Clubs l".?"‘s(}l9
Glasgow Fridays continued
I Fridays in Bed .iI l’mi iini'int-i'l} lllt' \I-In-I Ri‘l'llhl llpiii Min 9519.3) \M't-H} \ilt't'lll Inkm )Iiii nn .in Rtkll and hip hup li‘ip L'H'l‘} \wt'l. “llllt' Bill} \lllllf.‘.ill l‘lllif..'\ Ihi‘ lllll In Ih.‘ lllllll ht'ilinnin
I Friday Street .ii In.“ inmt.
hpni l.iin H «LII 2h .\l.ii \lunlhl}. ('luxxit' wnl .inil lllHIl \llllll\l\. lll‘llllt'i'li .inil \liiluun li'nin l't'j.'lll.li\ \liki‘} (‘ulhnx~ l’.iii| Hull“) and l).i\_\ ()iiinn, Rm'k lllill iluiit'cllimr.
I Fuel .il l'llt‘l (lil\ll(\[il\ll}!}_‘\l.
Iii. illpin 2am. L31. \Vcckl}. Nu“ t'liih \t‘llllllt' llUllI lllL‘ (il ;:i'uiip. “high I\ .illciiipiin: In t~\p.'inil lllt' ;l\L'l‘;lf.lL' (iliixxu‘;'i;iii\ iili'u ul \\ll;ll \xt'i'kt'nihng iiit'unx l’.iiil Rm pl;i_\x t‘luh t'lil\\l\'\. Rik”. iiink .inil .iii}lh.ing \xilh ;i gi'uuw. Sniilhxiilc illlIl Nui'lhxiilc iI'x milling In git-I likc Innilnn in llClL'. .\ \u'i' hit
I Full On :iI l’i‘ixilcgth Ill. illplll .iillll. L“) ital \Vi'i‘kl}. 'luni \Vilwn. (lk'hlfill‘ll). Sicuuii (iii'cn. William l).iiiicl. (i.i\ llilll\l(lll. Slii llll'Nl .iiiil (iin l't'l'l'l .iic )niii‘ liii\l\ .iI llil\ \\ cckl} ilunu' nighl Ilimii (ill llnpi‘ Sll‘t‘i‘l.
I Funhouse ill lilll‘ll}. Ilpni ,iillll. H It'll. \Vi-t'kl). .\ iiighl (ll \\l\t'll iip punk ll';l\ll Iinil t'lllllgll'llt‘ nunxcnw pup. (lt'\l_‘_'llt'(l In t'lclii' gill iii lllL' \llll iiiiI Ul )iiiii‘ mix. Rgiiliu l'x L‘hziiniing: Vic (igillmxu) and Mr Paul \cmllcx arc in t'huigt' iii lllt‘ iiiiixit'.
I Funk Room Iil Il'.‘ \n‘ht» Nut (lillt' 18 .«\pi'.
I Gavin Pearson a 1d Adrian Coll :il \lmhu. llpii' ini, Lll‘t'. \Vi‘i‘lxl}. .l-llk. l\\(l l)J\ \\ in lliliil'll illL’ [up lll Ihix hxlingg. in ;l\\( .‘i; [In]! \\ illi (lulu I. .il llll\ ncul} I'I‘HII ipi il \t'llllt', l’iiiiipin' lllllL'\ and IN tlillll\\ for £3. \Iii l‘iltl.
0 Global Groovu iil lllL' 'l‘iinncl. llpiii .illlll. Uhc. “I 'k _\. Kcnn} Dupc (inn/aim l\ lhi' .\l;l\l l‘ ll Work on 28 \lgii'. .'\|i|it‘ill'£lllt‘t‘\ In H llil\ gii} gii'c ruic. hiiI Ihc 'l'iinncl hmc i il .11 Ulll Iill Ihc \liip\ In cnxiii‘c the p7 i'li- \ in coming \\L'L‘l\\. \ii 331 nil it. Dr- .\/i/ Ull/\ "sl- I.I\l.f'lll'(l IIU/(li’H t’i {.3 NH i/UHI‘ [H'li l' ul/ IIIL'III.
