Jul 312019
 

Review and photos by Craig Chisholm.

A bit of the Deep South came to the Far North as Kentucky rockers, Black Stone Cherry took their Family Tree tour to the Music Hall in Aberdeen.
The sold out date could almost be described as an intimate show as the band are more likely to be seen in much larger venues nowadays.

Dates last year included a headline slot at the cavernous Hydro in Glasgow and as main support to the mighty Guns n’ Roses at the 80,000 capacity Download festival.

Just days after their trip to the Granite City and they are, in fact, headlining another festival, the Ramblin’ Man Fair, in front of 15,000 adoring fans – 10 times the number that are packed liked sardines into tonight’s sold out show. But before the band take to the stage there’s the matter of a couple of up and coming support acts for the crowd to digest.

Coming on stage as the stragglers are still filtering through the main doors of the venue were another set of Kentucky rockers – the hirsute, rootsy rockers, Otis. Their short 30 minute set was a mix of blues and classic rock heavily sprinkled with lots of Southern fried boogie.

In front of a surprisingly busy Music Hall – considering the early stage time – they won over the crowd quite easily with their infectious rock n’ roll. Definitely a band to watch out for in the future.

Next up, The Kris Barras Band are a heavier proposition. The Devon born guitarist plays stripped back, no nonsense rock n’ roll. Searing bluesy guitar solos and raucous, soaring tracks showcase his talents and undeniable skills.

Judging by the amount of t-shirts bearing his name in the audience then the time to watch him is now, with no waiting around for the future. With a new album out in September expect to see more coverage of him and his band in the press and airwaves and, crucially, in the live environment where he belongs.

Black Stone Cherry come onstage to a rapturous reception by the devoted audience.

Opening with the thunderous ‘Me and Mary Jane’ the band plough through a 16 song set that lasts an hour and a half and doesn’t let up at any point.
The energetic first few songs see guitarist Ben Wells and bassist Jon Lawhon run around the stage hyperactively, swapping sides and hanging over the crowd, working them into a mad frenzy.

Lead vocalist and guitarist Chris Robinson has to raise his voice to be heard over the adoring crowd who sing the songs word for word. And, stage rear, drummer John Fred Young tosses and catches his drumsticks in the air but anchors the maelstrom with his thunderous rhythms and pin point accurate beats.

After a few songs the band have to catch a breath, lest they collapse with exhaustion. He tells the crowd that they headlined a show at a castle in Wales last night and they wondered how they could top that tonight but, as he says:

“We remembered we were coming to Scotland.”

This wins over the crowd even further – not that they needed to by this point – and sets the tone for the rest of the show.

They’re a band that care about their fans and engage with the crowd.

There’s plenty of clap-a-longs and call and response interaction. They even call out, by name, a fan in the front row that had been petitioning online for them to start playing a deep cut from an old album – and, of course, they play it live tonight for him.

Songs from all eras of the band’s history are played – from 2006’s eponymous debut right up to the latest album ‘Family Tree’.

A rollicking cover version of Johnny Cash’s ‘Folsom Prison Blues’ is segued seamlessly into from their own track ‘Hollywood in Kentucky’ and massive singalongs such as ‘Blame it on the Boom Boom’ are dispatched flawlessly and confidently in front of the awe struck crowd.

It’s a triumphant performance by a band at the peak of their powers –and the there’s no doubt the adoring crowd realised this and appreciated it accordingly.

Black Stone Cherry set list: 

Me and Mary Jane
Burnin’
Blind Man
In My Blood
Bulldozer
Soulcreek
Bad Habit
Hollywood in Kentucky / Folsom Prison Blues
My Last Breath
Cheaper to Drink Alone
Ain’t Nobody
Blame It On The Boom Boom
White Trash Millionaire
Lonely Train
Family Tree

Encore:

Peace Is Free

Jul 222019
 

Review and photos by Craig Chisholm.

It’s the end of an era at the AECC as tonight’s gig marks the conclusion of the venue’s live music history before attention turns to the new P&J Live as the new home of large scale arena rock in Aberdeen.
Throughout the venue’s history, it has seen some genuine rock and pop legends tread the boards in the main arena.

From its debut as a live venue in 1990 – when Scottish pop stars Wet Wet Wet provided the first live entertainment – household names, legends of rock, country stars, hip hop titans, heavy metal heroes and genuine music royalty have tread the boards.

