XpoNorth 2019 – The story of Duncan

Reading Time: 9 minutes

First and foremost, I am a music appreciator and I am most definitely not a musician. Nor am I a musical creator and I do not work in the music industry. But, I spend a vast amount of my spare time listing to music, either at home or while driving as I go to gigs. And I go to a lot of gigs. Really a lot. At the time of writing, I have been to 148 gigs so far this year, seeing 406 individual performances. I have a further 81 gigs planned until the end of the year. I am sure there will be more before the year is out. I like my gigs.

My favourite kind of gig is one involving local bands starting off, who play a half hour set of original music and then watching them grow as they mature, gig after gig. XPONorth is an ideal platform for these bands’ showcasing and so 2019 is the 4th year running that I have been in Inverness for this event.

Like Woolly, I did not attend the seminars. I was purely at XPONorth 2019 for the music. But, unlike Woolly, I saw a whole load of different bands.

I had the basics of my two evenings planned out, which stretched from 7:30pm to midnight. My must-sees were bands and artists I had seen many times before and knew they were unmissable, namely –
Wednesday = The 101, Moonlight Zoo, False Friends, Cara Rose and Annie Booth.
Thursday = swim school, Walt Disco and Luke La Volpe.

There were no clashes with these but it still left me a few gaps to allow the discovery of new talent; to review previously seen talent and to poke my head around the door of something interesting. The weather was ideal. Dry, warm and still. Nice.

The 101










My starting point was The 101 at the Ironworks. They are a good band, although perhaps just a bit bloated by having 3 guitar players. Still, with one of them on backing vocals, it all adds up to a good sound. Having seen them before, I broke away half way through and walked the maximum venue-to-venue distance (a 3 minute walk) to The Tooth And Claw to catch Elisabeth Elektra.

Elizabeth Elektra

Sadly, she was not my type of music and singing solely to full-on backing tracks does seem like karaoke to me but she makes music that is clearly popular right now and the crowd liked her style. Her energetic performance included heading into the crowd at times, which can be quite intimidating so they politely kept a safe distance. She has a single launch gig soon in Glasgow, if you wish to investigate it.

Having seen enough, I dashed to Hootenanny where the rising stars Moonlight Zoo played a blistering set to a near-capacity crowd. Make no mistake here, they have really catchy songs; a great stage presence and vocals which will astound you. That was 30 minutes of sheer animal bliss.

Moonlight Zoo

Instantly I was off to the next venue; erm upstairs! To Mad Hatters where Lunir was having a bit of difficulty setting up. The beauty of XPO North is they run a very tight ship and the music starts at the allocated time and ends on or before the allocated end time. So, any late starting does mean a truncated set. They finally sorted things out and started 7 minutes late so I guess they had to cut it short. As I listened to the first two songs I realise their soulful sound were not my scene so I decided to head off to the PentaHotel.

There, SHEARS was playing. I have known Rebecca for many years and her recent reinvention fits the mould of the current trends of music. Her voice is utterly amazing but her music is not really for me so I bid a hasty retreat and went back to The Tooth And Claw to try out Folda.


They are electro pop and probably quite interesting but time was marching relentlessly onwards and one of my must-sees was up next at the Phoenix. False Friends were calling me. If you are keeping track, they are band number 7 so far.

False Friends

False Friends always put on a great show and are so much fun to watch. You have a front line of Irish voices, all four who are on vocals at some point. Jonny on acoustic guitar with Anna on keyboards share the main vocals and they put all their might into it. Corrie is on bass with shaved head and Fearghal on lead guitar and they both supplement the sound so well. Callum is on drums at the back, holding the whole lot together. To their absolute credit, they played mainly new songs. I know because that was the 17th time I have seen them live. Jonny debated whether playing new songs was a good move or not but sometimes when it is the first time people have seen a band, any song is new. The crowd enjoyed their set, as did I but Cara Rose was up next at the PentaHotel so I had to run as soon as they were done. I did a lot of running.

I suppose that “unmissable” means just that, but Cara Rose is one of those artists who is truly and utterly unmissable. Her solo piano playing style is a joy to hear and her vocals are wonderfully clear. Her songs are remarkably mature for someone so young and she is a very relaxed and happy performer. The venue was about half full for her set but as her set progressed you could tell they were being quickly won over. I spoke briefly to her an hour later as I spotted her in the Ironworks. She was genuinely surprised but pleased that I liked her music and I had no qualms in telling her this. Good music needs to be appreciated.