I Haptic ill lht‘ \‘u ll. \‘cxi iluic lhc.
I Kinky Afro ill ll ‘5 lb ('liih. \cu Il;ili~ lht‘.
I Hustle and Bu flit .il Balm/Ii. “I‘m .iiiin ll).l\ l'i'uni ' | llll. l‘i‘cc hcluit' I lpiii; [5 zillci'. \Vccl _\ l’uiil 'l'i'gi}nni'. Skiiil and Bill} .lllllt‘\ ‘i ii up \killi wmc llllell} t‘hui‘gcil RNB ll l hip hop iiiiwil \Kllll funk} and l'iinki l' iiit‘kx.
I LiveVEvil :il (ilii L'l \\ Schmil iii :\I‘l. llpiii 3am. LR (UH. X .\l;ii‘. l‘ni'lnighll}. l.c;_'i‘iiil;ii'_\ Nli‘liilhi‘ui l W Scull juiiix lhc l.i\c\'li\i| pill'l}. 'l‘hi~ ' i} can iiiiilw pulpilzilmiix llilpPL‘ll \\ n Iic \pinx di'uiii t\' huxx. m gi‘l up In I l School and 1mm :i \giliiiihlc lt'\\Ull.
I Latin Fever .il l ii‘ am. 0pm Zuni. l’i‘i'c. WITH}. 1)] Kci Ii 1) \pin\ up wmc ('nliiinhiun. ('uhiin. .\c\ York and Atrium \;i|\;i. :iililing .i \\l\l ml [min t‘lizii'l. Riin and glnh; l l-culx In Ihc l'll_\lllllilt‘;ll \lt‘“, 'I‘Iixl
I Life .iI Ihc ('ui'inll iii l. lllpin .iiini. to. Wall}. Kt‘\lll .\l l5 il'ltlllt’ ilfcul 10m p|;i_\\ Ihc lincxl in \Iil l. iink. Rtkli. hUlle‘ lillil iililwliiml L‘l i\\iL‘\.
I Medicine Wheel ll lhc Sub (‘luh .\'t-\i iluic ll‘t‘
I Midi Hi-Fi Iii lhc (i'.i\gm\ St'himl iii" .'\l'l. .\'t-\I iluic Ilw.
I Moda Iii \liiilii. ‘l in: .iuin. l‘i’cc. \Vcckl). lilll'l'} (icnin :l L’;I\L’\ lll\ \\;l) Ihi‘iiiigh lhc nighl \\ il l lhc final in hmm‘. gainigc and R6.”
I Monox .ii lhi‘ Slil'lltlllillh. .\'c\i dalc ll‘t‘.
I National Pop lea gue .ii ihc \Viimlflilt‘ Siit‘llll. NJflHI :iilll. 9...: till. IX .\l;ii'. \liiiillil}. Sii: h -llu again In llll\ Ilch‘uhll’ul inihc pup ; lltl ('h'fi nighl. “illi :i niiI iiicunxiilci'uhlc it‘lfiing ul pml punk Ihrimn lll. Thu) ilnn' Plhlt‘l' 1)] niinitN im‘i‘ cwryhing. so Iluil -:i\c\ )Iiii .in llltllt‘illlllll iii lhc \cn- c u hiiiiiihl} innilwil. Nit‘t‘ one.
74 THE LIST MI' ‘. '
BROKEN BEATS GILLES PETERSON " The Sub Club. Glasgow, WebB Apr
It takes a special kind of chgacter to remain upbeat after being held on tarmac at Belfast Airport for five hours before being told to get off and go home. But then Gilles Peterson has always held deep love for the unusual and the special. Slurring with fatigue (and possibly a few in-flight libations) he needs little encouragement to start chatting affany about the musical
hotspots of the world.
He counts the cities of eastern Europe, Detroit and Glasgow as calendrical highlights and recognises that these cities, with their histories of economic depression and cultural repression, have what it takes to set the musical agenda for the rest of the world. ‘From a DJ point of view, the best places to go are in eastern Europe now,’ he says. ‘It tends to be places that have to create their own scene through boredom.’