Acts as diverse and eclectic as Bob Dylan, Dolly Parton, Iron Maiden, AC/DC, Lady Gaga, Kylie, Rhianna, Kings of Leon, Motorhead, Take That, Oasis, Foo Fighters, David Bowie, Johnny Cash, Radiohead and much, much more have had memorable nights in the Bridge of Don venue.

Were you there? You should have been!

Alas, all good things must come to an end and tonight sees the final party at the venue hosted, as it began, by another Scottish act but this time in the shape of an undoubted legend – the indefatigable and evergreen Rod Stewart.

However, for tonight only, the gig is not inside the venue itself but outdoors in the adjacent car park in order to accommodate a crowd more than twice as large as could be accommodated indoors.

The concert itself has already been postponed due to the vagrancies and unpredictability of the North East weather – Wet Wet Wet would surely have been appropriate band on the original date scheduled for last month – but tonight there are no such issues with the weather remaining relatively dry and pleasant, albeit with the odd shower.

So finally, a few weeks late, the show must go on.

At the age of 74 you’d think Rod would be happy to retire to his country pad and tinkle with his legendary train set, but it seems as those days are still a long way off as he gives a sprightly and energetic performance that would shame performers half his age, if not less.

Running through a back catalogue that stretches back over six decades the sprightly rocker pulled out all the stops as he performed crowd pleaser after crowd pleaser from his formidable and extensive back catalogue and from latest album ‘Blood Red Roses’.

Setting the tone with the opening cover of Sam Cooke’s ‘Having a Party’ and his stage entrance to spectacular pyrotechnics the stage is set for a spirited romp through Rod’s eclectic back catalogue with cover versions, re-interpretations and classics such as ‘Baby Jane’, ‘Maggie May’, ‘Da Ya Think I’m Sexy?’, ‘Some Guys Have All the Luck’ and the Tom Waits penned ‘Downtown Train’.

The party mood is paused on occasion for poignant slow burners and ballads including the melancholic ‘Every Beat of My Heart’ whilst his feted reworking of Crazy Horse’s ‘I Don’t Want to Talk About It’, a song which he has long since made his own, is performed as part of a stripped back section of the show.

Costumes are changed; footballs are booted into the crowd and a good time is had by all before the night is ended with the poignant classic ‘Sailing’ and Rod leaves the ecstatic crowd in raptures with another sterling professional, performance lasting over 2 hours.

So, after nearly 30 years of gigs, the AECC ends it’s tenure as Aberdeen’s biggest music venue on a high – finishing with one of the biggest names in showbiz in front of one of the biggest crowds it has ever had.

Rod, however, will be back – he’s already announced a date at the P&J Live on Saturday December 7th for what is bound to be another sell out performance.

Jun 212019
 

By Craig Chisholm.

Aberdeen’s award-winning music festival True North returns this September for another star-studded bill.
The main event will surely be `Rip it Up Live – A Celebration of Scottish Pop`, which takes place on Sunday, September 22.

This unique event follows previous years tributes to Kate Bush, Neil Young, David Bowie and Fleetwood Mac and will be curated and hosted by BBC broadcaster Vic Galloway.

Guest singers will include Claire Grogan of Altered Images, King Creosote, Emma Pollock from The Delgados, Richard Jobson of The Skids, Fay Fyfe and Eugene Reynolds of The Rezillos, Aberdeen’s own Kathryn Joseph, Honeyblood’s Stina Tweeddale, C Duncan, and Ross Leighton (Fatherson) performing some of their favourite songs from seven decades of Scottish pop.

Vic Galloway commented:

“Being involved in the ‘Rip It Up – The Story of Scottish Pop’ exhibition, book, TV and Radio Series was such a pleasure and an honour for me in 2018. The reaction at home and abroad was astonishing, and just showed how many talented musicians this country has created over the years.

“Taking the concept onstage as a LIVE concert at ‘True North’ adds a whole new dimension. With names from the past, present and future of Scottish Pop; it’s going to be a unique, one-off event celebrating seven decades of homegrown music at the festival.

“I cannot wait to share it all with festival goers from both near and far!”

The remainder of the weekend will see gigs taking place at the Music Hall, Lemon Tree, and Tivoli, as well as Fringe events in various locations across the city.

