Showing posts with label Edinburgh. Show all posts
Showing posts with label Edinburgh. Show all posts

Monday, 27 April 2026

Tim Key "Loganberry", Monkey Barrel, Edinburgh. Monday 27th April, 2026

 

I am struggling to find the words to review this show. Tim's unique take on comedy encompasses outrage, shouting, stamping his feet, reciting poetry and stressing parts of words in an unusual manner (e.g., scroTUM), all under the guise of being an underdog who's award-winning and artistically famous.  

The show is about what happened while he was writing it. Sitting in a cafe, with his special pen (blue, green, red, AND black), he sets out to write his next award-winning opus. He's distracted by the waitress, by the unexpected appearance of Greg Rusedski (why not?) and by the invitation from Gabby Logan to appear on her Midpoint podcast, triggering a rumination about his life - at 38, half of 76, he might be regarded as middle-aged, so what does that mean when he's actually 48? {he's actually 49, but not when he wrote the show}

As we enter the performance space, he's already on stage, in his dishevelled suit, shirt open at the collar, wearing a white baseball cap. He acknowledges our arrival with a nod as he paces slowly around the tiny stage, sometimes facing the wall or grasping the microphone stand. He pulls nervous smiles like a child. He does this for nearly twenty minutes while the audience fills the sold-out venue. 

I'm sitting at the side, right against the wall, probably one of the worst views in the room. The bloke behind me is standing up, chatting with his female company. Suddenly, I feel a wash of beer slap against my head, splashing inside my glasses, soaking down my front. 

"Oh, sorry, mate," he quips casually. 

An innocent accident, but I feel rage boiling. I've got beer blotches expanding across the front of my lime green shirt. Nothing I can do, though, much as I want to confront the bloke and retaliate by chucking the remainder of my Irn Bru can across his face. I use my shirt tail to dry the inside of my spectacles. Fucker! Now, my drive home from Edinburgh will be stinking of beer. Yuck!   

Eventually, Tim steps off the stage and wanders to the back of the room. A spotlight hits him as he recites a poem, beginning the show. He ambles towards the stage, kicking a carrier bag forward. He lifts it and throws it from a distance onto the stage, joining it shortly afterwards. He puts on a tie (he's not a barbarian) and opens the bag, taking out a can. He pulls the ring. Lager sprays in the air like a fountain, which he struggles to stem using his hand and jacket. He's got it all over him. He blows the foam off the top of the can into the audience, reaching the third row, then takes a drink. Suddenly, I'm not the only one in the audience beer-infused, but at least when it happened to them, it was part of the show. He passes the can to a man in the front row to look after (he'll request its return several times throughout the show).  

He talks about his mother, his father, being single and a celebrity. He should be a catch. He's got eight thousand pounds in the bank. He lets the waitress kiss his Richard Osman House of Games suitcase. He doesn't care. She's allowed. 

Every poem is bizarre, a vignette of truth and humour, a word painting of his world. He recites them from cards the size of playing cards, discarding them onto the floor when they're done. 

His outbursts away from the microphone rail against the injustices of his life. He has no kids. He's frozen his sperm. "No grandmother wants to visit a block of frozen cum," he rails. 

The sixty-eight-minute show takes a turn near the end when a poem introduces us to his malignant melanoma - the C-word. He'll say it. He's not scared. That cunt of a doctor told him he had cancer. The swear word punctures the tension. He had it removed. He's fine. He goes on Gabby's podcast.   

So ends his tale of mortality. We should be blessed for hearing his wisdom. He walks off, with his stick and bindle (he's ashamed he had to Google the word) over his shoulder, to continue his life as a lonely traveller. 

It was an experience unlike any other show I've seen. No wonder it received multiple five-star reviews. I'm glad I made the trip to Edinburgh, even if I came home stinking of beer.

Ticket Price: £46.00 + Booking fees £2.64 = Total £48.64 from Monkey Barrel (Presale)




Wednesday, 15 April 2026

Seb Lowe, La Belle Angele, Edinburgh. Wednesday 15th April, 2026

 

After a pleasant drive to Edinburgh, arriving at 6.30 pm for a 7pm doors, I park at the Pleasance and head to the venue. I'm fifth in the queue, until security points out to the person at the front that the queue is actually up the steps, past The Mash House (who also have a gig on). It's not just up the steps. It's around the block, too. I end up on Chambers Street, parallel to the venue, within sight of the National Museum of Scotland. I guess I'll not be on the barrier tonight.

And I wasn't. Lots of tall people down the front, so no videos either.

First up is Kate Couriel (Seb Lowe's violinist and backing singer). This is her very first live performance as a solo artist. She's accompanied by Rory (?) from the band on keyboards. Her music is very like Seb Lowe's: lyrically dense, full of drama and opinion. And a bit samey. It doesn't do her voice justice. I think it would have sounded better with full orchestration, like on Raye's recent album, rather than with this pared-down approach of keyboards and violin. It's a short set, but welcome.




The Rooks are a Glasgow band who possess a swagger reminiscent of Oasis. Which is just as well because their singer sounds awfully like Liam, chewing his lyrics (confusion becomes 'con-few-shei-own'). Despite their confidence/arrogance, they actually sound good. I'd be happy to see them again, maybe with fewer tall people in front so I can see the singer, who's a little on the short side. Cool shades, though.




By the time Seb Lowe takes to the stage, the crowd is hot and sweaty. More youths have pushed forward, shifting the height dynamic, but I still can't see the stage clearly. I refuse to lift my phone above my head to record any of the performances, preferring to snatch the odd photo when I can. The Aberdeen setlist missed out a couple of my favourites, so I'm pleased when they slip in Mr & Mrs Human Race

The first three songs flow into one another without any chat. I guess they're aiming to cram as much as possible into their hour-long set, favouring the new songs. 

Seb likes to come down to the front of the crowd. Only, he is restricted by his microphone cable, relying on a techie to unhook the cord whenever it gets tangled. When Katie comes down, she's so small, no one except those at the front can see her. 

There's no Hot To Go moment this time, but the crowd amazes me, being able to sing all those lyrics along with Seb. They are loud, too; the largely young and female audience nearly busts my eardrums, even with earplugs in, as they scream their appreciation between songs. It was nice having nearly six hundred people singing, "We all love dogs, we all hate cats", at the top of their voices.   

I don't wait afterwards to meet the band. Let the young fans have their moment. I do keep an eye out for setlists being handed to fans and manage to persuade one youngster to let me photograph hers. As always, thank you for doing so.


Setlist:
Little Caesar
Here Come the Aliens!
Jump Scare
Kill him (he's a Socialist)
I'm Hateful, I'm Horrible, I Love You
Don't Say No to Hitler
One Day to Live
iPhone
Freak.
Mr & Mrs Human Race
People Like You
Ode to Britannia
A Westerner Walks Into a Bar
Terms and Conditions
No One to Kill in the Sky









Ticket Price: £14.00 & Service Fee £2.75 & postage £0.70 =  £17.45 from TicketWeb.



Saturday, 22 March 2025

Those Damn Crows "March Tour 2025", La Belle Angele, Edinburgh. Saturday 22nd March 2025


I love the Crows, as do some of my friends, so when they announced this tour, with one date in Scotland, we booked our tickets and prepared to travel to Edinburgh.    

I drove us through midafternoon, electing to make a pitstop at the Frankie and Bennys at Fort Kinnaird for dinner (free parking, dining options and a short drive to the venue to snag on-street parking afterwards before the city got too busy). The weather was mostly dry on the way in, bar a couple of stretches on the M8 where the heavens opened and road spray reduced visibility drastically. It was uncomfortably wet, though, by the time we arrived at the Pleasance in Edinburgh's old town around the corner from the gig.

I headed straight to the venue while my mates detoured to Bannermans for a swift one and a toilet stop. At 6:25 p.m., the queue was already snaking down and back up the covered area outside the doors for the 7 p.m. open. Unfortunately, my spot in the queue was under the one section where there was an opening between the protective, sloped tarpaulin and the roof of the building. I caught a lot of drips as I waited, which was very annoying, as I'd decided not to wear my cap tonight. 

At 6.45 p.m., they let us in. No sign of my mates, so I messaged them to alert them to the early opening. Inside, I made my way down to the front, finding a spot behind two smaller ladies. This gave me a perfect view of the singer's microphone stand. Of course, it didn't stay that way. It never does.

(Warning: the following section contains rude words. If you are likely to be offended, stop reading now)

Then before the support act has come on, a concert cunt landed beside me, trying to gain the forward advantage with his elbow. Shaven-headed with a goatee, this young, bespectacled lad had no concept of personal space, pressing his side against mine and standing so close to the person in front that the gentleman could feel his breath on his neck. Of course, the cunt was drinking, a pint tumbler in his hand, without the space to drink it properly.

Throughout the support act, the cunt kept trying to edge in front of me, but I wasn't having it. I stood my ground. I let the music move my body to keep pushing him away. The band were good, even though it looked like they were being led by a bare-chested schoolboy with a premature receding hairline. I enjoyed their music and their technical skill and even warmed to the frontman by the end of their set.

At the interval, the concert cunt fucked off, much to my relief. Unfortunately, so did the small woman in front of me. The height dynamic shifted as her tall friend shifted over to claim the space (and my view line). Then the cunt barged back again, this time wearing his massive jacket, announcing to no one who cared that he didn't think he'd make it back after going for a piss. I give him a cold stare. He justifies himself with a "What? I was standing here before." I replied, "I know. I felt you." The man in front of him nodded in agreement. The cunt didn't care. He took off his jacket and tied it around his waist, then checked his blood sugars on his phone. I began to think horrible thoughts about the youth's demise but remembered I needed to drive my mates home after the gig, which would be difficult from a police cell. Plus, I'd miss the show.

I buckled down, determined to stop the cunt from ruining my enjoyment. 

The Crows put on a great performance. I managed to get a Hi Two from Shane (his other three fingers were holding the mic) during one song, and I lost him entirely on the one video I took when he jumped into the crowd and ended up singing from atop the bar at the back of the hall. There were no variations to the tour setlist for this show, but the energy from the band still made it special. The crowd sang so loudly it hurt my ears despite wearing ear protectors. 

After the show, at the very end, the guitarist flicked his plectrum into the crowd near me. I didn't spot where it landed, so I shone my torch on the floor. Of course, the concert cunt got there first. He was crouched down straight away like Gollum after his Precious. By this time, I didn't care. He'd put in the effort. I just wished him an early death, either by something slow, pustulating and painful or a backstreet stabbing. Either would do. One less cunt in the world. 

The ten o'clock finish meant an earlier, and much-welcomed, return home before midnight. Thanks to wet road conditions and poor lighting, I only nearly drove on the wrong side of the road once. 

Setlist
Let's Go Psycho!
Man on Fire
Find a Way
Kingdom of Dust
Blink of an Eye
No Surrender
Glass Heart
Dreaming
Who Did It
Sin on Skin
Go Get It
This Time I'm Ready
See You Again
Rock 'n' Roll Ain't Dead!

Blink of an Eye



Ticket price: From Ticketmaster
3 Artist Presale Ticket  £22.50 x3 = £67.50
Per Item Fees £2.85 (Service Charge Artist Presale Ticket) x3 = £8.55
Order Processing Fees Handling Fee (£1.50) £1.50
Delivery Charge £2.00
Total £79.55 


James Bruner





Concert Cunt did eventually get ahead of me




Thursday, 17 October 2024

Seb Lowe, The Liquid Rooms, Edinburgh. Thursday 17th October, 2024.

Occasionally, a random flick through the new releases on Amazon Music will turn up a gem, leading to a curious search for nearby gigs. This is what happened with Seb Lowe, whose EP "Make Me Your National Anthem," released on October 4th, 2024, led me to buy tickets to this show at the Liquid Rooms, Edinburgh. 

The journey to the venue became an ordeal. Leaving during rush hour, my sat nav kept recalculating the route to avoid traffic, taking us eventually through Barrhead onto the M77 at Darnley. In Edinburgh, it attempted to take me down a blocked-off side road, so so much for Ford's subscription live service. The 20 mph speed limit in Edinburgh's back streets was a killer, too, but at least it gives the Council an excuse not to repair the roads. It also allows pedestrians plenty of time to walk in front of oncoming traffic.

So we arrived at the venue later than expected. As we waited on Victoria Street behind a small gathering of fans within view of the doors, I never thought the queue streaming from the Beer Garden lane would ever end, with more and more savvy youngsters getting into the venue before us. 

I needn't have fretted. 

Inside, the venue had two levels (floor and balcony), so the space was not too cramped, helped by the fact that the show had not sold out. The floor level was oversaturated with throat-choking dry ice, bathing everyone in prime-coloured lighting. We managed to find a good spot in the middle of the room with a clear view of the raised stage.

The venue had a strict 10 p.m. curfew, so support act The Guest List, a young, nineties-inspired indie band from Manchester, came on at 7.45 pm and played their set to a respectful audience. The only time I saw the lead singer smile was when, between songs, he picked up his guitar when he shouldn't have. Their sound owes a debt to Oasis, which isn't bad thing. They've actually got more followers on YouTube than Seb Lowe, which I found surprising (69k vs 11k).

After the band left the stage, their drummer returned to hand over his drumsticks personally to a girl at the front. Her squeal of delight was heartwarming.

Between acts, I felt like a grandad, surrounded by so many kids. I'd entered a land where pronouns were serious but not obvious. 80s music, such as Belinda Carlisle and Madonna, played over the PA, getting a sing-a-long reaction from the young audience despite them not even being alive when it was chart-topping. The freakiest bit was when everyone started singing and doing the moves to a song I'd never heard before. I opened Shazam to identify it but got a tap on the shoulder, the helpful lad behind me explaining it was HOT TO GO! by Chappell Roan. I was also asked by another girl if I was a reporter. She'd seen me making notes on my phone and wondered. These young things are not shy.

The excitement rose to ecstatic by the time Seb Lowe took to the stage at 8.45 p.m. If I was bewildered by how the crowd knew all the lyrics to the eighties songs, I was blown away by how well they sang along to these songs. The passionate performance of the leading man and his band revved up the party atmosphere. 

To say his songs have a political edge would be an understatement. Any Tories or monarchists in the room would have left with lacerations such is the sharpness of his lyrics. I loved how much the band showed their joy at playing their songs. The elegant and demure Kate Couriel couldn't stop laughing after Seb ripped his trousers climbing back onto the stage. I wished her microphone had been louder during Mr and Mrs Human Race because her voice is lovely. Seb had trouble with his earpieces, the cord getting caught up with his guitar strap whenever he put the guitar down. The roadie had a great time trying to help him.

I know Seb's music is not aimed particularly at my generation, but I left feeling like I'd witnessed a modern event. It was a great night of pop music. At this moment in time, they are the future of music, and I was glad to be there. 

On the road home, my Ford sat nav alerted me to two out of the three M8 road closures. Thank heavens, my wife downloaded the Waze app to guide me through Stepps because all the Ford one wanted me to do was return to the motorway. 

We still got home before midnight.      

Setlist
Jump Scare
I Fell In Love With a Talking Head
The Royal Family
Personality Test
Kill him (he's a Socialist)
Love Bomb
Football Players
Ode to Britannia
The Education System (Acoustic)
Freak. (Acoustic)
5168 Days
Mr & Mrs Human Race
Make Me Your National Anthem
iPhone (With 'HOT TO GO' section)
Terms and Conditions
Outro music: Dancing Queen (ABBA song)

Jump Scare & I Fell In Love With a Talking Head

Love Bomb

Ticket Price via TicketWeb.
2 x General Admission = £27.00
Service Fee £2.70
Delivery Fee (UK Post) £2.05
Total£31.75

I am puzzled what the numbers signify

The Guest List



Seb Lowe

Kate Couriel