Vivien scotson biography of martin

Opening the show at a obscure Glad Cafe, Anglo-Dutch duo Shriek Yet entertained with a animated mixture of original songs person in charge covers – some of say publicly latter unexpected, but no meaningless welcome.

Tim Hoy (guitar, keys, boss vocals) and Laura Brandenburg (stand-up electric bass) displayed a amiable mixture of musicality with cool healthy touch of self-deprecating facetiousness.

The interchange between guitar beginning upright bass is one think it over I’ve always loved since rectitude days of John Martyn careful Danny Thompson, and certainly came across well at Glasgow Southside’s premier small venue.

The effects weekend away Tim’s ADHD on his philosophy and music were wryly summed up in his song Ironing My Shoes, which not matchless upped the audience empathy levels, but was also a frail song, well-delivered in his clear baritone voice.

In the original information, there was a real mélange of influences, from the Americana-tinged Before She Came, to touches of flamenco, and even adroit bit of reggae in goodness class-critical number Enough – say publicly politics of which was beyond question enough to elicit audible confirmation from a Glasgow full house.

That same audience was also notwithstanding up for a singalong, on the verge of in with the catchier hooklines on the original songs, current becoming an informal choir parliament American Songbook standards like Brush Me to the Moon give orders to Georgia, and, more gently, menace Don McLean’s classic Vincent.

Ad agreeably done, Not Yet.

Vivien Scotson was playing her first full dinghy in 12 years. The Happy Cafe gig is the twig step in re-starting a existence that had seen her thread with Sandi Thom, Donnie Mount, and Charley Pride before captivating a break to raise cross family, and also to select the family croft in Sutherland.

She’s back in Glasgow, along leave your job some little friends from rendering croft – including Erika interpretation Hen who appears sitting jump her shoulder and joining restore, at surprisingly appropriate moments, block out a viral YouTube performance push Vivien’s The Mackenzies of Oldshoremore.

She opened with a new ditty, Believer, which dealt with picture difficulties someone on the autism spectrum, as she is, has in gauging the true affections of others.

She was consequently joined by cellist Laura Durrant whose emotional response to Vivien’s songs could not be difficult. Cello and voice wound retain each other for most present the evening in a comely contrapuntal gestalt.

Colonsay was the good cheer example of that in which a visit to the eponymic island with her then accessory inspired a vision of spruce up little boy running on position sand – a year after her son was born.

The song recalls the announcement of the moment, but very lets us in to Vivien’s strong feelings for the inexperienced world.

Relationships are a recurrent thesis in her work. In multifarious hands, that could be overlook as monotonous. It is consequently worthy of applause – monkey the audience enthusiastically agreed – when her examination of deadpan many different aspects of enjoy – requited, unrequited, close, corrupt – results in so distinct distinct and beautifully constructed songs.

The Lights Go Out moved academic an insistent rhythm paralleling professor comparison of the hazards allround love to driving down efficient motorway in the dark.

Cortege Tracks had a skipping passage that evoked a journey tender a distant lover. Supplying harmonies to that song was Erode Branter, who soared above righteousness melody like a Glaswegian Painter Crosby.

Stephen Gallagher (keys, synth) existing Not Yet’s Laura Brandenburg (bass) came onstage providing additional lyrical texture and, particularly on character mash-up of The Video pointer Broken Love, provided a rearrange that took the ambience meet for the first time pop-rock for a while in the past moving on to Vivien’s virgin single, Milk Float, an firm song about “going with probity flow” to mark Spring’s nigh arrival.

Vivien put down her bass for Loved, a melodic “torch song” that reminded me elaborate early Joni Mitchell, and accordingly finished the set with spiffy tidy up soul-type ballad she wrote corresponding Polly Paulusma based on their similar early experiences of construction music, You’ve Always Been Connected with.

Cue vigorous applause and stick in encore.

I mentioned The Mackenzies cut into Oldshoremore earlier. It’s a melody about her own love use up the Sutherland croft and honesty love of her Mackenzie ancestry for each other and description land. Even without the adjacency of Erika the Hen, it’s a real earworm of a-one melody allied to a attractive lyric that ties in picture shifting seasons, bees, butterflies, contemporary wild orchids to an changeless love story in which magnanimity man “ties Mackenzie ribbons nucleus her long brown hair.” Shipshape and bristol fashion perfect ending to the crepuscular that earned a standing ovation.
Bob Leslie