Scottish indie rockers The Twilight Sad will be taking to the Music Hall stage as Saturday headliners, fresh from a summer supporting The Cure, and will be joined by special guests Aidan Moffat and RM Hubbert.

True North will open on Thursday, September 19 at the Lemon Tree with critically acclaimed London punk band Shame.

The London five piece have swiftly earned a reputation as one of the most visceral and exhilarating live bands in the UK and are sure to raise the roof at the Lemon Tree, kicking off True North in style.

Support comes in the form of Glasgow 4-piece indie-rock outfit Rascalton, who will be opening the festival, and DJ Retrospectre.

The Tivoli Theatre will again host a festival gig this year. Friday night’s headline event will feature former guitarist and co-founder of The Coral, Bill Ryder-Jones.

Now a singer-songwriter, producer and composer in his own right, he has collaborated with some of the biggest names in UK music including Arctic Monkeys, The Last Shadow Puppets, Blur’s Graham Coxon and Paloma Faith.

Also on the bill at the Tivoli on Friday night are Neon Waltz, who were favourites when they performed at True North in 2017 and return off the back of a huge UK tour in 2018, and supporting Noel Gallagher at an open air gig in Inverness earlier this month.

Glasgow-based singer-songwriter Martha Ffion completes the Friday night Tivoli line-up.

Festival-goers can rock the night away with three late night gigs at the Lemon Tree featuring American singer-songwriter BC Camplight, with special guests The Ninth Wave along with a DJ set from Vic Galloway (Friday, September 20), Self Esteem and Free Love with All Night Passion DJs (Saturday, September 21) before electro afro-funk band Ibibio Sound Machine bring the perfect party atmosphere to close the festival in style on Sunday night.

In addition, there will be three special informal performances in the new Big Sky Studio at the Music Hall.

Starting on Friday with a performance by the very best of emerging local talent from Aberdeen Performing Arts’ Project Band programme,  Saturday and Sunday will feature two performances selected by that evening’s main stage artists.

On Saturday, The Twilight Sad has picked Glasgow singer-songwriter Michael Timmons and on Sunday Vic Galloway has chosen indie rock outfit Savage Mansion. The early evening performances are free with the purchase of a ticket for any other True North event.

Further details of the True North Fringe and a special programme of family and children’s events will be announced in the coming weeks, including the hugely popular ‘My First Gig’.

Tickets for all shows on sale now. 

Festival passes are also available at a cost of £30 for a day pass (Friday, Saturday, Sunday), or £95 for the whole weekend which includes tickets for all the concerts mentioned above.

For tickets or further information visit www.aberdeenperformingarts.com, phone (01224) 641122 or visit the box office at the Music Hall, His Majesty’s Theatre or the Lemon Tree.

https://shamebanduk.bandcamp.com/
https://www.facebook.com/Rascalton/
https://billryderjones.co.uk/
https://www.neonwaltz.com/music
https://marthaffion.bandcamp.com/
https://www.facebook.com/BCCamplightMusic/
https://theninthwave.online/
http://thetwilightsad.com/
https://michaeltimmonsmusic.bandcamp.com/
https://www.facebook.com/RLTSELFESTEEM/
https://freelovenrg.bandcamp.com/music
https://www.facebook.com/AllNightPassion/
https://ibibiosoundmachine.com/
https://www.facebook.com/thehothotsauce/

Jun 042019
 

Review and photographs by Craig Chisholm.

Idlewild frontman Roddy Woomble.

Scottish indie veterans Idlewild rounded off their UK tour in support of latest album ‘Interview Music’ with a heated and well received performance at the Music Hall on an already scorching May Day weekend.
This was, in fact, their fourth live appearance in town in recent weeks after they headlined two nights at the Brewdog AGM, held at the AECC, and performed a stripped down, intimate – and slightly hungover after a few Brewdog beers – acoustic set at HMV.

Those truncated performances, whilst entertaining, were merely a precursor to the main event of a full set in front of a partisan and adoring crowd.

The set list encompassed a wide range of material stretching back over two decades to their earlier, rawer work to the more refined and mature songs from their latest album.

Five songs off the new album are given an airing tonight – ‘Dream Variations’, ‘I Almost Didn’t Notice’, ‘Same Things Twice’, ‘There’s a Place for Everything’ and the title track itself.

Well known songs and singles are reeled off during the show prompting singalongs – ‘American English’, ‘Little Discourage’, ‘Roseability’ – each one a highlight from the band’s over two-decade career.

On stage, guitarist Rod Jones is the visual focal point – careering and spinning round the stage, guitar swung around with casual abandon. He’s a whirlwind of noise and skill, painting the songs with melody and bite. Singer Roddy Woomble, by contrast, is a more reserved and understated figure. His lyrics and melodies are given his full attention and during the musical interludes is more likely to wander to the side of the stage rather than engage in the drama or histrionics seen in more attention seeking frontmen.

As well as their own songs the band play a poignant and touching tribute to late Frightened Rabbit frontman Scott Hutchison with a touching cover of ‘Heads Roll Off’ that the crowd appreciate and understand.

Opening the nights proceedings are local heroes The Xcerts.

Although born and bred in Aberdeen, the band have been based in Brighton for several years now.

They’ve mellowed their rock sound over the years in favour of their current, polished, arena-rock sound which is more palatable to the ears and would appeal to a wide range of listeners.

Their stage craft is confident and natural, and they look at home on the large stage.

Looking genuinely happy to be performing in front of many of their friends, family and fans – both casual and dedicated – their set is a triumph for them.

The Xcerts will only go from strength to strength and its only a matter of time before we see them headline this historic venue themselves.

Idlewild Set ist.
Dream Variations
Roseability
You Held the World in Your Arms
(I Am) What I Am Not
Interview Music
Little Discourage
There’s a Place for Everything
A Ghost in the Arcade
Live in a Hiding Place
Love Steals Us From Loneliness
Same Things Twice
I Almost Didn’t Notice
American English
Make Another World
El Capitan
When I Argue I See Shapes
Encore:
Head Rolls Off (Frightened Rabbit cover)
Everyone Says You’re So Fragile
A Film for the Future
A Modern Way of Letting Go
In Remote Part / Scottish Fiction

Apr 222019
 

Duncan Harley reviews Doorways in Drumorty @ Aberdeen Arts Centre

Doorways in Drumorty is loosely based on the writings of a Strichen lass by the name of Lorna Moon who made it big in Hollywood.

Alongside her one published novel Dark Star, Lorna – born Helen Nora Wilson Low – escaped her native Buchan age 24 in around 1910.

Broken relationships and abandoned offspring followed before the talented, and by now re-badged, Lorna Moon took up with the son of Hollywood mogul Cecil B. DeMille and forged a successful career as a scriptwriter.

Her short stories, first published in Century Magazine, feature a clutch of thinly disguised Buchan folk and pull few punches. Titles such as ‘The Sinning of Jessie MacLean’ and ‘Feckless Maggie Ann’ did not endear her to the locals and, in true Lewis Grassic Gibbon tradition, legend insists that her books were shunned by the local library service.

Penned by author/playwright Mike Gibb the play explores the curtain twitching mentality of small-town Buchan. Questionable morality, dubious loyalty, fractured community and tightly held family bonds inhabit the tale and through the course of a series of vignettes the reality of a century old Buchan community is revealed warts and all.

A three-hander – Estrid Barton, Fraser Sivewright and Lucy Goldie take on some dozen roles – Doorways is at points humorous, poignant and even tragic.

Neatly bookended by Lucy Goldie’s Lorna Moon in full 1920’s flapper gear the play hits hard.

A heavily pregnant and destitute Bella Tocher is banished from Drumorty to fend as best she can. A new minister unwisely accepts a dinner invitation and is labelled a thief, the local dentist elopes with the postmistress and – following the theft of a chicken – an innocent infant is subject to divine retribution.

Gossip, double-standards and rumour-mongering infest the close-knit community but of course:

“You’re only the gossip on the street until something more interesting comes along.”

Set and lighting are simple and reek of a more austere era. Fast paced, the character changes are at times difficult to follow leaving some of the audience at least lagging behind the action on stage.

However eventually, when it becomes clear that this is not a tale about Lorna Moon but is a tale based on her writings, the building blocks slide into place.
As for the title; there is speculation that alongside revelling in the name Lorna Moon – she had taken up with Walter Moon in around 1913 – Lorna was a great admirer of kailyard authors such as Ian MacLaren and J.M. Barrie.

Barrie’s ‘Window in Thrums’ and MacLaren’s ‘Drumtochty’ provide some clue as to the provenance of the ‘Doorways in Drumorty’ header.

As Lorna, an admirer of Barrie seemingly said:

“I’d rather be Barried than buried.”

This is in essence an important play and seems destined to re-awaken interest in a woman who, although ruthless in her pursuit of career, nevertheless put the likes of Strichen on the map.

Mind you, at the final curtain and despite the loud applause, it was hard to shed the notion that the long-gone folk in the Buchan graveyards were still cockin’ a lug and shakin’ their heids at the pure cheek o’ the lass.

Stars: 4/5
Produced by Andy Corelli and written by Mike Gibb, Doorways in Drumorty will tour 18 venues across Scotland between 18 April – 18 May 2019

Click here for tour dates and tickets.

Words © Duncan Harley. Images © Andy Corelli

Apr 082019
 

Review and photographs by Craig Chisholm.

Rick Redbeard.

The multi-million-pound revamp of Aberdeen’s Music Hall, has breathed new life and opportunity into the historical and iconic city centre entertainment venue.
One of the innovative schemes was to create more usable space for concerts and events within the building and it is in one of these spaces – the Big Sky Studio – that an early evening show is taking place.

The intimate room, with seating for around 50-100 people depending on layout, provided a unique up-close-and-personal opportunity to see former Phantom Band members Rick Redbeard and Duncan Marquiss perform short sets for a bargain ticket price (only £8.00) and at a quite civilised post-work Friday time (6pm start!).

Opening proceedings is Duncan Marquiss. His set consists of effects laden, ambient guitar soundscapes and space age blues instrumentals that lift the listener to transcendent realms of bliss.

Duncan Marquiss.

Hunched over his bank of guitar pedals, Marquiss coaxes beautiful textures from his instrument looping himself, manipulating the sound to create a cascading ocean of sound textures.

Using a slide or an e-bow to great effect, he strays into the world of avant-garde minimalism and experimentation, creating new and interesting sounds, with a screwdriver under the strings on one track, or laying his instrument on the ground and using small sticks to drum on the strings.

It’s a beautiful and satisfying experimental set that has the audience listening in hushed silence before erupting in rapturous applause at the end.

Rick Redbeard, better known to his parents and friends as Rick Anthony, offers a more straightforward but, nonetheless, satisfying set that is steeped in folky acoustic heritage whilst remaining topical and forward thinking.

His acoustic guitar strapped round him like a shield, he offers a satisfying nine song set of beautiful, heartfelt campfire melodies.

His intricate finger picking style is flawless and mesmerising, creating space to allow the songs to breathe and for the listener to fully embrace his well thought out lyricism.

Songs from his two previous solo albums – ‘No Selfish Heart’ from 2013 and ‘Awake Unto’, released in 2016 – are given an airing alongside sneak previews of a track or two from his proposed third album which he hopes to release this year.

Between songs he is friendly and chatty, acknowledging his family sitting a couple of rows from the front and discussing Brexit and the irony of his track ‘The Golden Age’ given the current political situation.

There’s a moment where a new song is stopped as, he says himself, his “brain and hands stopped communicating” and there’s a moment of amusement – and bemusement – when the tannoy announces that the show in the main hall is due to start in 5 minutes.

But moments like these add to the intimacy and personal feel of the performance rather than detract.

One can only hope that the success of this show encourages the Music Hall staff to organise more events of this nature – the early start is an interesting novelty that may encourage people to seek out new and interesting music and sounds whilst enjoying a post-work pint at the end of the week.

Overall, the evening proved to be a success – enjoyable music, an appreciative audience and a wonderful atmosphere. Here’s to the next one!

Big Sky Sessions returns to the Music Hall at 6pm on Friday 19th April with Iona Fyfe, Calum Morton-Teng and Ellen Gira.

Then on Friday 31st May with The Dark Carnival : Unplugged (which also includes a free glass of whisky).

Tickets for Iona Fyfe are available here. and for The Dark Carnival : Unplugged, click here.

Apr 022019
 

Review and photos by Craig Chisholm.

The Men in Black returned to the Beach Ballroom for another triumphant performance, albeit one with a few teething troubles including a couple of false starts and one song being stopped half way through.

But, as lead singer Baz says apologetically “it’s only music, only a band” before pausing and adding:

“Not just any band – it’s the fucking Stranglers.”

And he’s right, it’s not just any band. It’s a legendary, critically acclaimed, punk band that scaled commercial peaks, influenced everyone from punks to Britpoppers and still sells out venues across the world nearly 50 years into their illustrious career.

And, as it’s only the second date of their 2019 tour, then any teething troubles can be as easily forgiven as the exuberance at seeing such a seminal act in front of a sold-out crowd.

Before the self-proclaimed Men in Black take the stage, however, there’s an opportunity to see another classic rock act ply their wares as Britain’s premier Rhythm & Blues act, the mighty Dr Feelgood, open the night’s proceedings.

It’s a very different Dr Feelgood that started in Canvey Island 1971 and became mainstays of the then burgeoning pub rock scene – long gone are original members Wilko Johnson, The Big Figure, John B Sparks and late, enigmatic frontman Lee Brilleaux.

Instead, present members Kevin Morris, PH Mitchell, Steve Walwyn and Robert Kane have been keeping
the band’s name alive as a going concern for a few decades now. 

Between them, they provide a competent, nostalgic and talented run through of some of the band’s finest moments – ‘Down by The Jetty’, ‘Milk and Alcohol’ and
a cover of ‘Route 66’ being stand out songs of their all too brief set.

The Stranglers themselves have a few line up changes over the years too and the only remaining members from their early years are bassist JJ Brunell and keyboard player Dave Greenfield – although drummer Jet Black is still part of the band when recording in the studio but no longer touring due to ill health.

It’s a typically eclectic set from the band that stretches back to their 70s beginnings right up to their most recent releases.

Chart hits such as ‘Golden Brown’, ‘Peaches’, ‘Always the Sun’ and closer ‘No More Heroes’ are well received by the adoring crowd as are fan favourites such as the pile driving ‘(Get a) Grip (On Yourself)’ which, as always, gets the crowd going wild only three songs in.

Humour is never far from the band – whether it’s JJ’s huge grin throughout the set, or lead singer and guitarist Baz Warne’s between song banter.

But the comedy moment of the night surely belongs to their poor guitar roadie, tonight celebrating his 40th birthday and getting the opportunity to dance topless on stage whilst wearing a tutu. Quite a sight, to say the least.

The Stranglers return to the Granite City in October as primary support to Alice Cooper in an eclectic three band bill that includes the surviving members seminal rockers The MC5, celebrating 50 years and billed on the night as The MC50.

It’s sure to be another unmissable night of live music that, one suspects, won’t feature any false song starts, early tour teething troubles and, most importantly, dancing roadies in skirts! Miss it if you dare.

Mar 282019
 

Duncan Harley reviews ART @ His Majesty’s Theatre, Aberdeen.

Admirers of the work of Yasmina Reza will not be disappointed by this three-hander comedy.
Despite the unassuming title, ART is a masterful and at times powerful study of prejudice and tolerance among friends.

Using as a focus a completely blank canvas, purchased by Serge for a not insubstantial sum, the dialogue portrays the complex relationships between three friends as they attempt to maintain an equilibrium in the face of the imminent death of their 15-year association.

Battle lines are drawn and the dusty baggage of the past emerges to challenge each in turn to explore what binds us together.

Unequivocally proud of his purchase Serge demands approval of his expensive work of art. Feelings escalate when Marc describes the painting as ‘a piece of white shit tarted-up with a couple of white stripes’. And, when drawn into the fire, the normally compliant Yvan must take a stance. A fist-fight ensues and blood is drawn before, in a splendid scene involving a conciliatory bowl of olives plus a measure of posturing, all becomes well.

This is a fast-paced piece of theatre performed in some twenty short sections over 90 minutes, mainly in dialogue form although at points the actors directly address an audience who very quickly realise that this is not a play about modern art.

Set and lighting are simple and effective. Delivery is crisp and flawless and who would expect anything less from Nigel Havers, Denis Lawson and Stephen Tompkinson.

Appropriately perhaps there is no interval, after all why would anyone wish to take a break from this unrelenting piece of thought-provoking comedy to partake of an ice-cream or even a glass of the red stuff.

Written by Yasmina Reza and Directed by Ellie Jones, ART plays at His Majesty’s Aberdeen until Saturday 30th March.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Star rating: 4.5 out of 5

Mar 072019
 

Aberdeen Voice contributor for the past 8 years, Suzanne Kelly aka Old Susannah has been writing about BrewDog since before the Aberdeen flagship bar opened.  She’s just back from a trip that she won on the BrewDog Airlines maiden voyage and tells us what it was like.

