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Scotsman
3 days ago
- Entertainment
- Scotsman
EIF music reviews: Up Late With Kathryn Joseph Up Late with Alabaster DePlume
Up Late with Kathryn Joseph | Jess Shurte Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Up Late With Kathryn Joseph ★★★★ The Hub We were all up late, Kathryn Joseph was on stage, facing off with her favourite sparring partner Lomond Campbell, and there were beanbags - the EIF cannot get any more informal. So informal that when Joseph apologised to one side of the auditorium for having to gaze at her rear end for the duration two fans crossed the stage to sit on the other side of the room. Up Late with Kathryn Joseph | Jess Shurte This is the leavening pantomime of a Joseph show because, while she is wickedly funny when she talks, she sings with a witchy whisper, quavering gravity and soaring anguish over plangent electric piano chords and Campbell's doomy synths about twisted desire, hellacious abuse and maybe even, debatably, about f***ing dead animals. Advertisement Hide Ad Advertisement Hide Ad And it seems she wanted it darker, saying 'welcome to my most paranoid show ever' as she asked for the stage lights to be lowered in her most undiva-ish way. Much of the set was drawn from her most recent album WE WERE MADE PREY. Nothing shouty here though. Her voice quivering, her purpose steely, Joseph offered gothic torch songs for a gothic hall. Under Campbell's spell, she has also emerged as an unlikely dancing queen, aspiring to rattle the beanbags with the throbbing electro grooves of What Is Keeping You Alive. Fiona Shepherd Vołosi ★★★★ The Hub A cultural hit squad from Poland's Beskidy Mountains, the five members of the supercharged string quintet Vołosi walked on, did the business (and how!), took a smiling bow and walked off, not a word spoken. Advertisement Hide Ad Advertisement Hide Ad What did speak volumes, however, was the unfettered dynamism of their performance. Although steeped in tradition and frequently playing with gypsyish flamboyance, their technique was clearly classically informed but could also muster the attack of a rock band. Tunes (we were, of course, given no titles) might start off with sprightly pizzicato before taking on the keen heft of twin violins and viola, calling and responding to each other or shrilling together over a hypnotic pulse from cello and double bass; or they might deliver a csárdás-like set with dramatically switching tempi, sudden stops and manic fiddle breakouts. Occasionally they might slow down, gliding, perhaps, over stately descending bass into the kind of serene melody you could imagine as a TV drama theme. Then they'd be off again, players facing up to each other so closely you'd fear for an eye amid these whizzing bows, and emitting the occasional yell – venting the pent, as Samuel Beckett might have put it. Jim Gilchrist Up Late with Alabaster DePlume ★★★ The Hub 'With a name like yours, you might be any shape,' as Humpty Dumpty tells Alice. In fact Angus Fairbairn, aka Alabaster DePlume, maverick saxophonist, singer and activist, cut a lean, quaintly robed figure as he took the stage, draping a couple of Palestinian keffiyeh scarves over the mic stand – of which more later. Advertisement Hide Ad Advertisement Hide Ad Accompanied by bass guitarist Rozi Plain, vocalist Ruth Goller and drummer Seb Rochford, he delivered a stream of his eccentrically rambling, cheerfully sweary imprecations of love for us all, before blowing his tenor sax over stealthy bass and drums to launch into Thank You My Pain. There's something almost spectral about DePlume's distinctively quavering saxophone vibrato, while his singing is more of an incantatory chant. After further declarations of love, there was more tremulous sax over tolling drums, DePlume, at one point, musing, 'I don't know what becomes of these f****ng songs.' A rousing sax melody over a steady drum beat built up into powerful squalling, Goller's vocals banshee-like, before subsiding into plaintiveness for DePlume to declaim Broken in a near monotone. Advertisement Hide Ad Advertisement Hide Ad Then politics came to the fore as he declared, 'Some of my friends are facing annihilation,' and raised the controversial topic of the Festival's major sponsorship by financiers Baillie Gifford, currently being called upon to divest from links with Israel. 'This company that invests in Israel also invests in this festival – and thus funds me,' he added drily. He then launched into a quavering sax lament, threaded with market sounds recorded in Ramallah, before picking up a guitar to sing his sardonic carol Gifts of Olives: 'Bethlehem behold: the star will shine / On the genocide in Palestine.' They were joined by a sitar player in a final improvisation, sax floating languidly over sitar twang to a more equable close.
