Events are listed by date, then city. Submit listings at least ten days before publication for Glasgow to glasgow@list.co.uk and for Edinburgh to henry©list.co.uk. Listings are compiled by Mark Robertson, Fiona Shepherd and Henry Northmore.
Ticket information
Tickets for most shows can be obtained in advance from: Tickets Scotland . -, a Xv ;, . ' Highs. ‘ 'u'.‘ .t,;.:-',*1,'
Tickets Scotland 1.7 7 it "kw-t, tliwmmln m 1‘ 3;“ -::»:-,.2
Ripping Records 'i' Brit?“ Ed" I’li'. w. :1 ([4, ,'l\'.’,
Way Ahead 4.2' s, .p. a, .
Thursday 20
Glasgow
I Celtic Connections Soc .ilm lnlk ll\llllf_'\.
I The Killers, The Futureheads, Bloc Party and The Kaiser Chiefs (Ruling: :\L‘£ltlL‘lll}. l3l ltglintun Slit-cl. ()0ll5 lllll 3000/(l37ll 77l 3llllll, 7pm. S()l.l) ()l "l. llll\ 'wnik .\Ill/; tour I\ llt‘iltlllllt‘tl h} thc lux \k‘gux qiiiii'tct \xhn \tllllltl llltll'L‘ llle' tlll ltnglixh indie hand than illl_\ linglixh intlic huntl tltlt‘\ juxt ll\lL‘ll in the pm! punl. gimme“ til the l'llllll't‘llt‘iltl\. Blur l’ui't} .uul the Kttht'l' ('hiclx llll' t'unlii‘nizitiun.
TI‘ Blazin’ Fiddles with Justin Currie, Colin Maclntyre 8. Eddi Reader Rinul ('unccrt Hull. 3 Suiu‘hichgill Street. 353 xnnn. 7.30pm. £l5/£|3.5ll. l'iullx. pup and i‘m‘lx L'lllllllt' in thc lillL'\l mllgihui'utiun in lllgi/in’ l-‘itltllcx' ‘Sti‘ingx .-\tt;u'hctl' pi‘njcct. lcnturing l)cl .-\niiti'i untl .\lull llixtui‘iuil Socict) innininnn ('ui'i‘it‘ and .\l;iclnt) rc :intl ('cltic (’nniu‘t‘tiunx lilHllll'llL‘ litltli Rczulcr. Sec pin it“. l’ur! n/ (‘i'llii‘ (iiiiiii't'll'ririi.
3.7 The Frames and I Am Kloot 'l'hc Airhcx. 35‘ Arg} lc Sliu‘t. 5(i5 l()3.i. Hpin. U350. liullx i'uclxci'x thc l‘i'nincx .ii'c lllllllt‘tl h) ('umniilnn'nli \lgu‘ (ilL‘ll lltlll\ill'(l. \\llll \uppurt li‘nin Mancunian tu‘uthlu~ llltllL‘ Ultllil l :\llt Klimt. I’url n/ (iv/Hi (‘Ulllll't II'HIH.
I Killswitch Engage and Jonny Truant ()uccn Mnignrcl l'niun. 33 l'niwi'xit} (igii‘tlcnx. 33‘) 078-1, 7pm. L‘ltl. ()\L‘t‘— l—l\ \lltl\\. \i‘lcl'ullx Ul' lllL‘ llctulhniigcrx' Bull tiiul ()//lt‘\t and w”- \t) lcd \luntlgii'tl»hc;ii'ci'\ ul' ‘(icnci'titiun Hun) '. l'i‘untctl h} lltl\\tll'tl Juncx But nut that llll\\;ll'tl .luncx.