Flight Club – a brew designed to be drunk at high altitudes with extra flavour.

BrewDog shareholders, some 200 strong, invaded Columbus Ohio last Thursday.  Beer lovers, some in kilts; many in BrewDog regalia, took to the streets, the breweries, the pubs, the hotels and the city arena in an orgy of love for the art of drink.

Perhaps no brand of beer has put the love and the art into their product and into pleasing the many ‘Equity Punks’ shareholders who made all of this possible.

Winning a place on the trip (thanks to doing a lot of buying, trading, and giving stickers away), I found myself at Stanstead Thursday afternoon waiting to take off. 

The infectious, happy, perhaps zany atmosphere of the shareholders, staff and founders was there from the start and reached frenzy at points.

The plane was a private hire (with a remarkably friendly team) – in bespoke BrewDog livery.  BrewDog blankets, toothbrushes, snacks, eye masks and antimacassars) awaited each passenger.  We drank to our hearts’ content of BrewDog beers, its lovely gin and American style whisky. 

Then, as an in-flight treat we tasted Flight Club – a brew designed to be drunk at high altitudes with extra flavour to compensate for slight changes to the senses at height.  We toasted; we cheered, we laughed; we drank – to the point the toilets were at capacity – something the pilot said he hadn’t seen in 25 years of flying.

After a few or many beers at the hotel or in town, we assembled the next day to tour the brewery and hotel in smaller groups.  I knew it was large (42 acres), but like everyone else, the complex on the outskirts of Columbus bowled me over. 

I once thought the Ellon Brewery with its artwork and state-of-the-art systems was a Willy Wonkaesque fun factory; BrewDog’s Columbus premises is all that – on steroids and with a hotel.

We toured the brewery, meeting half a dozen operatives along the tour; the cannery and its hyper-enthused canner was smashing; the nerve centre control room was science faction as computer graphics illustrated what valve needed turning or what needed heating. 

photo by Suzanne Kelly

BrewDog’s chartered plain was filled with luxuries

The hotel is everything we were hoping for; some of us stayed for a night or two in the rooms which were named after some of the beers, lagers, stouts and IPAs BrewDog’s created. 

A giant bed, a neon sign over it, two beer fridges (one for your bathroom by the shower no less), and an option to put a draft of your choice on tap in your room and views to the fields and into the brewery:  heaven. 

When I got to the Hinterland room for the last night of the 4 night epic adventure, I was too tired to go out – and was deliriously happy staying in the giant bed with its fluffy pillows.  It should be noted the shampoos, soaps and lotions were made with a BrewDog concoction ‘Elvis Juice’ – a nice citrusy, tart delight – these will, I hope, be offered for sale sometime soon.

Revelling in this fun city, many of us went to the Columbus Blue Jackets ice hockey match on the Saturday. 

Despite having a nearly equal shots on goal position, the Blue Jackets outclassed San Diego 3 goals to nil.  The second was beautifully capitalised on from a chancy shot; the goalie had a certain style and an amazingly cool head. 

After the game, many wandered to BrewDog in the Short North part of town – a very vibrant area with shops, no shortage of places to eat and drink, and a lovely fragrance bar called The Candle Lab, where you choose fragrances to make your own candles, soaps, body sprays and room sprays. 

The Short North bar was heaving; but the zingy staff got everyone drinks quickly.  There was a delightful, filling ‘Donut Drive By’ coffee stout that had been made with donuts; It was like being a cop on a stakeout in terms of flavour. 

There was a deceptively 11% IPA (I think) called Diabolical Dream State.  One of those was all I needed; I’d walked for miles that day to BrewDog’s Franklinton bar and the city’s German town.  And I’d attended a hugely impressive tour at 451 Distillery. 

Founder, distiller, creator Chad told us his story, explained in detail but perfectly simply how a distiller starts to distil, when they ‘cut’, and what they can do to ensure they get out all the alcohol from their mash. 

He then gave us thimblefuls of a heavenly absinthe (which he’d explained to us very well), a remarkable mescal, rum, whisky and… a rosemary-heavy gin, Clawfoot’ – which I simply had to have.  He can’t send his products to us alas – not yet anyway.

BrewDog Franklinton had a lovely roof terrace, but its appeal was not for this cold weather.  The food was lovely, not least fresh hot pretzels served with mustards.  The root beer float was tempting, but I opted for a traditional (non-alcohol) crème soda. 