Cara Rose

Indeed, what happens at these events is that the artists themselves become fans of other bands. I lost count of the number of performers I knew who were in the audience for other sets and thoroughly enjoying it all. It has long been said that the Scottish music scene is perhaps unique where bands will praise other bands when they gain success and do not just humph about it with a “why not me?” attitude. That camaraderie is a testament to its strength and potential to grow. It was also nice to see music pundits Vic Galloway and John Robb in the crowds, loving every minute of it.

Zoe Tait

I missed Acrylic as I wanted to hear Zoe Tait back at the Phoenix. There is an engaging quality to the loud and forceful delivery of her own songs. Her lyrics are still quite teenage but I can see a lot of potential as she will inevitably move into more mature subject matters than just bad break-ups. One to watch.

Keir Gibson at the Ironworks was someone I had encountered before, although I did not realise this until I looked up my gig history a lot later. With the help of a guy on piano and backing vocals, the half hour was filled with good songs, well sung and the crowd knowing they were seeing a class act. It was after this set I chatted with Cara Rose but I had to be brief as I had that running to do.

Emme Woods
Keir Gibson

What then happened was a comedy of errors. I caught Emme Woods play to a capacity crowd in the Phoenix dry ice fog but a restricted view meant I tried out The Woods quickly next at Hootenanny. This was a solo act doing a really long looping song which I did find quite tiresome. Escaping, I headed back to the Ironworks to catch Annie Booth. Once there, I realised she was not the band who was setting up. I was confused and it was 11:30pm at night. My brain really could not process why she was not there so I gracefully retired back to my hotel room. Only as I was falling asleep did I realise I had gone to the wrong venue. Duh me. I was too late to remedy it but was happy that I had seen 12 bands in full or toe-dipped and I had had a really good day.

Thursday evening was set to be much of the same but the daytime need to get out of the way first. So, I hire a bike and cycled the 30 mile very scenic loop around to Beauly and back. As you do.

Goodnight Louisa

Seconds away and round two. 7:30pm was seeing Goodnight Louisa at Mad Hatters. I could only stay for the first 15 minutes but that was a good set. I had not realised that Skjor had broken up and this is what Louise is up to now. Very nice indeed.

Swim School

A dash to The Tooth And Claw allowed me to catch the full set by my current favs swim school. They play superb songs and even threw in a new one, which I spotted. The crowd liked them too and that is always nice to see and hear. Another quick dash back to Ironworks and I caught the tail end of Fauves who really know how to get the crowd going.

A few experiments were next and I saw Ukku who were really not my scene. So, I went to see Lizzie Reid charm the socks of everyone at Phoenix. That band really knows how to play well. I saw most of False Friends in the audience and caught up with half of swim school too as I headed out to my next gig. The next blind date was Spoke Too Soon who played a superb set at Hootenanny. They are well worth seeing again.

Spoke Too Soon

Outside there was pavement art persuading anyone and everyone to see Ivy Flindt upstairs next. Well, I am not one to decline such positive invitations but was sadly disappointed by the music which really did not have that much substance to it. So, I went to see A Dazed Digital Age back at the Ironworks who have the sound that is currently bubbling up from nowhere which everyone will love in the next 6 months or so. They are going to be big. Mark my rather feeble prediction.

The Dazed Digital Age

The cream of the night was the fact that Walt Disco were scheduled for Mad Hatters and that venue was just not big enough to contain them. Right from the start, they blew the roof of it with an explosive performance which is as infectious as it is spectacular. If you have any chance of seeing them live, never pass it up.

Walt Disco

They were band number 9 of the night and things were starting to thin out. I went to the Market Bar for the first time that trip and it was packed to the gunnels with folk waiting to see Pleasure Heads. It was clear they could put on a show but the crowd’s very boisterous enthusiasm meant that even seeing them was difficult and so I had to leave to actually be able to breathe! People were being turned away at the door as there was literally no room left inside.

I headed back to Hootenanny and am very pleased that I did as it was a first time see for James Gordon And The Power who were a late substitute for the unable-to-make-it-due-to-family-matters Mark Sharp And The Bicycle Thieves. James put on a superb show with great songs. Once again a nice find and another to put on my watch list.

