor and/or you need to be beautiful. In her White Lotus role, Aimee Lou Wood's teeth are part of her character.' Indeed one of the first lines that Charlotte Le Bon's character Chloe says to Wood's character Chelsea is 'I love your teeth'.
'They're a beautiful idiosyncrasy and match the uniqueness of the role she is playing. The issue with teeth comes if you're not a very good actor and/or very beautiful, that's when they really start to matter because, in a super-competitive industry like this, very distracting teeth can be the final nail in the coffin when it comes to getting a role.'
Counihan cites the 2021 film Don't Look Up, a political satire in which Cate Blanchett plays the host of a morning show.
'Her character is a parody and in the role Cate wears prosthetic teeth in a shade we call Turkish white, because the teeth are a part of the character,' Counihan says. See also Mark Ruffalo in Bong Joon Ho's recent Mickey 17 – he plays a villainous politician with huge prosthetic veneers. 'But if someone was to turn up at an audition with those Turkish white teeth, they would struggle as they're such a dominant feature they make you uncastable in terms of playing another person,' she adds.
'Conversely, a few years ago, I worked on a film where we wanted to cast a really incredible actor in the lead role, but they had teeth so awful it actually distracted from the performance. The movie ended up getting this actor dental work – not to change the shape of their mouth or face – but to almost make the teeth unnoticeable. This person had never had the money for orthodontic care because, as an actor starting out, why would they? It's only in America that people grow up with this high-end extensive dentistry at their fingertips.' And even then, not necessarily. Ayo Edebiri recently told an interviewer she didn't grow up hoping to win acting awards but to have dental insurance.
When it comes to the so-called 'Turkey teeth', those big white sets often aren't veneers (which involves removing a small amount of dental enamel from the front of the tooth before sticking a layer of porcelain on top), but crowns, which are much more invasive.
'Patients are having good tooth structure drilled down to leave only stumps, and then having a cap known as a crown stuck on the top. It's usually completely unnecessary, but whereas orthodontic work takes time, this is sold as a quick fix,' says Bradstock-Smith. 'We have had lots of people come in with a chip or damage to these, and they want it patched up. It's not possible. Teeth aren't the same as hair… If you get a bad haircut, it will grow back. If you drill your teeth down, that's it for life.'
Bradstock-Smith says he also sees problems with the full sets of crowns people are getting. 'Often they're not well-fitting which means the gums get inflamed and recede. Then the whole set needs to be redone. When just getting them aligned and a little bit of whitening can also give amazing results, doing so much more is just such a shame.'
Good teeth, bad teeth or somewhere in the middle, Counihan says there is one factor that is non-negotiable if good actors are to become stars. 'It's charisma,' she says. 'Charisma is the deciding factor when you become a superstar. Good looks are important but it's about that something else behind the eyes. Take Olivia Colman, who has not got conventional teeth but is such an outstanding actor and so charismatic, she can play any character: if she wants to play beautiful she plays beautiful. I think it will be a similar story for Aimee Lou Wood who is so great at – and confident in – what she does that she doesn't have to conform to stereotypes about what a star has historically looked like. I am sure we will see her – and her smile – in a host of different roles in the future.'
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