Scotsman
01-08-2025
- Entertainment
- Scotsman
The best EIF contemporary music shows - Scotsman critic Jim Gilchrist previews the 2025 programme
Scotsman critic Jim Gilchrist picks his contemporary music highlights from this year's EIF programme Sign up to our Arts and Culture newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Vołosi Part of the Festival's Focus on Poland concert season, Vołosi are a powerful string quartet steeped who draw on styles as wildly diverse as rock, punk, folk, jazz and film music. Inveterate global troubadours, their performances can range from the lyrical to the wildly improvisational. The Hub, 9 August Triptic Three former members of the much-loved Scottish-based quintet Moishe's Bagel reunite to continue their exploration of global music. Award-winners all, violinist Greg Lawson, pianist-accordionist Phil Alexander and double-bassist Mario Caribé range with zest and passion through klezmer, Balkan and tango styles and beyond, as well as playing their own material. The Hub, 11 August Advertisement Hide Ad Advertisement Hide Ad Ímar Ímar Having emerged from Glasgow's traditional session scene, Ímar, named after an ancient Viking leader, are an award-winning pan-Celtic quintet of Scottish, Irish and Manx musicians. Expect sparkling high energy sets from fiddle and Irish pipes, concertina, bouzouki and bodhran. The Hub, 14 August Østerlide Norwegian nu-folk trio Østerlide bring a fresh and often strikingly beautiful slant to their native folk heritage, with vocalist Liv Ulvik's soaring, ethereal tones cusped by guitarist Andreas Haddeland and percussionist Ulrik Ibsen Thorsrud. The Hub, 16 August Østerlide Up Late with Kaitlyn Aurelia Smith The synth-driven soundscapes of American composer, performer and producer Kaitlyn Aurelia Smith have variously described by critics as 'sublime' and 'dreamy'. Key to her work – in addition to her own ethereal vocals – is the Buchla modular synthesiser, which she credits with creating 'happy accidents'. The Hub, 16 August Advertisement Hide Ad Advertisement Hide Ad Catrin Finch & Aoife Ní Bhriain The duo of Welsh harpist Katrin Finch and Irish violinist-fiddler Aoife Ní Bhriain is both a marvel of contrasting yet empathetic timbres and a fine colloquy between cultures. Both musicians transcend genres, Finch adventuring well beyond classical while Ní Bhriain, lauded as a classical soloist, grew up in Dublin surrounded by traditional music. The Hub, 18 August Canvas of Sound with Tazeen Qayyum Pakistani-born Canadian artist Tazeen Qayyum initially trained in miniature painting at the National College of Arts in Lahore, but her practice now spans a wide range of media and often incorporates live performance. In Canvas of Sound, she will create a calligraphic drawing in real time to music blending Middle Eastern rhythms and jazz from Basel Rajoub (saxophone, dulcimer and percussion) and qanun player Feras Charestan. The Hub, 21 August William Barton The indigenous Australian composer, multi-instrumentalist and didgeridoo virtuoso William Barton is also appearing as a soloist with the Melbourne Symphony Orchestra. Here he performs solo, featuring intriguing sounding compositions informed by elements as diverse as his Kalkadunga heritage and a youthful love of Elvis Presley, AC/DC and Vivaldi. The Hub, 23 August Endea Owens
Irish Examiner
26-06-2025
- Entertainment
- Irish Examiner
Cork Midsummer Festival art reviews: Aideen Barry, Sinéad Gleeson, Amanda Coogan, Sarah Lou Kinneen
Aideen Barry and Sinéad Gleeson, Western Frequencies, The Hub, UCC ★★★★☆ Multi-media visual artist Aideen Barry Author and author, editor and broadcaster Sinéad Gleeson have both been exceptionally busy figures on the Irish arts scene over the past few decades, and it is no surprise to learn that they are friends and collaborators. Gleeson's books include the collection of essays, Constellations: Reflections from Life (2019), and the novel Hagstone (2024). Barry's projects include Vacuuming in a Vacuum, a short film created in a zero gravity chamber on a NASA aircraft in 2008, and Klostes, a stop motion film she produced for Kaunas, The European Capital of Culture in Lithuania in 2022. Aideen Barry. Interviewed by Liz Quirke, poet and lecturer at UCC's Department of English, Barry and Gleeson are pleasant and engaging, though neither is shy about expounding on the insecurity of a career in the arts in Ireland. They discuss the struggles of being taken seriously as women in the arts world, of balancing careers with the responsibilities of motherhood, and of the endless hustling required to generate any kind of income. In Gleeson's case, these difficulties have been compounded by her experience of arthritis and leukemia. They speak of their moral obligation to create challenging art that addresses society's flaws, and Barry worries that they are part of the last generation of artists, as an arts education is now more accessible to the wealthy than to the working classes. Despite their frustrations, both affirm their faith in the creative life and the pursuit of artistic achievement over profit. Amanda Coogan, Caught in the Furze, Cork Centre for Architectural Education, Douglas St ★★★★☆ Performance artist Amanda Coogan's Caught in a Furze is an installation and durational performance inspired by the Wrens of the Curragh, a group of women who settled in 'nests' in the countryside around the British Army camp in Co Kildare for much of the 19th century. They lived communally, barely surviving on the proceeds of prostitution and charity. Amanda Coogan. Picture: Eoin O'Neill Coogan's installation features seven furze bushes suspended upsidedown from a ceiling, and a selection of prams. She wanders among them, dressed in a jacket of surgical gloves, with one foot bare. As is often the case with performance art, the experience of bearing witness can test one's patience. The reward comes in acknowledging how utterly desolate an experience it was for the Wrens to live as they did. Many ended their lives in institutions such as the Magdalene Laundries. Sarah Lou Kinneen, Fruiting Futures, Cork Centre for Architectural Education, Douglas St ★★★☆☆ Sarah Lou Kinneen's Fruiting Futures is more whimsical; a living, breathing artwork that is still in the process of growth. Visitors are invited to don a set of headphones connected to a panel of fungi, each of which produces different sounds. The project is delightful, but might have been better served by a more sympathetic setting than the foyer of the Centre for Architectural Education.