Finally, as pumpkin time approached, the last band to see were Luke La Volpe at the PentaHotel. Imagine, if you will, that George Ezra bloke but with so much better songs and a much better attitude and you are half way there. They are a superb band and the lack of audience did not do their great music justice. Prior to that though, I had a lovely chat with Anna & Jonny from False Friends. Such nice people.

Midnight and I was truly done. Another 12 acts seen and a fantastic time was had. XPO North is cementing its place as a music festival of pure quality and long may they continue to support these up and coming bands in Inverness. A big thank you to the organisers for all their very hard work.



XpoNorth 2019

Reading Time: 11 minutes

It’s XpoNorth 2019

XpoNorth started off as an Aberdeen based venture called GoNorth at the turn of the century. I wasn’t there. I mean I was around at the turn of the century, and before, but I wasn’t in Aberdeen. I might have been at some point, but if I was, I wasn’t at that.

I was still kicking around the Raigmore Motel, the Market Bar and the Gellions for my musical kicks. The Ironworks was still a carpark and a pet shop, Hootenanny was still a pound shop, Blue Nightclub had only been shutdown once or twice T in the Park was the place to go for festivals. Rockness was six years away from being birthed, and Belladrum was four years away. (That’s right, Bella was about before Rockness.)

Xpo still is, and, but it’s changed a bit. The last person involved in it when it was GoNorth departed last year, and Highlands and Islands Enterprise are all over it this year.

It started as a ‘creative industries’ focused showcase. Designed to gather up unsigned and lesser known musicians from around the Highlands, to get them to play, literally ‘for exposure’ and mould them into going through the meat grinder that is the music industry.

My general understanding of the model for newly signed bands to medium to large labels is thus (however granted it will vary to a degree depending on the label);

  • Band signs contract.
  • Band gets advance for an album, promotion, and gigging. The album bit of it includes the booking, hire and all that goes with the recording studio, sourcing and paying for the producer/sound engineers etc. The advance is the band’s wage as well, so they also have to either live off it, or work the day job in between recording and gigging.The advance is as you’d expect, a loan. This gets paid off by the revenue generated by the band through ticket and record sales.
  • Band gets some contacts, guidance, and some influence given in terms of where they are to tour.
  • Once the first loan is paid off, if it is, then it’s time for a new advance, and a second album. Rinse, repeat.

This works for some, but I feel it’s not necessarily the best model for all band to follow – and harvesting all the highland talent like something out of the Matrix doesn’t seem like the best way.

That’s my take on it, but I’m a self-managing kind of person, so kind of a red pill guy. (Red Pill as in I like to know how things work and it’s reasonable to objectively question things, not red pill as in I am woke, there’s a third eye and everything is a conspiracy)

Anyway, as I said, Xpo has changed a bit, even since last year.

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There were a few grumbles that there was less music from the highlands, and some more from ‘down south’ (crettins, that’s how you create a bit of musical diversity, and inspire people. So long as there’s a mix of local and not local, I’m ok with it. Especially as we have local festivals that a few of the bands play at anyway). That’s not a criticism of local bands either, if that’s triggered a wee paranoia trip, I’m just saying that Inverness doesn’t need to get all BREXIT about foreigners coming in and eating our fish.

Regardless of all that, here’s some actual coverage.

I didn’t get to the non-music seminars and networking events this year, as I’ve got a day (and night!) job that’s not that, but Cornwallace wrote a little bit on some of the publishing side of things.

What I did get to mostly, was Wednesday, and the very tail end of Thursday. So, let’s talk about that.


The starting point for myself and Fremsley was the Tooth and Claw. I’d fancied going to see Hamish Hawk in Pentahotel. I’d seen him a couple years back with King Creosote, but hadn’t been able to give it my full attention due to some annoying and distracting chatter. You know when people go to a gig, and don’t actually care about the gig, then spend the whole time trying to make it about them. That.

Timing wise it wasn’t viable though, so I had a catch up drink, as Elizabeth Elektra played above our head. We didn’t get to hear her fully, but it seemed quite Kate Bush esq. The brief bits we caught of the white wig and floaty dress donning avant-garde pop were pretty good, but it was brief. (Oi, hold on, what are ye, the Daily Mail – don’t just write about what the artist was wearing!) But genuinely, we only caught a glimpse, but it sounded alright.