How the railways shaped modern culture
How the railways shaped modern culture

Spectator

time2 hours ago

  • Spectator

How the railways shaped modern culture

Cue track seven of Frank Sinatra's 1957 album Only the Lonely and you can hear Ol' Blue Eyes pretending to be a train. It's not that he's a railway enthusiast (though Sinatra, like many musicians, was an enthusiastic collector of model trains). No, it's written into the words and music of Harold Arlen and Johnny Mercer's song 'Blues in the Night': 'Now the rain's a-fallin', hear the train a-callin' 'whoo-ee'.' And so Sinatra sings it, just as Ella Fitzgerald, Peggy Lee and Louis Armstrong sang it. It's an American classic, defined by the sounds that permeate the soul of American popular music: the sounds of the railway. Two hundred years since the world's first public train rattled from Shildon to Stockton on 27 September 1825, it's difficult to think of an invention between the printing press and the internet that has had as profound a cultural impact as the railway. It's not merely a question of economics or logistics. Or even the fact that until the first railway timetables, different parts of the British Isles operated in different time zones. (Ireland adopted Greenwich Mean Time only after the opening of the line to Holyhead in 1848. A watch was set each morning at the Admiralty in London, and dispatched to Dublin by express train and packet boat.) It's the way that railways have sunk into our collective consciousness, defining modern culture in ways so pervasive that we don't always recognise their presence. True, some are more obvious than others. The sound of a train is intrinsically musical and like all music, it's shaped by its environment. Listen, if you can, to the whistle of a British steam locomotive like the Flying Scotsman: a piercing shriek, designed to cut through the hubbub of a crowded island. North American steam locos sounded different. Their chime whistles were typically lower pitched and had two or three notes. The result? A long, deep wail on a plangent minor chord. Add the clatter of steel wheels on jointed track and you have the essence of rhythm and blues, with all its derivatives and tributaries. It's the sound of wide horizons, Depression-era wanderings and dreams of freedom. Trains chug, rattle and moan through the American songbook, from Bessie Smith's 'Dixie Flyer Blues' to Duke Ellington's 'Daybreak Express', Steve Reich's Different Trains and Aerosmith's 'Train Kept a Rollin'. You'll even hear one in the theme tune to The Simpsons. That's no surprise. Railroads built the USA and conquered the West: Manifest Destiny made tangible in fire and steel. Emily Dickinson and Walt Whitman both hymned early steam locomotives. 'Type of the modern – emblem of motion and power – pulse of the continent,' exulted Whitman in 'To a Locomotive in Winter'. As late as 1957, Ayn Rand saw America's railroads as the nervous system of a libertarian utopia. Rand's descriptions of throbbing diesels provide the only authentic erotic charge in the pages of Atlas Shrugged. So engineers and hoboes became folk heroes, slaves escaped to the North via the Underground Railroad, and the names of railroad companies – the Wabash; the Rock Island; the Atchison, Topeka and Santa Fe – entered the lexicon of song. 'Trains are percussive. Trains sing. If you don't like trains you probably don't like music either,' said Peggy Seeger, and the music historian Spencer Vignes has catalogued more than 200 jazz, rock and folk songs inspired by railways, a list that barely scratches the surface. Even in the Old World, railways generated poetry, at least for those inclined to hear it. The first railway in Germany opened in 1835, but with Faustian prescience Johann Wolfgang von Goethe kept a souvenir model of Stephenson's Rocket on his desk until his death in 1832. In Britain the elderly Wordsworth thundered in verse against the building of the Windermere railway: the original nimby, initiating a very British ambivalence about rail development that persists to this day. Bat tunnels aren't the half of it. Opponents argued that Brunel's Great Western Railway would cause cows to miscarry, and Turner painted an apocalyptic vision of violated countryside in 'Rain, Steam and Speed'(1844). Yet within a century this disruptive new technology had become the essence of eternal England; the lyrical, nostalgic stuff of Edward Thomas's 'Adlestrop' and John Betjeman's Metro-Land. Every modern heritage attraction and repurposed Victorian gasholder can credit its survival to the evening in October 1950 when a group of British hobbyists decided to see whether, through sheer enthusiasm, they could somehow rescue and run the tiny, decrepit Talyllyn Railway in mid-Wales. Its beauty was its own justification, though Britons are far from alone in idealising their railway heritage. In Matsuyama, Japan, a replica narrow-gauge railway recreates the world of Natsume Soseki's classic novel Botchan. The culture of railways is international, but it adopts local colouring. 'All the little stations in the small towns of the old Austro-Hungarian Monarchy looked alike. Yellow and tiny, they resembled lazy cats lying in the snow in winter and under the sun in summer', wrote Joseph Roth. His elegies to a vanished empire revolve around its provincial railway stations – far-flung outposts of Vienna, where despairing exiles drink brandy in station hotels to the sound of last season's operetta hits. In the British Raj, meanwhile, railway stations became the crossroads of a subcontinent, enabling a new national consciousness. John Masters's end-of-empire novel Bhowani Junction uses a station and its people as a metaphor for a nation in transition, but India had taken imaginative ownership of its railways long before independence, with results that ranged from the culinary (Railway Mutton Curry now appears on menus in the former Imperial power) to the literary. Indian Railways has even renamed a station in Karnataka as 'Malgudi' in homage to R.K. Narayan's beloved fictional town. The distinctive dialect of Sri Lanka's Dutch Burgher railwaymen animates Carl Muller's novel Yakada Yaka – named after the gloriously onomatopoeic Sinhalese term for a steam engine, 'Iron Demon'. It's a similar story all over the world. Aircraft and motor vehicles might have supplanted trains in some (though far from all) regions of the globe, but the railway got there first, and it still dominates our ideas about travel. With their monumental architecture, major city terminuses are powerful statements of civic values – whether the iron-and-glass cathedrals of Paddington and St Pancras, the orientalist fantasy of Mumbai's Chhatrapati Shivaji or the modernist panache of Rome's postwar Termini. It would take until 1991, and Norman Foster's Stansted, before the aviation industry realised what Brunel and Stephenson had understood from the outset: that transport infrastructure can move the emotions, as well as passengers and freight. So that's music, literature, architecture, heritage and cuisine; and we've hardly left the station. How about the long-distance train as microcosm; a ready-made setting for thrillers like Graham Greene's Stamboul Train, Agatha Christie's Murder on the Orient Express and Bong Joon-ho's dystopian Snowpiercer? Or the railway as promoter of literacy? The world's first travel bookstall was opened by W.H. Smith at Euston in 1848. Allen Lane created Penguin Books to serve rail travellers, and Kipling wrote his first stories for the Indian Railway Library. What of railway companies as patrons of art and design, from Raymond Loewy's art-deco streamliners for the Pennsylvania Railroad to the (now ubiquitous) aesthetic of 1930s travel posters (the Gill Sans typeface went mainstream only after it was adopted by the London and North Eastern Railway)? Or there's the European connection: the modernist line through Monet and Caillebotte's studies of light, steam and steel at Paris railway stations (Monet painted the Gare Saint-Lazare on at least 12 occasions) to the vorticists and futurists such as Filippo Marinetti, who imagined an archaic Italy smashed open by speeding locomotives. Trains drift through De Chirico's dreamscapes, and haunt the steampunk visions of graphic novelist François Schuiten. So it's certainly not all about nostalgia: Ernst Krenek's 1927 opera Jonny Spielt Auf climaxes with a classical violinist being crushed beneath the wheels of an unstoppable jazz train. But sometimes it really is. Between 1955 and 1960, the American photographer O. Winston Link documented the last days of steam on the Norfolk and Western Railway, creating black-and-white images of locomotives that surge and bellow through jet-age America like creatures from prehistory or myth. We're back where we started, with the (steam-powered) soul of the blues, and the lonely cry of trains in the night. But 200 years into the world the railways made, the trains of our imagination steam onwards. The journey continues, and whether we realise it or not, we've all got a ticket to ride.