His easy-going nature belies a resolute refusal to mince words. He proudly describes himself as ‘an old-school DJ’ in that he feels that residencies are the heart of the spinner’s art. Similarly, despite his profile, he will not jack up entry prices to his clubs by dint of their cultural prestige, or however many style mags choose him as flavour of the month. He loves Glasgow for its realism: ‘That’s real Scotland, as is Dundee and Aberdeen. l’m offered loads of work in other areas, but I don’t enjoy playing those as much. I love the Sub Club. I'm a big fan of what Paul Cawley and Joseph Malik are doing.’
A great night is in store then, and with the aforementioned local talent. Peterson returns to a city and a club that have long held a special place in his heart. Any lover of the defining sound of the periphery should show
face. (Johnny Regan)
I Gilles Peterson also guests at Big Beat, Edinburgh, 9 May.
I Nocturnal .ii Ad Lib. .\'c\i duic llk‘. I The N00 Groove .ii Ad [in llfilipm 3.1m. £5. 23 Mai. Munlhl). I).l\ Nick l’cucuck and Brian \Villiiimwn \lilll‘lllg Ihc Ilct‘kx \\ ilh il \L‘Iccliun Ul
l’iiiik-l'iicllcd. l.;ilin lining. _i;i// \lllllplllllj.
\Ulll \cui‘ching chiiinx.
I Nurture ill ('liih (3‘). I lpiii Zuni. £5. 5 Apr. \liiiilhl). Rcd Shili ul' Siii'liicc lil’lccl pl;i_\\ liw and “Ill hc \uppnrlcd h} llIL‘ inighl} \iii‘liii'c l'L'\ltlL‘lll\ .il ihix (lil\\ lcchnn and claim t‘liih nighl,
. the HOOK Ill lllC (ilgixgim School Ul' .-\l‘l. NC“ tllllc llk‘.
I The Outcome .ii th‘ .'\l't‘llC\.
1 1pm Ruin. L'Ihc. 4 Apr. Nu“ mng for Ihc Airhcx ;l\ Ihc ()iilmnic llii\l\ ll\ l’iii'pmc Rccorih nighl \\ ilh 'l‘nn} 'lllnlllth. .llhllll Dmkc and Darren l)ii}lt'. I Pressure ul Ihc .-\i't'hc~. l lpiii .iiiin. US. 28 Mai. .\lnnlhl_\. 'l‘hi'cc i‘imnix ill in} l'ciilui'ing Sliiiii‘l Macmillan. ()i'ilc \lciklc. |)J thll. 'l‘iini Middlcliin. 1)] Q and l.;i_\u .inil Biixhuiicku' .\lll\l\‘ l’iii‘ l-l‘t‘ilh\ llltlL‘L‘tl.
I Public Spirit Iii Biiildgi, l Ipin 3am. £7 it'5i. \Vcckl). Jun l);i Silm I\ one ul lliU\L‘ l)J\ \tho \\ ill. for lhc I'C\l iil lil\ day. linil Ihc \\Ul'Ll\ 'Ihc lcgcndurf
liit‘kcil on In Ihc \ldll oi lil\ n.iiiic llc .ind Ihu .-\ilui'phi|i;it\ inc h.i\ Ill}: llit‘il \xcckl) pull} .il llll\ might} \L'llllt' w l‘L' Iht‘i‘c.
I Radar .il Ihi‘ (iliixgim Schmil iii .\i'l NC“ Illllt‘ ll‘t‘.