Echo Machine were also recommended, a new-wave synth pop band from Dundee, as were Pure Grief – as a bit of pop punk. I didn’t make it to either. Coming off a nine-day work stretch, directly into Xpo meant I was a bit fucked like. But I’ve linked to those I coulda-shoulda-woulda been to by means of acknowledgement and apology.

Get on with it!

The first proper band I saw was Lunir, at Madhatter’s.

Like a fair few of the talent on show, this was their first time in Inverness. The two piece had the venue giving an intimate feel from the start. They had a small keyboard each, and a mic each. The member that wasn’t the lead singer also had an array of effects, and a fairly minimal percussion set-up.

Lunir had a R&B/Soul vibe at the start. The lead’s voice was smooth and strong. Sometimes vocals are vocals, and sometimes they’re so on point in terms of refinement, they’re like an instrument. In this case they were like an instrument. The drummer’s backing vocals gelled into this fantastically.

There was a hint of jazz creeping in to. When we get to the second song and a rain stick is whapped out by the lead. This was their new single – best way I can describe it is if you were to have Beyoncé working with Lemon Jelly.

Their music was uplifting and wholesome, with a beautify structured drum solo intertwined. They seemed happy to be there cheery as fuck, which as a pundit, helps me be cheery as fuck. At one point we were introduced to a tiny mustard-yellow guitar. Played high up on the diaphragm like George Formby, it was contrasting to the song. The music took me on a journey with set the set list. Each song flows from previous one, complemented the last and evolved the set throughout. It was a musically unexpected but welcome (proper) start to XpoNorth for me.

Next up, was the mammoth journey downstairs to Hootenanny. To see Quiche. Two bands playing in such close proximity was handier than a teenager with a purity ring trying ecstasy for the first time.

I’d added Quiche to my list of bands to see based on the name. Generally, this is a terrible thing to do, as ‘zany’ names can be used as a way to pull people in to see them. See “Natalie Portman’s Shaved Head” as an example.

But Quiche, Quiche has a reputation for being a bland food. I actually like Quiche Lorraine. Lorraine Kelly is annoying, Quiche has a reputation for not being great, yet merge the two and you get something palatable. Perhaps Quiche the band were going to defy the odds too?

Hoots was reasonably full, not heaving, but busy. First thing I clocked beyond that was that there’s a guy that looks like Gary glitter, or that weird Inverness bloke with the long nails that does all that odd dance stuff with young females. (Roddy, Rodney?) That’s unrelated to the band in question though.

Quiche played with vocals and guitar style from the 1960s fused with 90’s/00’s. I didn’t meld into their music massively, but they were decent. My mind did wander a bit whilst listening to them – there was a point I thought the vocalist sounded a bit like Kermit the Frog. In fairness though, they sounded a bit like Gorky’s Zygotic Mynci, or some of the more experimental Super Furry Animal’s stuff. Need to clarify if they’re Welsh or have just been hoofing aerosols to Peanut Dispenser in their yoof.

I didn’t mind them, but I think, with the style of music they were playing, they could have done with a bit more stage presence.

There were a few bands playing at the same time, so a hasty migration over to see False Friends at The Phoenix was implemented.

Not to be confused with Best Fwends, which I unrealistically was associating the band with, and probably to the detriment of me, but to the relief of everyone else, False Friends are not Best Fwends. Am I going deep and all that?

I got in during their set, and my immediate note was that they had a plastic cowbell. I like these. They have musical merit. They do.

They were the best band of the night for me. The Northern Irish band were happier than a nun stumbling over lovehoney.co.uk and I was immediately warmed to their announcement that they tend to play stuff live that you wouldn’t find as part of their online repertoire. They define it as career suicide, but it’s a good angle, and the choice struck a chord with me. This is me who was petitioning to call a band I was in “Various Artists” so take my insight with a pinch of salt.

They would have fit really well into Raigmore motel gigs of old. There was nice grimy keyboard, intertwined with an indy/rock feel. They were upbeat, well-polished and I liked them. There was a consensus around various people that had amalgamated into the Phoenix that they were one of the highlights of the Wednesday night. Two folks suggested they were a Christian rock band, based on their outfits being on the wrong side of the colour chart, and being ‘too clean cut’. I’m fairly sure both commentators were wearing all black, which is equally relevant. False Friends could more than hold their own on a main stage at a sizeable festival, with a fine range of songs. They do seem like a group that would be presentable on the telly, if that’s what was being alluded to by ‘too clean’, but better that than being shite, and alternative for the sake of image.

