Maid Of Stone Pre-Show Party ft Gorilla Riot (Stripped) & Lead Feather, Leo's Red Lion, Gravesend. Thursday 17th August 2025

Three of us were heading down to the Maid of Stone Festival, which had been extended to a full day on Friday, necessitating a trip down on Thursday. This gave us a free night. Handily, two of the acts from the festival were appearing at Leo's Red Lion in nearby Gravesend.

The venue is situated in a predominantly industrial area and hosts various music events throughout the year.   

Inside, the historic nature of the place becomes immediately apparent from the multitude of framed photographs on the walls. Many, many bands have played there. I took a few snaps.

As the amphitheatre wasn't open yet, promoter Terry invited us to a quick tour of the various stages, giving us a potted history of the bands that had played there over the years. He's a lovely guy who, along with some like-minded friends, has turned his love of music into a business, putting on shows for up-and-coming bands, as well as returning veterans. 

 

The Amphitheatre seating area was a massive decking construction, a bit uncomfortable on the bum after a while (we didn't know to bring cushions), exposed to the sky. That didn't matter tonight as the temperature was warm until late. 

 
The first act of the evening was Lead Feather, performing as a three-piece, the drummer not required for their acoustic set. I had never heard any of their work (they only formed in October 2024), but I was impressed by them. The guitarist was highly skilled, evoking Slash's vibe in his brooding intensity, rarely interacting with the audience or his bandmates. The singer had a David Coverdale-like intensity to his vocals, and the bass player doubled up on acoustic guitar and keyboard duties. They gave a laid-back and intimate performance that the crowd enjoyed. 

After a short interval, Gorilla Riot took over the stage. Wow, they were good! Putting both the heat and the amp into amphitheatre, the six-piece band (comprising two guitarists, bass, drummer, and two backing singers) played some really cool tunes, while bantering caustically with each other between songs, with the lead singer especially enjoying ribbing his bandmates in a good-natured way. The music was superb, boding well for their headlining slot on the Firestarter stage. 

 

Videos courtesy of Robert Hutton

Afterwards, as the only non-drinker, I had the pleasure of driving Bob's car back to the hotel (I'm on his insurance solely for this purpose). Only, my experience with electric hybrid automatics is minimal, and the first thing I had to do was reverse with a car parked directly behind us. Fortunately, the driver of the vehicle behind noted my hesitancy and reversed to give me buffer room to pull out without hitting him. The rest of the journey was a breeze after that (although one tyre did touch the kerb when I reverse-parked into a space - naughty, naughty).    

Ticket Price: £12 x 3 plus Booking Fee: £3.60 and Venue Donation: £1.00 = £40.60 From Good Show.

The Last Laugh, Theatre Royal, Glasgow. Matinee, Wednesday 16th July, 2025

One of the great things about being retired is having no set bedtime. The downside is that sometimes you need a midafternoon nap to compensate. Not so convenient when you've arranged a trip to a matinee performance at the theatre.

We'd dined at Miller & Carter for lunch: three courses for £22.95, meaning my stomach was comfortably full prior to the show. Thanks to my twinging back and the summer heat, the toddle up to the theatre was hard going. Still, we arrived in plenty of time to join the audience of other retirees (and occasional young person) prepped for an afternoon of laughs, nostalgia and melancholy. 

The running time notice indicated the play was in two acts with a twenty-minute interval. We settled into our seats in row K of the stalls and discovered we had no one sitting directly in front of us in row J or H. That's not to say the place was empty (far from it); rather, in these cost-conscious times, our filled row was cheaper. 

The safety curtain hadn't been lowered, so we could see the stage set: a dingy, backstage theatre dressing room containing three lightbulb-wreathed dressing tables that harked back not to the music hall glory days but an age afterwards when the greats were all but forgotten. The dirty, smoke-stained walls are adorned with tired-looking billboard posters and framed, black-and-white photographs of vintage comics, including those of Tony Hancock, Arthur Askey, and Sid James. A rectangular, dirt-surrounded space indicates that one frame is missing. 

The old-school tunes playing in the background are from that era when the radio was known as the wireless, a deliberate musical choice to set the scene. 

Then the lights around the mirrors flicker. A voice over the crackly stage tannoy informs the absent performers that the show is due to start. Then all goes dark, both on stage and in the room. 

When the stage lights come back on, Tommy Cooper stands before us, centre stage, in his fez and underwear, and a pair of giant chicken feet. Cue the first laugh, a sight gag befitting the comic's legacy. Tommy was notorious for making people laugh without saying a word.