I Red and Gold Room .ll ,\ii.i. liipni 3am. l'i’cc hclnic llpiii. L" .ilici' \Vcckl}. DJ \lit'ligicl ()‘Shm PUP\ up In \pin uni} lhc linth \i'llMl .ind l..iiin lllllt‘\ [0 II \L‘l'} \\ Cll-lit‘t‘li‘il ‘\ll.l t‘iimil,
I Rockit iil Bunihim 5pm iiiin, t" (LCM. \Vcckl}. \th i'liih .iiiil h.” \Cllllll't' Ihiil hi‘ingx \unic l‘l Ihc inan mirth} i‘cxiilcnix in (il.i\§_'u\\ Ingclht'i lUl liink} liUth‘ .lllil Rtkli \L'\\IHII\. (ii‘iill \liiiillni'd Iiilttw t'Iii'c oi the lUllllL‘l. \‘-llllt‘ l’dlll l-n\ tit-uh \\ iIh Ihc Lillci. gmldiiniinil, l-ur 3\ \Im A J l!” ::i:.«’\ 'l/isl'i (ml liu/ili I\ L't! 13 NH i/mu
pm i' all Ills/ll.
I Salsa Seduction .ll (‘t-niml Hint-l Spin ltllll. ‘5. ll \pi: \lunihl} Sal»: niuxic In \Ull .ill l.i\lc\ .il llil\ iii-\x danci- nighl in Ihc hiiicl .ll:_':_"\ iigg} lllllL'. pcoplc.
I Sub Tropical .Il (‘iihii \ni'lc
‘ipin Jinn. £5. 4 :\pi. \iiinihl} 'lhc .inii
chccw (UlllllllltN nu incicngiic Hi
tliall. ilhl .1.:\\i. \LlMI. ('iilmn. \IITil‘A mil 1 .nm huin \\llli lx‘.iiiiuni.i§.'iiclit .ll‘ul l’it‘l‘.itl«"\ \lI l'i'dtlicx
I Fridays at Trash .u. li.:\h alin Kim 1‘ ~11- “tn-Rh \\.lll It \\.il'. thunk pcuplc \\.ih.j\' l :\.-.
I Hill-“mill .lllil \uI'. \l.i. km pip Ili‘lli‘Ill lii‘UM‘ In .‘. pat kiwi limit. 2'.“ \\ill1i‘.lil_\ llZIi\‘\ in my Iiin iiH‘ilI
I Tidy .iI Ih.‘ \h.n k 1" ;“pm 1 “Min :5 ‘1‘M \\t't'l\l_\ lt'l Ih.ii inlt‘tliwin l ii let-ling 1.1M huh! nI tun “hilt' Ill l.:Ili ll.inlnn l.'.l\\'\ .I‘lilli‘l «\l the Il.in.t~ ll«‘i‘i I Lick It .ll Iht‘ \li‘itiiu li‘lliii‘t‘
‘lpni ‘xiiii U “ct-Rh l lltl ml Iht' nut-i. \iillll\l\ illl\l .Ill .iiitiliiiif; gum .ippnm. h \\ ill lililhk' llil\ .l pnpiil.” iiig'hl .ll Iht' nt‘u ;.i_\ \llll‘
O Tronicsole and Tracktion sessions .il \l \\ ilpiii {.iiii I ' '1‘» \\i-ckl_\ \iiit' In .llllilil .l lit‘ll§ tiumii ml l\'\\‘llt‘l\ in lllk' I 1ng icnlic ('hiix ll.iiii\. \l.iil_\n .li-ii;:.ihi'.i«l. \llili‘ll .l.l\ lan .iiiIl (il‘llll‘ll | n;:.in .lii' _\i‘lll iiiiixitul hiwa. pl.i_\iii_:' I‘lll Ihi' lllli‘\l liipp\. Iiinlq \i‘llllil\ (hi .‘.\ \l.ii. lllk'lt' i\ Ihc .ll‘l‘t'JlJllti‘ ml .‘H .‘H \ l\lHll Lil‘cliimli- .lllll l Ilinhiiiph iii.iin iii.in \liiii.i} lx’it‘lmiilwn (ilt‘Jl l.ll‘\'l. pituii j._'llk'\l .lllil giml niphl Hill In; ,‘\ \lm .\ J l/n uH/\ '\ Infiniu’ ‘ uH (/iuu [vi/Ii tiff His/I! I Under the Counter .ll In.-