I El Presidente and Recliner King 'l‘ut'x Waih \Vnh llut. 373n St Vincent Sll'k‘t‘l. 33l .5370. 8.50pm. Ur .-\l‘l \L‘llmtl lxttltlitltm l‘il l’l‘L‘fltlL‘lllL‘ hmc hccn \illtl In
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Ol3l 226 7010 CREDIT cm: TEL: 0870 400 0688 (N008)
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he 'thc Ru}.il lt‘llL‘lll‘dtlllh .l\ .x imk'n'inll lxintl
I Sound Development Agency, Cinephile .md Satellite Dub \it't"ii‘8lt'.i/}. ~13] Snuthichnll Nut-ct. ii; 0H" ‘)[‘m -\ low \lnxn. Hutu Rdthlll night \iith .ill prim-uh going In lllL' Ill (' ,-\\l.lll tun'thquukc .ippc.il
I Rude Pravo .llltl Danny Saunders .\lunni‘.ul. \lnnn. l3 Kingx ('nnit. Klilf.’ Slim-t hpiii l’lL'L' lL'\llllL'\l .nnhicntc Irvin RUle l’iuw .llltl l)|\' punk V'lllltl‘ limin l).inn} \nuntlcix. .l\ hnlh .ittx l.ninth lllk'll nun \inglm on .tlll\l l ukc lH\\lL‘l\ Shutlnn Lith l’lux l)_l\
I Amsterdam, Ricky, Chi Weapon untl Hourglass liuill}. 3M ( 'lxtlt- \nt-t-l NV“ 01)" ()000 h‘pin L1 \inxtcitlnin .llltl th'h} .uc tun llll\lf_'llt'tl. untlt'iginuntl l‘lllltl\ doing ll tui lllt'lll\L'l\t'\. l.l\l\lll“_' up plitlltllh linni lht' llht'\ ml l.l\l\ ('mtcllu .lllll lllt' l.ll\'. f3lL‘.tl .ltillll l’t'k‘l .tliillj; lllk' \\.l}.
I Dasein .llltl James Olsen lln- l 1m \ntt' (Kilt. 5“ (ill Kin}: \tit'cl, 55‘ lhih 0pm Li lzt‘lu'lu‘ \l‘lllltl\
I Crisis Project, Tinycuts, Mosses .llltl Mercy Suuntlxct. thc Snunilhnux v1” llylc l’ni'l. Stict'l. 33l 4050, 5 5UP”) \lcinhci'x untl :Jllk'\l\ Shimt'nw wt Imuil llillltl\.
I Tramp Party, Rebel Fury .llltl Trade le'le‘lN. l»l \lltllulltl Sllt'k'l. 33l 0-3:“ Spin. l'iu', Ruck
I Grant Campbell lit-.nm-cnc. 5 (.I‘L'xuu‘ll l.;lllt'. 5H (i-mli N illplll llt't‘ liu‘ul \ingt'i/mngui‘itci' uhmc tlt'l‘lll .ilhinn ’mlt (ll't/\ [rum \‘uu/n'n' l\ inunincnt
I The Trains 'l'intlcihm. IN) ll}l\‘\ Rugul. 350 iltlh'. ()pni l'i'cc. ;\t‘uu\tu' xcl I Phil’s Session l'ixgc l’u‘uthu. 3R2 \Vnmllnntlx Rmul. 5(i-l I500. Spin. l-rcc. \Vcckl} ltllll.
Edinburgh
I Richie Gallacher, Hannah O’Reilly illltl David James Herbert RM} .-\t‘l lluuxc. 3 Rinhui‘gh l’liu‘c. 55h 0333, 7.30pm. £5 (Hi. Slumcgixing wine til litlinhui'gh‘x llllL‘\l )uiing \ingci' \tingui'ilcr»
I The Dyad 'l‘hc l.clt Hunk. 37 (illllll'lL‘ Sti'ccl. 335 0744. 0pm. \th ;i\;int guith night Mr \Vilkit‘ lluuxc'x ncu l.L‘ll Bunk hui' il\ thc l)};itl. .-\l\':\ ('hi‘ix Rtl\\. llcnjnniin Schuyler. l’nul chnc. l);i\c RU\\ untl \it‘ and lllll \luui'c tuxc L‘lL‘L‘ll'UlllL‘\ \\llll lllll()\;lll\L‘ lll\ll'lllllL‘lll;tl gmmcx.
I Endorphin and Without Malice llci'iut-\\';itt l‘niwi'xit} l‘niun. Ricmi'tun. 45] 5333. 0pm. l-icc. l)uuhlc hill ul ruck and indie (\llltlt'lll\ and their :Jllt‘\l\ unl} l. I FB Collective .mtl Frantic Chant \Vhixtlchinkio. J (i 80th Bi'itlgc. 55"
5| l4. 0pm. lii'cc. llip hup illltl i‘np .ictiun l'i'uin the Hi (’ullcctiw. .in cight-piccc litlinhui‘gh zict. L‘lll'l'L‘llll} iit \mi'k on their debut :ilhuin.