‘Italian that just works': Broadwick Soho reviewed
‘Italian that just works': Broadwick Soho reviewed

Spectator

time2 hours ago

  • Spectator

‘Italian that just works': Broadwick Soho reviewed

This column sometimes shrieks the death of central London, and this is unfair. (I think this because others are now doing it.) It is not the city we mourn but our younger selves. Even so, the current aesthetic in restaurants is awful and needs to be suppressed: beiges and leathers, fish tanks and stupid lighting, all are nauseating. But I hated Dubai. You say Atlantis, The Palm, I say enslaved maid crying for her dreams. But there is refuge, at least from the aesthetic, and it is as ever the child of imagination and nostalgia. Broadwick Soho, the newish hotel in the street where typhus was chased down to a water pump, is a rebuke to desperate minimalism. It is a bronze and brick palace decorated, I think, in homage to Frances Hodgson Burnett's A Little Princess, or perhaps Citizen Kane's Xanadu, because all the treasures are here. In response, because most people do not want to feel dead when they are not dead, it has been named the best new hotel in London for decades, and it is, if you can still feel joy. It has welcomed Taylor Swift and Zoë Kravitz and many people more attractive than you and me. I forgive it that, because I have a quest of a very particular kind: one that perhaps only I care about. Do you want to know where all the flounces are, children – the flounces the Connaught threw out? They are at Broadwick Soho, courtesy of its founder Noel Hayden, the son of a Bournemouth magician, who has, in his parents' honour, made a hotel that Norma Desmond would love, because it is one long opening night. There are maximalist hotels in London, of course, principally the Savoy, but the Savoy has gone mad (if it was ever sane) and thinks it is a florist or a jeweller now. Broadwick Soho has balance. It must, because it has taken all the flounces, and its broader theme is elephants, then leopards. It has two restaurants, Dear Jackie in the basement and its diminutive Bar Jackie on the ground floor, both named after Hayden's mother, who apparently loves them (as Princess Diana loved Café Diana in Notting Hill) – and a rooftop bar called Flute, named after a local flute shop, now gone. Drinking here is like drinking inside a lushly planted garden, or a paint chart. The views are of Mary Poppins's own London, the attics of Soho, and it is fantastical in rain. I eat in Bar Jackie on a summer evening. It is slightly more restrained than the rest of Broadwick Soho, which is high-kicking into the dawn: red ceilings and red awnings; floral wallpaper for the comfort of theoretical elephants; immense, soft lamps; floral tiling on the bar. It must be hell to clean, but that is not my problem, not here. As if for contrast – I couldn't eat mezze here either – the food is plain American-style Italian, as at the lost 21 Club in New York City, and it works. We eat a very fine focaccia; soft, dense Cobble Lane salami; an extraordinary salad of trevisano and gorgonzola, walnuts and balsamic vinegar, which I will not forget; a delicate, not overlarge veal and pork ragu (there is too much stimulation to eat your feelings here – nausea will follow you); a tidy tiramisu. It is pleasing to be somewhere that cares so much about aesthetics, when there is so much carelessness around. If you are very thrifty, you can eat for £50 for two and, considering all the agony in the world, I think you must.