Hamilton Spectator
25-06-2025
- Entertainment
- Hamilton Spectator
2025 Penticton Elvis Festival ready to rock and roll
The King is gone, but he's certainly not forgotten. With record-breaking advance ticket sales, the 2025 Penticton Elvis Festival promises to be another resounding success, says festival board president Mike Schell, who is marking his 21st year on the organizing committee and third year as president. Canada's largest and longest-running Elvis festival is ready to rock and roll in downtown Penticton, starting with a pre-kickoff party and continuing through Sunday afternoon. A total of 33 Elvis tribute artists are signed up to perform and compete as they pay homage to the legendary Elvis Presley, the man who shook the world when he rose to fame in the 1950s. He remained a music and entertainment juggernaut until his untimely and tragic death on August 16, 1977. Unlike many others, Elvis's stature and popularity have remained remarkably strong nearly 50 years after his death, Schell noted. The festivities begin tonight (Wednesday) with a pre-festival kickoff party at Bar One in the Sandman Hotel from 6 to 10 p.m., featuring early-arriving tribute artists. The official kickoff event for the 2025 Penticton Elvis Festival takes place Thursday evening at The Hub on Martin Street. That event is already sold out. 'We're completely sold out for that event,' said Schell. While the festival has used Okanagan Lake Park in recent years, it returns to its original location in Gyro Park this year, Schell added. The official opening ceremonies will take place in Gyro Park on Friday at 1 p.m. 'The actual contests begin at 1:30 p.m. Friday and run until 5:30,' said Schell. 'Friday evening, we're showcasing four professional Grand Champions from our festival in a special performance.' Each of the four champions—Mat Shank, Sylvain Leduc, Vino Macris, and Corny Rempel—will perform a 45-minute set, providing eight full hours of entertainment in Gyro Park on Friday alone. On Saturday, gates open at 8 a.m., with performances starting at 9 a.m. 'This year, we have 15 professional Elvis tribute artists, 15 amateurs, and three Little Kings competing,' said Schell. 'They're coming from all over the world—Italy, Ireland, Branson, Missouri, Toronto, and more. The love for Elvis is global, and so is the talent that pays tribute to him.' A special addition this year is a visit from Charles and Linda Stone. Charles, who served as Elvis's tour manager during the height of his career, and his wife will host Q&A sessions in Gyro Park on Saturday and Sunday. 'They've got some amazing stories and photos from their time with Elvis,' said Schell. Saturday night's sold-out Headline Show at the Penticton Trade and Convention Centre will feature renowned Canadian Elvis tribute artist Pat Dunn and last year's professional division champion, Moses Snow. They will be backed by Schell's 11-piece show band, The Cadillac Kings. On Sunday, the Lions Club will host its annual pancake breakfast in Gyro Park, followed by the always-popular Elvis Gospel Show at 9 a.m. 'Every year, we donate $3 from each ticket to a local charity,' said Schell. 'This year, we've chosen the music program at Penticton Secondary School. 'The funds will help them continue with band trips and other music programs. We want to keep that legacy going—something The King would surely support.' The festival's final concert will take place Sunday afternoon at the PTCC, featuring the top seven professional and top seven amateur tribute artists, along with performances by the three Little Kings. As of Monday morning, fewer than three dozen tickets remained for the Sunday finale. The winner of the professional division will earn an invitation to compete in the world's largest Elvis Tribute Artist competition, held in Memphis, Tennessee, during Elvis Week in August. 'There are 30 Elvis tribute contests recognized by the Elvis Foundation worldwide,' said Schell. 'Winners from each are invited to Memphis to compete for the title of the world's best Elvis tribute artist. Our winner will represent Penticton on that global stage.' Next year, that winner will also be invited back to perform in the headliners concert. Schell, a lifelong fan, continues to be amazed by Elvis's enduring appeal. 'His legacy is as strong as ever,' he said. 'We're seeing more and more young fans in the audience. The recent Elvis movie really helped bring him back into the public eye, and two Netflix documentaries have also played a big role in keeping his name and music alive.' Schell also praised the City of Penticton for supporting the event. 