I Out of the Bedroom \Vnwi‘l} Bar. 81 .\l;ii'} \ Sti‘cct. 556 8855. 0pm. ()pcn llllL' \cxxinn l'ui‘ litlinhui‘gh-h;i\ctl \lllgL‘l'/\Ull:_‘\\l‘llL‘l'\. l’ulk. punk. lunk . lll\l hi‘ing ulnng _\uui' Ul'lgllltll wngx und \ign up in plii} :it Nixh,
Glasgow
T14 Celtic Connections \t-c .: lixtingx I The Killers, The Futureheads, Bloc Party .mtl The Kaiser Chiefs (Jilin; \tntlt'in}, 131 l glintnn \tit‘ct. ll‘lll5 iijii 1mm ilxhi “‘1 :llllll "Pm \(ll |)()l l \c; lhn 3H
ill Karen Matheson .llltl The Barra MacNeils le (mitt-ii Hull: \uithn‘hnll \ticct, 55‘ MW“ 5 : lh 1 ll (Lipt'ihiillit' \utnlixt l‘l‘t'\l\'\\\ lu‘i luitliuiniin: .uuuxtn .illxiin \KIlll .l \lt'lldl lint~ up wt gut-\h int lllillll‘,‘ lnunii} \nuth. \lithut‘l \ltt‘mltliitk .intl lu'i it'ggulni lmntl lllk'llll‘t'l\ int lutlin; llnnnltl Slum. l.llll\'\ ( il.llll .llltl l \wn \t'lllJl
in! wt (i [in ( i'lfllt Hum
"f Trashcan Sinatras, Roddy Hart .llltl JO Mango llit' (Lung: l‘ltl \.lll\lllt‘ll.lll \illk'k'l. H3 ll3l| "inn L lH llt'piiiling Summit llHlll linxlitnn Sinntiux \kllii ll.l\\' it'tt‘ntl} it‘tiiint'tl
lt'lll\ ipnintt'tl liniii .in t'iilnitctl lll.tlll\ \xilli llk'\\ .illuini ll. lag/".rlfili'um \llj‘l‘i‘llt‘il h} tun lotul xiiipt'i wiiguiitt'ix I’m: u/
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Winn
(It ill]: (‘I'Il’ll llr'lfl
I David Kitt .llltl Aberfeldy kin: lin'x \\.ili \\.ili lllll. 353.: \i \ lllkk'lll Stit'ct. 33l 53.“) .\ Winn L“ 5“ llu' 'liixh I).i\ul (my l‘l.t_\\ ti.u‘k\ llHlll lll\ U‘\L‘l\ .lll‘lllll l/Ii “hill; A Ki t/ \iifi Ilium, l‘L'\ltlk' lll\ nun t'nnxitlt'it'tl lll.ll\'ll.ll Suppnit linni t’ll.llllllll‘3 ltlinliuijgli llltllk' llllh \Hll\ \lk‘llt'ltl}
I New Rosy Jewels \n'c‘n‘XIm/i. ‘13l Sniu'hiclinll Sheet. “‘00 V 0pm
‘3 ‘. llltllL' iml.
I Kid Commando, Scunner, Titus Gein uml Stigma li.iill\. 3N) ( "lulu Sll‘t'cl. nx‘n 0n“ WM Hiun u Kill ('uiiungintlu :ii't' .i gut'iillu lunk tliit-t-wiiu' unnpi'ixing tun f_‘llll.lll\l\ .nul .i tllllllllllk'l I The Masonics .ind Preston Pfanz & the Seaton Sands l'unhniixc. Hui-n}. 3m (tuit- Sliu‘t. nx‘n nn“ now llpin. L5iL-1i
I Breakdown 99, Loris .nnl The Hellfire Club Slt'i‘cn. KL'lHlthlllel Sti'cct. 57h 5(llh. Spin. U (‘uunti_\ im’k I The Blimp 'l’hc l ith \nlt- (Kilt:
5t) (it) King: Street. 55; HHS. ‘lpin Li 'l'hc Blimp ll} llic llug: lUl Scnxgitiunnl .‘\lL‘\ lliii‘w} Hnntl implied i'nt‘kin): lllL‘illl'lt'illll}.