I went over to see Pure Grief in the Market Bar next, but it was packed tighter than the pursed lips of an Instagram influencer posting duckface, so I didn’t. My attention was pulled away from Xpo after that, so pure grief was the last note of the evening.


I finished work well after the festivities had started, and only really caught Ghøstwriter. I dunno what the Ø is in reference to, but in electronics it’s the number of phases in a circuit. (Hold down Alt then press 0216 in the keyboard if you’re typing it.) When Prince became TAFKIP that must have been a pain in the tits – there’s not even an alt code for that nonsense.

Ghøstwriter at The Phoenix were the best thing I saw at XpoNorth. Having not been able to make it to Solareye, but having told everyone I knew to go, I was happy to still get a satisfying gig to see.

After the initial acceptance that it wasn’t Matt Berry fronting the band but a doppelganger, all disappointment was washed away. They were diverse, atmospheric, and full of energy. The band was bouncing and it made the evening feel like Thursday would have been the night to be out. I was shattered though. If you think that this writeup is a bit lacking in content, it’s a fair shout – I had to switch notebooks for Thursday and it’s gone AWOL.

I thought it was worth mentioning them though, even without notes, they were phenomenal. Also, there were some grand photos, I’d go see them again without a second thought, though better prepared than straight out of whatever hell of a day I had that I won’t bore you with. Chips N Gravy will tell you all about them though, and we’ll link it up here when it’s on the interwebs.

I finished up with heading to the Tooth and Claw, downstairs. They were holding their own non-XPO open mic night, which brought in good craic and kept it all going.

A final note on the venues, specifically at XpoNorth time

The Market Bar – it’s a great venue for music, in that it’s full of energy and the pine clad walls makes the sound bounce around like nobody’s business it a hotbox for atmosphere, but you need to get in well in advance of the bands you’re going to see, standing room only doesn’t really do it justice in terms of how intimate it can get. Upstairs for the tunes, downstairs for a bit of respite and patter. Prices are reasonable as well for lubrication.

Hootenanny – You’ll generally get more of the trad stuff down here. There’re tables everywhere and a little bit of dancing area, it’s more of a musical restaurant than a bar with food these days, but grand enough, and if you’re needing a seat it’s your best bet. It’s by far from the cheapest watering hole though, and even soft drinks cost a fair few quid.

Madhatter’s – The upstairs for Hootenanny – More of a mixed bag, you’ll get all sorts of music in here, from hip-hop, rap, rock, blues, rockabilly, funk, and world, with splattering’s of everything else too. It’s plastic glasses upstairs, and glass receptacles downstairs, which should help with understanding the difference too. You’ll always get a dance up there.

The Phoenix – This place is pretty decent for the midweek festival, the stage set-up is pretty decent, prices are sensible and it’s the most balanced of the venues in terms of crowd. Never any trouble, comfortable as fuck, and unpretentious.

Pentahotel – It’s a hotel common area in an urban area, so can get a bit crowded, but it’s an alright setup – the bands tend to be lighter here, you won’t get a dance or mosh area. Prices aren’t immensely pocket friendly, but it’s a hotel bar, so you at least know that going in. (Gestures at hoots)

The Tooth & Claw – This is the hive for punk, rock, metal and comradery. It’s packed during XpoNorth and this time had music upstairs as well as doing its own off-programme musical thing downstairs. Prices are on par with the Market mostly.

Ironworks – First of all, prices are decent, and greatly improved on the past. This is the purpose-built venue for music, and the biggest capacity. Having said that, it’s also (personally) one of the least atmospheric of the places, when it’s quiet. I think that goes with the territory though, more suited to big events that it’s going to fill, it can be left wanting for ‘buzz’ if it’s not packed. You’ll not get a seat at this. If the crowd is right, and the band is right, it can be great, but the atmosphere is brought into it by the people.

MacGregors – Didn’t do Xpo this year, which is a shame, because they were one of the better venues last year – the mix of electronic music and more left field stuff, tied with the building’s styling/atmosphere was one of the highlights. Artisan beverages are reflected by the prices.

Mercure Hotel – Don’t get me wrong, I like this place for some things, they do a heap of charity hosting, and it’s great and all, but fuck me, I’m glad they weren’t part of Xpo this year. They do it upstairs, the sound quality and setup of the area was abysmal, and to make up for that with alcohol or even just refreshments is not a viable option due to the cost. A welcome exclusion, sorry guys.