'They've been very accommodating and deserve credit for helping ensure the festival's ongoing success,' he said. And 2025 is shaping up to be the best year yet. 'This is the strongest year in the past 23 when it comes to advance ticket sales,' said Schell. 'The festival continues to grow, and we're thrilled about how big it's become.' An after-party will follow the Sunday concert, just a few doors down from the PTCC at the convention centre. The Penticton Elvis Festival attracts around 2,000 visitors annually, with a significant impact on local hotels, restaurants, and businesses. 'We're expecting 3,000 people in Gyro Park on Saturday and Sunday,' said Schell. 'Many of them arrive early in the week and stay through Sunday, spending big on accommodations, dining, and more. Over 25 years, we've brought millions into the community.' All four contest judges are approved by the Presley Foundation, ensuring fairness and quality in the competition. The Elvis festival originated in Osoyoos but when it folded, then Penticton Mayor Mike Pearce encouraged a committee of volunteers to move it to Penticton. The gospel show was the idea of James Ludvigson. Tickets are $30 for Friday or Saturday, or $45 for a two-day pass. Sunday's gospel show is $5 (cash only) at Gyro Park. For more information, visit: . Error! Sorry, there was an error processing your request. There was a problem with the recaptcha. Please try again. You may unsubscribe at any time. By signing up, you agree to our terms of use and privacy policy . This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. Want more of the latest from us? Sign up for more at our newsletter page .
Irish Examiner
24-06-2025
- Entertainment
- Irish Examiner
Patrick McCabe review: Monaghan author provides a Howl of a night at UCC
Patrick McCabe with David Murphy and Michael Lightborne, Howl On, The Hub, UCC, for Cork Midsummer Festival, ★★★★☆ If Patrick McCabe did not invent the genre of Bog Gothic, he certainly perfected it in his 1992 novel, The Butcher Boy, surely the most sympathetic portrait of a murderer that has ever been committed to the page. As is evidenced in his most recent, and eleventh, novel, Poguemahone, McCabe's anarchic spirit remains very much intact, and we are all the better for it. McCabe's performance of Howl On is soundtracked by the pedal steel guitarist David Murphy and the electronic artist Michael Lightborne. The mood is set by an arrangement of grasses amongst the performers and on the windowsills above their heads. McCabe begins with a meditation on the idea of going 'up the Town' in his native Clones, Co Monaghan. He wonders what that might even mean today. One should, he suggests, address the question to Lidl or Aldi, or maybe Woody's, as the town centre of his youth – a place of endless adventure – has been supplanted by such convenience superstores. From there, McCabe heads off on various flights of the imagination. Reflecting on the mishmash of local and international influences those growing up in rural Ireland were exposed to in the 1960s and '70s, he imagines Pink Floyd performing Big Tom McBride's Gentle Mother, or Big Tom paying tribute to the 'lost' Pink Floyd genius Syd Barrett. Harking back to a previous decade, he reads the opening lines of Allen Ginsberg's epic poem Howl, and one can all too easily imagine how 'the best minds' of his generation that Ginsberg saw 'destroyed by madness, starving hysterical naked' in San Francisco had their counterparts in Co Monaghan in the 1950s. Similarly, McCabe's reading of Patrick Kavanagh's Epic, an account of neighbours battling over a boundary wall, reminds us again of the universality of such divisions. McCabe mentions the 'sin-birds' in another poem of Kavanagh's, Father Mat. In his own experience, these included see-through t-shirts, Jimi Hendrix, and the individual members of the Monkees. One might quibble that McCabe's musings might benefit from a more coherent narrative structure, but that, one suspects, would be to defeat the very purpose of his performance, which allows space for a recollection of how the late author Dermot Healy once proposed that hens have ghosts. McCabe is more inclined to believe that cabbage butterflies do. Murphy and Lightborne's musical soundscape is just as eclectic, including as it does snatches of the Beatles' Love is All You Need, The Crazy World of Arthur Brown's Fire, and Pink Floyd's Shine On You Crazy Diamond. Howl On indeed. The verdict? The surreal deal.