The trip saw us given lots and lots of goodies, drink, and opportunities to take tours (a bus trip to Cincinnati’s bars and breweries was offered, but I wanted to visit The Candle Lab).  Even the inflight food was delish – with the vegetarian options putting other airlines to shame. 

But what made this trip?  Things did go wrong – there was a power outage, and one Cincinnati bus driver proved a bit less than clued up – but none of these were BrewDog’s fault. 

What made this trip?  The BrewDog team.  The founding fathers James Watt and Martin Dickie kept us amused on the flight over as you would expect, but the crew from the UK and the Columbus crew worked tirelessly and yet somehow effortlessly. 

The staffies make this company, as do the shareholders.  I’ve never had such enthusiasm for a brand, for entrepreneurs; and I’ve never found anyone making beers as inventive, unique, delicious even audacious as BrewDog does. 

I’d go on about the tour, about how the sour beers are made, about what the bars were like, and how much fun Columbus is.  However, I’m well over my word count and can picture my editor pulling his hair out long before now. 

Slate me if you will, but I am a proud shareholder who saw something great for Aberdeen city and shire in James and Martin from the first day I drank their beer, and as much as I’ll shout about what’s going wrong in the area,

I’ll equally shout about what’s going on that’s great.  And that’s BrewDog.  Cheers.  And thanks to the wonderful person who traded me the sticker I needed.  You rule.

 

Feb 272019
 

Duncan Harley reviews ‘Calendar Girls, the Musical’ at His Majesty’s  Theatre, Aberdeen.

All they ever really wanted to do was raise some cash to buy a settee for the local cancer ward but when word got out that Rylstone & District Women’s Institute were planning a Pirelli style Christmas calendar, things soon spiralled out of control.

It’s a well-worn tale. A bevy of rural friends decide to publish a fund-raiser for cancer support following a death.

John has died of non-Hodgkin lymphoma and wife Angela’s pals at the Rylstone & District Women’s Institute set about creating a calendar as something for her to focus on during this most difficult time.

However, instead of the familiar Women’s Institute images of sheep infested landscapes, ecclesiastical spires and cricketed village greens, they decide to bare all.

The 1998 launch of the raunchy publication attracted widespread press coverage and very soon the print run reached into the tens of thousands. A book and a film followed along with international fame. Described as a group of ordinary ladies who achieved something extraordinary, the originators were initially awarded the dubious accolade ‘Oldie Exposure of the Year’.

In the fullness of time however, the semi-naked ladies were appearing at media-inspired events up and down the country including an appearance London Fashion Week and on a Thames TV cookery programme where they were requested to bake a dish of invitingly innuendo laden Spotted Dick.

There are few extant nipples within this musical interpretation of the tale but there is plenty of humour embedded in this take on the Yorkshire events which launch the grieving ladies of Knapely onto the international stage.

All in all, this is a commendable comedy musical classic. England’s Green and Pleasant Land does feature here and there, but the essence of this play within a musical is a powerful exploration of the various stages of grief, from denial to acceptance and moving on.

Little specks of Alan Bennet – If Jesus had maybe had kids then maybe the bible would be quite different – shine through in this Barlow and Firth creation and even Larkin’s This Be The Verse gets a look in with a resounding:

‘They fuck you up your mum and dad, they may not mean to but they do.’

Songs, and there are some 20 of them, include Spring Fete, Mrs Conventional, What Age Expects and the quite poignant Kilimanjaro. Then there is Ruth’s splendidly revealing love song My Russian Friend And I.

Calendar Girls is no Full Monty.

For starters the brashness is largely absent and the bare-all scenes are all done in the best possible taste. Be sure to take along a man-size pack of tissues though. If only to soak up the inevitable tears of both laughter and sadness.

Cast on Press Night: Fern Britton, Anna-Jane Casey, Sarah Crowe, Karen Dunbar, Pauline Daniels, Rebecca Storm, Denise Welch, Richard Anthony-Lloyd, Isobel Caswell, Danny Howker and Phil Corbitt – all good.
Stars: 4/5

Directed by Matt Ryan with Comedy Staging by Jos Houben, Calendar Girls the Musical plays at HMT Aberdeen until Saturday 2 March.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Words © Duncan Harley and Images © APA