The show is about a fictional meeting where the three comedy greats (Tommy Cooper, Bob Monkhouse and Eric Morecombe) share a dressing room. Each actor nails their performance, bringing to life the three distinctive comedians (especially Bob Monkhouse, whose voice and mannerisms are spot on), helped by a script full of their famous lines and routines. The play also delves into what motivates the comedians and questions what it means to be funny, each one coming up with their own unique take on the answer. 

It's a joyous play to watch, especially if you remember the comedians. The ending packs an emotional punch when the missing picture frame is replaced and we see whose image it contains. Be aware, there is no Act Two. The section after the interval is a Q&A session with the actors and the cover (or understudy, as the role was formerly known). I enjoyed this bit too,

as it provided some insight into how long the actors have played these roles individually, before this play was even written, having performed in their own one-man shows about their comedians. It was lovely to know the families of the three deceased comedians have given their blessing to the show. 

So, why did I mention all that stuff at the beginning about late nights, mid-afternoon naps, and being full? Did I fall asleep? No, but I did come close. I suffered early on from what I like to call Heavy Eyelid Syndrome. That's not to besmirch the show in any way. It is a fabulous work that deserves a broader audience. 

I liked it so much I bought both the producer's programme and the smaller house version, not realising the latter was the same as the former in terms of text, just missing the big photographs. That was some clever upselling from the kiosk girl, making me think I was getting a bargain, £4 less if you buy them both.   

If you are old enough to remember these performers, go see this play. You will not be disappointed. If you don't know who they are, go for a laugh anyway. You'll still enjoy it.

https://thelastlaughplay.co.uk/

Ticket Price: Stalls Row K £31.50 x 2 plus £3.95 Transaction Fee = £66.95

 

Comedy Sneak Peaks - Connor Burns and Stuart McPherson, Paisley Art Centre. Sat 12th July, 2025

 

It's telling when the blurb describes one of the acts as 'brilliant' and the other as 'award-winning'. While both were performing works in progress in advance of the Fringe, it was clear how vast the gulf was between the two descriptions. 

Connor opened the night, introducing himself and explaining the situation: both shows are still rough; they'll have notes; it may not always be funny. He then warmed us up with some crowdwork, finding some mileage with Clare and her meek voice, turning her into a disability scammer, skipping the amusement park queues and getting a free parking space near the venue; he also enquired if anyone was from another country, and my friend, whom I didn't know was there, sitting in the front row, volunteered that she was from Northern Ireland. Brave girl! One to speak to the comedian, and two, to sit in the front row (not her choice - those were the only tickets left). When she revealed what she did for a living - a care worker for people with special needs - Connor immediately thought she and Clare should pair up.  

Connor then introduced Stuart. My back was spasming whenever I leaned to see past the Wilson Fisk-like behemoth sitting in front of me, so I didn't often have a direct view of the comedian (with his Hugh Grant Four Weddings floppy hair). What I heard wasn't that funny. It wasn't anything special or interesting. Just stuff about his relationship with his partner. That might work for a club twenty, but won't cut it as an Edinburgh show. He needs to put in a lot more effort. But that's what these shows are all about. Learning what to cut and what to keep. He might need to return to the drawing board. (I suspect his shtick might work better as a low-key, BBC Scotland sitcom about families.)  

During the interval, I hobbled down the steps to chat with Andrea. My wife didn't mind. She got to read her book in peace. 

In the second half, Connor did his material and blew us away. He is more polished as a performer, has more interesting takes on his subject matter, and his gags are sharper. His bits about the Deep South and Trump's America showed off his ability with accents and impressions. His school tales were the right side of risque. The laughs kept rolling so hard, he didn't want to leave us, adding another routine then another, packing them in until it was really time for him to go.

I suspect Connor's Fringe run will be a great success, as will the subsequent tour. Stuart might still be with his girlfriend, or might not. I didn't really care. 

Ticket Price: £12.50 x 2 plus Booking Charge £2.50 = £27.50

Blurb

Connor Burns is a brilliant stand-up from one of the fastest rising new stars of Scottish comedy.
Stuart McPherson is an award-winning stand-up comedian, writer and actor, probably best known for his appearances in SCOT SQUAD (BBC)
Please note these shows are still a work in progress, there will be some strong language and although they might not be slick, they sure will be funny!

Goodbye Mr Mackenzie, Oran Mor, Glasgow. Friday 11th July, 2025

 

Goodbye Mr Mackenzie, much like GUN (although not to the same extent), have been a fixture in my life since my youth, when everything mattered and passions ran deep. 

Hammer and Tongs cassette insert
(album cost £7.99) 

Tower Records signing, March 10th, 1991.