I ltilllil l iiiiiig't' llpiii Run in \\t-t‘l\l\ \l.iit \lt.ihc l‘llllf,’\ Ill ()lllt'k' ml l’ll‘l‘JfJJllilJ .llltl \lmt'mx In lllt' l lillllil lniinpi' lHI .l lllj.'lll ul lllll\l\ Ih.iI makcx . iiiiiiiii' I nnk Hill Ini i'llt'\l\ nl .i \iiiiil.iil} hile Milihii' lll iniiiinfs Illiillllh
I Urban .il Ihi‘ Iiiniii'l llpiii Kim D it ii \\ct'l\l_\ \ii lx’.\'ll wva \l‘llll\'\_\ Iii l’.iiil \'.lii' .il llll\ nt'xxl} li'l.lllll\'llt'\l. t'l.i\\it* (ilmpm \t‘niii-
I Urban Groove .ll (‘Iuh HuIIIIJ llpiii idlil {-1 IL in \\\'t'l\l_\ I I'.llllllllf,' Iht' I.ili‘nl\ ml l)l‘lllk'll|\ \l.iiIin. \thu \L'.lllll\'\\l_\ iiii'iggcx l \ llllll\t' .lllkl phage ilct‘p lll‘lht'. \lixt'n. will. iiink .lllll |.i//. \xhilv milling Ihc Ullkl \l.l\ll nI l..ilili .iiiil .\liii :Jlllll\t'\
Glasgow Saturdays
Club
I Aerodynamico .ii Ihi‘ Inimil liiiingc, llpiii Kiln {Iht' l.‘ \pi \liinlhl} \i-iiul)ii.iinit'n\ l|l\l hiilhila} .ll'l'l\t'\. .\pp.iicnil} ll'flllt'lll l’.iiil l\ nnu willing: In pun lll\ ii.ipp_\ .lllil I.ilk \llllt' ('t'li'hialc yiiiul lllllt‘\. tunic nn'
I Amatis .ll Slihllllx \I'\l Il.Ilt' ll‘t
I Bailamos .il |l.i\.iii.i ‘lpiii .‘.iin l'lL‘k‘ \Vci'kl} l).l Ki-iih l) lllllij.‘\ )uii .i “Ullll \i‘lct‘liun, \.ll\.l. Ri\li. l,.iliii \ll.lll .lL'llUll .llltl \\ll.llt‘\t'l L'l\k' lllli\t'\ }uii
I Base .iI lhi' liiiincl ll) illpni Kiln t'" tt5i “Ct-kl} ('hiix .lllll \l.iilin llcxkclh. .llUllj.‘ \\ iIh (‘hiix ll.llll\ .lllil \l Ki'iil. \\L'.l\t' .i llllt' l.ll‘llt iii llllll\_\ lililht' .llltl Rikli .iI \lilthi-ll l..Illi"\ llllL'\l il.int‘c I‘iiipniiiiiii
I Beatroots .iI lllk' ('uiinihmn \i'\I tldlL‘ llk’
I Bedlam .iI ()iii'i‘ii \l.ii;'.iit-i l iiinii ‘lpni Iain, I." 3‘) .\l.ii \lnnihl) lit-illmn l\ pi'uiiil Iii PllK l.lllll ll\t'll .l\ .i gnlh t'liih \l_\. him lllllL‘\ than-3c \ml lllt‘ hltl\ \\lll .ill l‘t' lhlt‘llllljJ In iii-.ilh lllL'lJl \\llllllli\
I Bennet’s .il liciiiit'l'x
ll,‘\Hpni Run ‘5 “ct-kl} lu'l lin- gnililaniii llllllx .l\ Shaun Illltl \lllllt‘ -_ji\i' Ihi' lit-iini-I\ p.ii'l_\ pmw maul} uh.” lllL'\ \\.llll t'uiiiint'it‘ml danw lll|\\'ll
\\ ilh .i \i'lct'linn nl "Hx. \Hx .lllll ‘Nk llllx
ILIST
Your pass to gieal club nights in Glasgow é; Edinburgh
See page 79 for details