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XpoNorth 2019 – Listening learning liking at XpoNorth 2019 part 2

Reading Time: 13 minutes

Part 2: Thursday night music

Part one of reviewing XpoNorth for 2019 turned out to be long enough talking about the daytime programme and the Wednesday night music. So I split it up, and hence the birth of ‘Part 2’ here. This will just focus on the Thursday night music and atmosphere for XpoNorth this year.

The atmosphere. This is an interesting element. Interesting, and hard to definitively quantify. I was wondering how to bring this up, but might as well get into it from the beginning. Mostly I’m hedging my bets here as there’s parts that are inherently – at least on 1st look – self-contradictory. Basically, there were some packed out places, and some amazing gigs with amazing atmosphere. However, for that, neither night out had anywhere the same feel as they have had in the last few years. By this, I mean the buzz out in the street.

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Finally this year I knew about XpoNorth in advance, and was talking it up to people trying to coax them out and into having a great time.
Part of the (legitimate) sales tactics was the feel of the atmosphere around town. In previous years there has been a palpable energy buzzing through the wee small heart of Inverness. People bouncing and launching through the night, meeting up and raving about what they had just seen, and convincing others to head in their direction to the next band.
Notably there was that feel within a small patch between the PentaHotel, The Phoenix and the IronWorks. This area possibly came out best in this element this year. While there was a little bit of it through Church Street, it was way down on the last few years. Any area apart from that was noticeably diminished in this respect this year. A bit of high energy lurking out the front of the Tooth & Claw, but definitely nothing which extended further through the streets, which was a metric of joy that I had felt in the last few years, but much less this year.

Yet this contrasts with the feel within the venues themselves. As it does, the Market was fucking rammed in with people. On the Wednesday night I did attempt to get in there to see Run Into the Night. I saw about half a song, and they looked fun – 2 piece with talent and attitude (although for the space being 2 people could have taken up far less of the precious, precious space which is such a premium in the Market Bar). Getting past where they had spread themselves through to the bar to actually get a pint felt like a hopeless cause. I did hear another song before this half song, but that was in the slow process of ‘one out, one in’ leaking of people out of the space before I could even turn into the inner door to see them. Should have given them more of a go, in retrospect, but that the band stood in the way of the bar leaving a big empty space (including the tiny empty stage) behind them, coupled with the fact they’d be done before beer was in hand made for a bad choice, I think now.

This packed out feel was the case in a number of places on Thursday night.

The Phoenix, as per last year, showcased itself as a genuinely good place to put on music. It is my firm hope that they understand the potential here and pick up on it and become another venue throughout the year, as opposed to just 2 nights a year for XpoNorth. I didn’t get to the PentaHotel this year, but again it turned out to be a much better place for a gig than expected. The range and quality of the beer was pish last year, but the bands good, and the venue much better than expected. Again, any potential to expand options for bands in Inverness, TheNettle.scot is keen on.

So that was the counterbalance of the feel for the night. Good in places, much more dead than previous years out n’ aboot in town. But to the actual music…


Apologies first up for Ukku, for not bothering to chase up how to type their name with the Umlaut over the first ‘U’. However, this factor was instrumental in me getting there to see them. I hadn’t done the research as per previous years, so decided to take on board the ‘betting on horses’ philosophy of choosing by feel for the name and just taking a punt on luck. Ukku had on umlaut and were also palindromic, so were sure fire winners on a number of fronts. [ed. note –  To access the umlauted vowels (ö, ü, ä) use the following keyboard shortcuts. Hold down the “ctrl” and “shift” keys then hit semicolon. Let up on all keys, then type the vowel you want, but it’s key to the story here]

In writing this, I can see that the XpoNorth programme for the night has links to the bands and they link out to their own sites, but there’s not much detail on the actual created pages for each of the bands.
I take this as another odd weakness in the running of what is otherwise a great event. Again, another weakness which is born out by not practising what the content they delivered in the day about selling yourself in the creative industries. Odd, but a small consistent theme that XpoNorth wouldn’t have to put too much work into to improve.

However, back to Ukku!

The classic, easy way to try to classify them was ‘ethereal.’ On their own Facebook page they state themselves as “hyper realistic fantasy art dream simulation, dream pop, synth-pop, post-punk, 80’s inspired”. I went to the site to see where they were from. I guessed ‘Nordic,’ and they say ‘Elven forest,’ so I’m calling that a correct guess.