I Deco Sepali illltl Latonic l’innp \iglitx. l-ui') .\lui‘i"\\ lllp\l.lll\l. ‘Hi .\l;i\\\cll Stiu‘l. 33l (i5l l. H .5lllllll L31. Izlu‘ii‘nnu'n .inil llltllL‘ i’m'k
I Joan Kane, Edith Casey, Wyldflower illltl Wild Oscar l'lll} Murry. 0h .\l;i\\\cll Stit't't. 33l (i5ll 3.30pm. Ll. lllL'llltlllljJ t'nti} It) Pil\l cluh. lm'nl llltllL' hill.
Edinburgh
‘I‘ The Dears, Ambulance Ltd .llltl The Autumns 'l'ht- liquid Riuilll. ‘h' \iit‘lni'iu Street. 335 350-1. “inn LN 50. Munti‘cul t‘tillu‘tixt' cui'icntl} ggii'nci’ing :ittcnliun mcr lit'i‘c lui' lllL‘ll' Sinithx inllucnt‘ul tlgu'k i'ninuntn‘ixiii .nul lllL‘ll 't'minu‘ ('hi'ixtingix inuxu”.
I The Overside and Nick Middlemass ()uccnK llgill. (‘lcik Sti‘ct't. Mix 3lll‘). ". illpni. ‘3" {13 Six pint- latlinhuigh huntl pl;i_\ lllj_‘ nu'lltm wullul li'ut'kx uhn hun- tutu'ul \i. till the lll\L‘\ ul thc l’ltk'lttllllt'H
I Mexico “lunldnnkn-x. .1 (\ Sunni Hi'ulgc. 55~ 5| l-l. (\pin l-iu' lit-tuit- midnight. U illlt'l. lulcntul dun plgi} lll_‘__' L'mcrx untl Hl'lgllltll\ mpin untl niulnight hunt] \llll thci
I Monument .ind Global Citizen ('iti‘ih ('luh. J“ 43 (iiintllu) Slim-t. (i33 "(My " .5llplll. (U51! .\ night ml Mk t'lccti'u xi} lingx \xith tlux l'lti.i\u\ illltl (i;ii'_\ \uiiinn ti‘ihutc .u'tx
I Kings of Cheese RM} _-\ri llnuw. 2 Rmhurgh Plum: 55!» 0333. 0pm U» H34». .\ night «it (ht-LN} luncx
Glasgow ‘i' Celtic Connections Sec ;il\n lull». ll\llllt_'\.
‘A grand don‘t come for free,‘ Mike Skinner quite rightly argued. There is, however, plenty of opportunity to hear good music at low cost - it's just a case of knowing what you fancy and where to look.
While the obvious places in Glasgow for catching something new and frisky like King Tut‘s and Nice‘n’Sleazy's usually remain within the realm of the financially challenged, look out for local showcases where the ticket price is often halved but the quality is not. Rockers, Barfly and Cathouse aren’t afraid of the odd multiple rock band bill either while Stereo and Mono are both incredibly reliable for quality leftfield at modest prices. The 13th Note Café remains cheap but make sure you know what to expect: a night of death metal isn't fun for everyone, no matter how cheap the door charge. For something less noisy, Brel, Tchai Ovna, Goat, Waxy O’Connors and the Buff Club do jazz, folk, pop and more at reasonable rates.
In Edinburgh, Caledonia Backpackers, the Forest Café and the Bongo Club have all expanded their repertoire to include more live music, the multiple band bills at Backpackers coming highly recommended. Bannerman’s is similarly tiny, but hosts some great triple bills, and the alt.country and experimental rock put on at the Subway are also financially unchallenging.
Whistlebinkies and the Waverley have been long time stalwarts in the Edinburgh scene for a varied bill of live music. Nektar, the newly opened the Left Bank, midweek nights at Henry’s, and 80 Queen Street all make jazz accessible for less pence. For folk music, the sessions at the Royal Oak and Sandy Bells remain unsurpassed for quality and economy.
Classical music is not outwith the realms of the economically challenged either. There are various cheap incentives from most of the major outfits including Scottish Opera and the RSNO. More importantly keep checking our listings and take a chance on something new - you might just be rewarded.