Back to today. Much like then, I'd been told to tidy my room, only this time by my wife, not my mum. Unlike then, the task turned a lingering pulled back muscle into a spasming nightmare. Not what you want to experience before a standing gig.

I was on my own for tonight. My wife doesn't mind Goodbye Mr Mackenzie, but wasn't bothered about going to this gig. I headed out early to find a space to park on Byres Road to be there for the doors opening (another reason she sometimes declines my gig invitations). I had taken Paracetamol, but it wasn't enough to take the edge off every bump on the road. 

I found an excellent place to park, only slightly hampered by the annoying youth who didn't comprehend the rules of reverse parking, specifically not standing beside the car in front of the space. Once he moved on, I slid in. The sun was still hot with lots of young, gorgeous women walking about the cool West End, but in my condition, slightly hunched and sauntering, they paid me little attention. Nothing to see but an old man in pain. Ignore him in case he needs help.

    

There was no queue, just a few single blokes hovering outside the venue, the kind of thing that generates an eye roll and a huff from my wife, so thank goodness she wasn't there. It took a couple standing right beside the doors and one other person to stand behind them to trigger the queue. I was about eighth to get in. I paid close attention to the stone, spiral stairs as I climbed to the auditorium, not wanting to put a foot wrong and trigger another spasm. It's so embarrassing to cry out in pain in front of strangers. 

I didn't stand at the stage barrier, deciding instead that the raised bar area behind the mixing desk was a safer bet. I bought a drink and claimed the spot. Martin Metcalfe wandered up to the merch stand, holding a single maraca. He talked to the guy on the stall, who then disappeared for a while, leaving Martin on his own. The merch hadn't been unpacked yet, still in its boxes. At this point, the venue was still relatively quiet, but one fan went up to chat with Martin. I didn't want to risk losing my spot, so I left them to it. I wouldn't have known what to say anyway. My awkward shyness would have kicked in. One thing I noted is that Martin, in his civvies, doesn't give off star quality. His quiet demeanour doesn't shout extrovert. Those baggy, sunken eyes look like they have a few demons lurking behind them.  

I spotted the Lighting Setlist on the desk, so took a snap of it (see below) before the recently installed air con unit blew it onto the floor. I then waited for the show to begin, reading a book on my Kindle app and flicking through Facebook, the usual. I spotted someone I know passing nearby, but couldn't immediately recall her first name, so I didn't shout out to attract her attention. I messaged her instead, not wanting to leave and lose my perfect viewing position.  

The young lad on the sound desk started tapping a button, generating a drumbeat as the support act wandered on. No fanfare, no introduction, just a bloke with an electric acoustic guitar. I couldn't discern much of what he said between songs, but his music was okay. I'd describe it as dark and ominous, what you might hear on an unsettling folk horror soundtrack, a style that Martin Metcalfe would lap up. After his half hour was done, the drumbeat from the last song persisted until he left the stage, whereupon the sound tech attenuated the signal to zero. (Chris did explain he usually had a drummer on stage with him, but tonight he was solo.)

I don't know if he ever opened his eyes while he played.

The couple in the foreground seem familiar
from my time working in Ralston.

I caught up with Jackie during the break, while she was on her way outside for a fag (We also chatted after the gig, before providing her and her mate, Greg, with a lift home). 

I was so pleased when the tech crew commandeered an electric fan behind the sound desk. Whenever I lowered my arms over the railing, I could feel the cool breeze. Despite six aircon units located around the hall, the heat was only building, sweat coating my skin like I'd been shagging all night (a distant memory, and an image you'll despise me for planting in your head). 

I'm a fan!

The Mackenzies arrived on stage at 9 p.m. It takes Big John a bit longer to get settled into his chair as he's on crutches thanks to his MS (no leaving the stage for the encore). Martin, in his stage costume and sunglasses, is a different beast from the one offstage. He has a commanding presence and has the audience in his thrall. They played several songs from the recently revived album, Five, so the gig had a different feel from the previous ones where they focused on their early, commercial albums. The sound is fierce, more guitar-based, with Tippi Hedron (in the Shirley Manson role) also playing along, making three guitarists on stage, taking the pressure off Big John. 

I love it! I'm back to my younger days. My back isn't sore, the heat in the place acting like a sauna. My view is clear and uninterrupted. I'm not being jostled. I can bop to the music and sing to my heart's content. Wonderful!

Martin's singing was mostly good, though not as strong or as clear as Tippi's. He made vocal choices to protect his voice. That didn't matter because the songs and lyrics are so embedded in my brain, I loved hearing them again. I hadn't listened to Face to Face in years, and its subject matter still packs a punch today. 

If there were any downsides, the sound mix wasn't great where I was standing. It looked weird when Martin and Tippi crouched down to sing on Niagara, leaving no one but the front couple of rows any chance of seeing them. Martin also hid his face behind his hat as he sang the early part of The Rattler. That seemed odd until I heard the lyric, "I don't like people to know my face". I wondered why they didn't add Bam Bam to the set, given the song is short and was one of the singles from the Five album, reaching 65 in the UK charts.

But these niggles are minor. I had a good night. The back pain returned when I left the venue, the cool night air doing its work to tighten the muscles. I managed to get everyone home, though, without yelping. 

Another joyous trip down memory lane.  

Setlist

Lighting suggestions, inked with a marker pen.
Difficult to achieve, though, given the venue's limited resources. 
(Plus daylight was still visible through the roof's windows for most of the gig).

Ticket Price: £27.50 & £3.44 Service Fee = £30.94 from TicketWeb.

About Event

 As part of Oran Mor’s 21 years of live music celebrations, we have a very special performance from celebrated Scottish band Goodbye Mr MacKenzie, who have been touring to mark the 30th anniversary re-release of their album “Five” via the Last Night From Glasgow label.

“Five” was the first release on the MacKenzie’s own label, Blokshok Records, which they set up after splitting with major labels back in 1994. It marked a turning point in the band’s musical path, following on from the more polished, radio-friendly first two albums. “Five” has a much harder, rougher edge – no real surprise, perhaps, considering the importance of Punk to the Mackenzies generally. The influence of Grunge, Nick Cave and The Pixies is also clearly evident.

As the List said in their 50 Greatest Scottish Bands review: “The Mackenzies left behind the most complex and fascinating footprint of any Scottish band. Live, they were stunning. Lead singer Martin Metcalfe looked like the MC of a particularly debauched cabaret troupe. While their Scottish counterparts were looking at soul and Steeleye Dan for inspiration, the Mackenzies were taking theirs from The Pixies and The Birthday Party.”

Which album are you celebrating, Martin?

Show's over.

Taylor Tomlinson "Save Me" Tour, King's Theatre, Glasgow. Tuesday 8th July, 2025

When an American 'name' comedian comes to Scotland, I like to catch them, but I was particularly keen to see Taylor. I wasn't that familiar with her work, but I knew there was a buzz about her. She'd been the youngest comedian ever to be awarded the host role in Late Night with her quiz show After Midnight, and she already had three Netflix specials before turning thirty. Her crowd work reels showcase a talented comic, not surprisingly, given that she has been a comedian for over half her life. 

Tuesday had been a nice day, but by the time we were driving, the drizzle was on. The doors were supposed to open at 6:30 pm for an 8:00 pm show, but at 7:20, the queue to get in was only getting longer. There were punters inside, though, which was confusing. Was there a special early entry VIP exclusive that I'd missed? We stood in the rain for a while and eventually were let in, but we didn't get much further than the foyer. The house doors were still closed. Someone asked the usher what the reason for the delay was, but she didn't know. She guessed it could have been a late sound check by the artist or a problem with the room. 

The merch stall was selling T-shirts and tote bags, but none interested me. I'm not confident enough, sister, to wear a Taylor Tomlinson tour T-shirt as a personal statement.

Eventually, at 7:30 pm, they announced that the house doors were open, and we could make our way in. An usher handed us a glossy, folded leaflet. Excellent! A souvenir! No need to buy any merch. Our seats were fantastic (thanks, Kim), five rows from the front, in the middle, close enough for the perfect view but far enough away to avoid the comedian's eye. 

The audience is predominantly female and young, often in pairs. That should have been a clue about the nature of the show, but I hadn't done my research. 

The opening act was Sophie Buddle, a Canadian comedian who'd worked with Taylor on After Midnight. The leaflet revealed that "she has a gluten allergy but not in an annoying way, in actually a very cool and seductive way". Mmmn... that doesn't sound foreboding. 

It took me a while to tune into her voice. I found the pitch of her Canadian accent and her delivery style difficult to follow. That could have been down to the sound in the room or my hearing. I don't remember much about her material, except to say I switched off around the time she veered into her vibrator speed bit. I'm sure it was hilarious to the women in the audience, but I didn't find it relatable.      

After her twenty minutes, I expected an interval, but no (theatre scowls at missing out on ice cream and alcohol sales). Instead, she introduced Taylor. 

That girl has some comedy chops. Her performance is exquisite. She knows how to deliver every line in the best way to elicit laughs. Toppers appear casual, throwaway lines on the way to the next joke, but you know she's crafted them deliberately (sometimes, she'll pause to tell you that). The writing is key, but she's not afraid to play around with the audience. She's loving that, in Scotland, she can go darker with her material, even swear occasionally (using the C-word, gasp!) without causing offence, knowing the audience will respond appropriately with laughter. Her set covered her religious upbringing, her family background, touched on her mental health, relationships and finished with her recent coming out as bisexual. Not my favourite topic for comedy, but she brought the funny. The parts where she interacted with the audience seemed playful and warm, but with a comedic edge. She knew precisely when and how to put someone down strongly enough that it wouldn't spoil the atmosphere.   

Her performance didn't come across as another 'let's plough through this shit one more time'. It felt present and in the moment. It was her first time performing in Scotland, and she worked that into her routines. She had trouble understanding our accents, but that was okay. 

After the show, both Taylor and Sophie conducted a crowd-confessions Q&A, answering the questions submitted via the QR code on the leaflet. This was a nice, relaxing way to end the night. It was so evident from their giggles just how close their friendship is (not in that way - Sophie has a boyfriend!).

My favourite comedic bit from the night was when Taylor acted out the differences between girl-on-girl and girl-on-boy sex. With girl/girl sex, both parties have to remain present because they know instantly when the other's mind has wandered. Whereas with girl/boy sex... well, she showed us what can happen. One of the best physical comedic performances I've seen, that wasn't Elf Lyons.

Ticket Price: £57.62 x 2 = £115.24 from ATG+ (Thanks again Kim)

 

 

Breaking The News Recording, Drygate, Glasgow. Thursday 3rd July 2025

Host: Des Clarke

Panellists:

Daliso Chaponda

Jay Lafferty

Tiff Stevenson

Stuart Mitchell

When your wife asks, before you leave, "Are you wearing that jacket?" it's essential to listen to the subtext. She's not disparaging the garment; she's questioning its appropriateness. I didn't listen, though. Even when she recommended an alternative. I thought, 'this one's smart; it'll do.'

I arrived at Drygate ten minutes before the doors opened. The queue was already beyond the gates, though not quite as far as the street. I didn't have a long wait, but my assigned number to get into the show was 096, so I couldn't secure a seat inside while we waited (they allocate the ticket numbers an hour before letting us into the show recording). It was dry but windy, so I sat outside at one of the benches and ate my roll and bacon with potato scone, and drank a can of Irn Bru. It was a table for one as my wife had called off with a respiratory infection.

This week's audience question was inspired by the film 'Jaws' turning fifty. It asked, "What was the movie that changed your life and why?" 

One response: 'After watching the film Trainspotting, I now avoid public toilets in Edinburgh.' I can't remember the others.

 

I didn't find this week's show hilarious. Although it wasn't as warm as last time, I found myself closing my eyes and not listening intently. This was partly due to my poor view, as I was unable to see Daliso on the far left unless I leaned forward. With topics such as the Labour Welfare bill and DJT's Big Beautiful Bill, many of the comedians' replies were serious about the potential damage these bills could cause. Several of the jokes fell flat, and others were groan-worthy. One interesting fact: Daliso's dad might end up as the next President of Malawi. 

Jay unintentionally managed to get a question right. When asked, "What do 43% of Americans think bacon is...",  she replied vegan. The correct answer was "a plant". She confessed she'd only been joking. Stuart chipped in, "Isn't that what you're supposed to do on a comedy panel show?" Big laugh from the audience.

Stuart Mitchell came up with the best line of the day in response to Tiff Stevenson discussing her haunted boobs. She claimed she had big supernaturals. Stuart quipped, "See if your breasts were haunted, would they be called 'BOO-bs'? 

After the show, I made a quick exit, only to find it was raining. That's what my wife had been inferring when she mentioned my jacket. She knew rain was coming. Anyway, the shower turned into a 'shower of bastards' as I walked along Duke Street. The fenced-off bus shelter felt like a personal attack. 

Only for wheelbarrows and cement.

By the time I reached George Square, my waterproof jacket was more a "proof of water jacket", with rain sliding down inside my sleeves and rising through the pockets. My Gore-Tex trainers couldn't cope either. I was soaked through as I reached home. I pity the fool who used my train seat next. They might have thought I'd pissed myself. 

Not sweaty feet

It's July. The schools are off. Of course, it's going to rain. Welcome back. We didn't miss you. 

Ticket price: Free. 

UPDATE:

The programme broadcast was a triumph of editing, giving each panellist a chance to shine, leaving out all the guff and fluffs.