The place wasn’t exactly packed, but it had a healthy amount of people filling the space, and for mine, the mood for them was a resounding positive. I put that in as most of this is just my thoughts, and mine are a bit more complicated than that, but I really wanted to put it up front and centre that I really liked them.

The lady in the front and the middle ostensibly was the controlling point and the fulcrum around which the whole structure worked. In saying that, the guy to the left was seriously good on the guitar and seemed to hold a confidence that reverberated and held the whole lot firm together.

For the lead, she was good. Although she wasn’t as good as she was hoping to be, at least not yet. This is one of the things you can say about acts which are so young (the drummer on the machine that looked like she was tapping on 6 coasters lined up was surely the youngest in the entire programme). There were things that you could see that she (the singer and front person) was trying to do, places she was trying to take it, but her voice wasn’t quite there yet.

It could be that I couldn’t get a decent photo of the front person because of things like my phone, or, obviously less likely, a lack of talent with the tech. I’ve settled on the theory that it was actually a synergistic effect between her resonate inner glow aura, combined with the light from her sparkly shoes. Occam’s Razor it is not, but it is a working theory at present, and one that helps explain my shit photos.

That’s not necessarily a huge criticism, considering what she was trying to do. There were times where you could tell she was trying to get a bit of growl into her voice, and it reminded me – in direction, if not action – of Deborah Harry, but she couldn’t quite get there, or didn’t quite have the confidence in her voice to go there.
On the other end of the scale, there were times where she was really trying to hold a quiet, ethereal note and it reminded me of the amazing joys of seeing Beth Gibbons. However, again, this is a big, big ask, and one that I hope she gets to in the future, but not one she could quite pull of this night.

That was the slight negative. The rest is all positive. In terms of influences, I’m sure that there’s many that one could pull out. They mention 80s synth, and at times the tone did remind me of The Cure and that balance between Goth and New Romantic 80s. Then again, I’m a fan of Goldfrapp and saw a fair bit of them floating about as well. Fuck it, chucking a bit of Air in there, while I’m on the subject. Kinobe too, just cause. And Christine and the Queens seeing I’m going down this path, because I find myself listening to this song a bit at the moment.

All could be heard in there, with plenty more besides. It made me want to explore this genre again a bit more. Listening to such right now, in fact…

I think that this is a seriously interesting band. Good combination of mood, skill and some good lyrics and ideas thrown in. If they get back this way, I’d chase them up for another viewing, definitely!


Next cab off the rank was Solareye. Already, this is a lesson in the eclectic nature of festival programmes. The ways in which Solareye was particularly NOT the same as Ukku were many. To be fair, both relied heavily on feeding the music through a computer in aid of its construction. Apart from that though, we move to another genre entirely.

This is purely about the lyrics and the beat. More details on Solareye can be found in the review from Chips & Gravy, which I’ve just read, so hoping to not cherry-pick from their perceptive musings. For mine, this was the good bit about hip-hop. I know that there’s a lot of sub-genres going on here, between rap and hip-hop and a few other names/ classifications.
It is, to be fair, not one of my favourite genres, but when it is done right, as here, it is magnificent, and can extend from places and acts such as Dingwall’s own Spring Break, across to Everlast, and many, many other examples going to way back when and back to another firm personal favourite displaying the awe-inspiring skill and raw talent involved when it hits the mark.

When done wrong, for me, it is all about gold, guns, cars, bitches, and treating others like shit in order to talk yourself up. Sure there’s something cathartic about it all, and there’s a lot of class and race theory bound-up there that I don’t want to dismiss. Stating that, the negative can feel like a massive self congratulatory ‘I’m richer, better and more well sexed than you’ wank-fest, and as such it was a massive relief that Solareye was so utterly devoid of such aspects.

This is the antidote to that. The lyrics ranged from engaging, thoughtful social commentary, to the pure love of a day with his wee man. Love mixed with tearing his hair out in exhaustion. Also this song managed to fold in more commentary about life, love, and social commentary by way of reflection as to the way in which his wee boy reminds him how easy is actually is to be creative and imaginative, if we drop the constructions we create about ourselves in order to be an adult.

Talent, observation, reflectiveness, humour. Good. Very good.

Solareye was talked up by Fremsley and a few others as being the show to be at in the programme. It was a fair call. