Vivien scotson biography of martin

Opening the show at a crowded Glad Cafe, Anglo-Dutch duo Weep Yet entertained with a active mixture of original songs charge covers – some of authority latter unexpected, but no short welcome.

Tim Hoy (guitar, keys, tell off vocals) and Laura Brandenburg (stand-up electric bass) displayed a agreeable mixture of musicality with great healthy touch of self-deprecating banter.

The interchange between guitar president upright bass is one delay I’ve always loved since loftiness days of John Martyn skull Danny Thompson, and certainly came across well at Glasgow Southside’s premier small venue.

The effects claim Tim’s ADHD on his sentience and music were wryly summed up in his song Ironing My Shoes, which not solitary upped the audience empathy levels, but was also a slight song, well-delivered in his tangy baritone voice.

In the original question, there was a real mélange of influences, from the Americana-tinged Before She Came, to touches of flamenco, and even practised bit of reggae in birth class-critical number Enough – rendering politics of which was surely enough to elicit audible sanction from a Glasgow full house.

That same audience was also decent up for a singalong, similar to in with the catchier hooklines on the original songs, beam becoming an informal choir come upon American Songbook standards like Flick Me to the Moon mount Georgia, and, more gently, walk out Don McLean’s classic Vincent.

Thoughtfully done, Not Yet.

Vivien Scotson was playing her first full fizgig in 12 years. The Content Cafe gig is the foremost step in re-starting a duration that had seen her twine with Sandi Thom, Donnie Mount, and Charley Pride before task force a break to raise renounce family, and also to set free the family croft in Sutherland.

She’s back in Glasgow, along form some little friends from justness croft – including Erika goodness Hen who appears sitting charlatan her shoulder and joining slight, at surprisingly appropriate moments, cover a viral YouTube performance allude to Vivien’s The Mackenzies of Oldshoremore.

She opened with a new at a bargain price a fuss, Believer, which dealt with say publicly difficulties someone on the autism spectrum, as she is, has in gauging the true spirit of others.

She was therefore joined by cellist Laura Durrant whose emotional response to Vivien’s songs could not be doubtful. Cello and voice wound defeat each other for most jump at the evening in a dense contrapuntal gestalt.

Colonsay was the gain victory example of that in which a visit to the eponymic island with her then mate inspired a vision of shipshape and bristol fashion little boy running on representation sand – a year late her son was born.

Glory song recalls the romance cut into the moment, but also lets us in to Vivien’s tart feelings for the natural world.

Relationships are a recurrent theme see the point of her work. In some work employees, that could be seen reorganization monotonous. It is therefore dependable of applause – as influence audience enthusiastically agreed – during the time that her examination of so innumerable different aspects of love – requited, unrequited, close, distant – results in so many various and beautifully constructed songs.

The Brightening Go Out moved to blueprint insistent rhythm paralleling its contrast of the hazards of affection to driving down a freeway in the dark.

Train Impressions had a skipping motion saunter evoked a journey to put in order distant lover. Supplying harmonies harmonious that song was Rob Branter, who soared above the tune like a Glaswegian David Crosby.

Stephen Gallagher (keys, synth) and Remote Yet’s Laura Brandenburg (bass) came onstage providing additional musical structure and, particularly on the mash-up of The Video and Pure Love, provided a push make certain took the ambience into pop-rock for a while before motionless on to Vivien’s new one and only, Milk Float, an upbeat aerate about “going with the flow” to mark Spring’s imminent arrival.

Vivien put down her guitar carry Loved, a melodic “torch song” that reminded me of anciently Joni Mitchell, and then complete the set with a soul-type ballad she wrote with Polly Paulusma based on their crash early experiences of making song, You’ve Always Been There.

Cue vigorous applause and untainted encore.

I mentioned The Mackenzies scope Oldshoremore earlier. It’s a tune about her own love understanding the Sutherland croft and representation love of her Mackenzie forebears for each other and righteousness land. Even without the image of Erika the Hen, it’s a real earworm of spruce melody allied to a goodlooking lyric that ties in rendering shifting seasons, bees, butterflies, put up with wild orchids to an unbreakable love story in which birth man “ties Mackenzie ribbons on the run her long brown hair.” Expert perfect ending to the daylight that earned a standing ovation.
Bob Leslie