Medics make the worst patients
Medics make the worst patients

Spectator

time2 hours ago

  • Spectator

Medics make the worst patients

Provence Apart from three Covid years, the German rock cover band Five and the Red One (named, so they say, because one of them has a 'fire mark') have played a free concert on the Cours here in the village every summer since 2008. I first saw them in 2009 when my three daughters were teenagers. The four of us, along with our friends Monica and André, who were then in their mid-sixties, stood together near the front jumping up and down and singing along. Some of the wee ones who sat on their fathers' shoulders behind us might have children of their own by now. Last year a rowdy coterie let the well-built 6ft 3in guy who owns the expensive hat shop in the village crowd-surf and, discovering the burden was beyond them, let go. As he fell he narrowly missed crushing tiny Monica. Before Saturday's concert she said she wouldn't be joining me in the mosh pit this year. 'I've got to stop sometime,' she said. Understandable, but sad nonetheless. End of an era. American Cathy stepped up as a late substitution. She's going through a difficult time; her marriage ended in April and, as often happens when an individual is stressed, she's become accident-prone. Her body can't keep up with her brain. At the village's recent Bastille Day celebrations, she fell and banged her head on the way back from buying the second round of drinks of the evening; the third minor head injury she's sustained in a year. Onlookers told us she was out cold for a full minute. Medics are the worst patients. By the time her colleague Tina and I got to her she was sitting on the kerb beneath a plane tree telling everyone she was a doctor and to cancel the ambulance. Pointing to Tina, she said: 'She's a doctor too. I'm OK.' I'd cleaned the slightly bleeding wound under the hair at her left temple by the time the ambulance arrived a few minutes later, lights flashing and sirens blaring. Despite her protestations, the pompiers insisted on checking her over. 'You look fine, Madame, but come with us. Two minutes.' The ambulance doors closed behind them. After what seemed like an age we heard laughing and the doors opened. 'At least I got to sit in the ambulance with the young hot guys. I wanna dance to 'September'.' Ten minutes later, arms aloft, she led the entire dance floor in a conga line round the square. Unlike the French, I hate that sort of thing but in order to keep the patient under observation, I put my hands on her waist and followed. A row of outstretched arms formed a tunnel and the long line stooped to dance through. Afterwards we bumped into my friends Charlotte and Ed. As I introduced Cathy, they stared. I turned. The dancing and bending had reopened her wound and blood was pouring thickly down her face and neck. Grateful as I was to have Cathy at my side in the mosh pit on Saturday, I knew I couldn't let her out my sight. The band kicked off with the Steve Miller Band's 'The Joker'. They looked, sounded and moved as a rock band ought – a mesmerising and nostalgic spectacle. The audience of about a thousand souls roared in appreciation. David, the lead singer, effortlessly held the performance together, much as the conductor and soloist would for an orchestra. The mosh pit was, as usual, a heaving, beery, stomping, sweaty mess. People of all ages and nationalities forgot their worries for a few hours and joyfully sang and danced as one. I turned to watch the crowd during 'Sweet Child of Mine', and saw Monica and André coming to join us. For a while she and I held hands as we danced. Things got a little wilder during 'I Can't Get No Satisfaction', and as the band began to play 'Should I Stay or Should I Go', a favourite of mine, Monica left. Wise move. A few bars in, the crowd went mental. I'm not very big in flip-flops and Cathy's shorter than me. Soon we were swamped by huge guys, dripping in sweat, either barging into us or trying to engage. But, slight as I am, I spent 50 years in the environs of Glasgow and they soon backed off. A glorious three-part, revved-up sing-along to 'Twist and Shout' brought things down from the febrile heights of posh-boy punk and to the finale, 'Highway to Hell'. Afterwards, when the DJ took over, I saw David, whom I know slightly, on the square and gave him a hug which landed somewhere between maternal and teenage fan girl. Apart from his sodden Robert Plant curls, he was transformed from rock singer back into an ordinary 40-year-old German father of three. I asked him how the village compared to other venues. 'We don't do any other gigs,' he said. 'I'm forming another band and writing my own stuff, but this band stopped touring when we started having families and only gets together once a year for this. We do it for fun. Stay there. Don't move. I want you to meet my uncle. He's a really cool guy…'

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store