F E S T I VA L M U S I C | Reviews
SARAH JANE MORRIS: SWEET LITTLE MYSTERY Heartfelt tribute to the music of John Martyn ●●●●●
Sometime Communards and Pere Ubu collaborator Sarah Jane Morris is a dependable Edinburgh festival presence, having brought Compared to What, the live performance of her album with virtuoso guitarist Antonio Forcione, here in 2016. Her latest gig is on an altogether different musical subject, yet it follows the same route of pairing Morris' fiercely dynamic contralto voice with the playing of a master guitarist – in this case the project's co-originator Tony Remy, whose credits include Herbie Hancock and Annie Lennox, alongside Tim Cansfield on second acoustic guitar. Together, the pair bolster Morris' mighty vocal
performance amid a show that is something more than a tribute to the music of the Glasgow-raised singer and songwriter John Martyn. Directed by the comedian turned theatrical storyteller Mark Thomas – ensuring he isn't entirety absent from the festival in 2019 – the songs are wrapped in pre-recorded video inserts from key names: folk lynchpins Richard and Linda Thompson, separately; friend of Morris and Martyn, Eddi Reader; Martyn’s Glasgow drinking buddy Jim McKnight; and Martyn’s younger sister Julie Purdey.
We wind through robust versions of the show’s title song and ‘Head and Heart’, through to ‘Solid Air’, amid tales that it was written in Nick Drake’s honour. There’s a mighty communal finale of ‘Don’t Want to Know’, and the sense is not of an easy biographical tribute, but a conjuring of Martyn’s very spirit through heartfelt song and loving anecdote. (David Pollock) n Assembly George Square Studios, until 11 Aug, 6.45pm, £14–£13 (£13–£12).
BACK TO BLACK: THE MUSIC OF AMY WINEHOUSE Things don’t go to plan at this celebration of modern jazz ●●●●● MUGENKYO TAIKO DRUMMERS: BEAT GRRRLS Powerful, physical, rhythmic drumming ●●●●●
JOHN HUNT FOUR O’CLOCK AFTERNOON BLUES & SWING DIY guitars and raw blues ●●●●●
The Fringe can be unpredictable. Not everything goes right every time. Perhaps unconsciously echoing the real Amy Winehoue’s hectic life, a powercut means tonight’s performance almost doesn’t happen, until someone gets the bright idea of an alfresco acoustic show in the courtyard. Thankfully Reine Beau Anderson Dudley doesn’t don a cheap black beehive; Back to Black is about the music rather than fancy dress, and she puts everything into tonight’s show, valiantly battling to save it from technical meltdown.
So while you won’t get exactly the same show indoors, we can report that Dudley has a fantastic voice that does justice to the material. Her vocals are rich and thick with character, capturing Winehouse’s distinctive twang without drifting into parody. The band are also light on their feet, effortlessly adapting to the turn of events as they play all the hits you’d want to hear.
You can’t fault their effort, and they almost
manage to turn disaster into triumph. But factors outside their control mean their skill and resilience is sorely tested. (Henry Northmore) n theSpace @ Surgeon’s Hall, until 24 Aug, 7.20pm, £14 (£12.50).
82 THE LIST FESTIVAL 7–14 Aug 2019
Traditionally, women weren’t even allowed to touch Taiko drums. Now the women of South Lanarkshire’s Mugen Taiko Dojo have taken charge for this year’s all-female Fringe show. A powerful performance of percussive beats
showcasing the ancient art of Japanese drumming, it’s hypnotic and primal, the beats churning and reverberating through the audience. 'Hibiki’ in particular impresses with its lightning fast synchronisation across multiple drums. It looks utterly exhausting, with all five musicians bashing out complex rhythms on these huge barrel-sized instruments. Yet they never miss a beat – in fact one member of the group broke her foot during the previous night’s show but is still on stage, proving their complete commitment to their art. Reading through the programme, you learn the
chanting and rhythms are loaded with meaning and spirituality. Inevitably, it does get repetitive over the course of an hour, practically pummelling you into submission, but there are moments of humour and reflection. This is drumming as a martial art, rather than simply musical enjoyment. (Henry Northmore) n Assembly Rooms, until 24 Aug, 5.30pm, £13–£15 (£12-£14).
Simplicity is the key in this show: it’s just one man, a homemade guitar and John Hunt stamping out a percussive beat in the Delta blues tradition. The music is instantly evocative of the deep south but the lyrical content of his self-penned material is distinctly British. It’s an interesting juxtaposition – especially on a wryly amusing track about his uncle’s wedding. There’s a raw, grizzled quality to Hunt’s playing
and vocals that makes it feel more lived-in and real. At times, eyes closed, he looks happily lost in music. His DIY guitars are suitably eccentric, matching his style. One is a solar-powered contraption made from an old B&Q shelf; the other a paper mache number constructed from old issues of Melody Maker dating back to1986. There’s a unique old school R&B take on a Frank
Sinatra number alongside a clever James Bond mash-up and a couple of classic covers. However, you get the impression Hunt plays fast and loose with his setlist, performing whatever takes his fancy, so you might get a completely different set on any day. But whatever he plays, it feels refreshingly authentic. (Henry Northmore) n The Jazz Bar, 7, 10, 14, 16–18, 24 & 25 Aug, 4pm, £9 (£7).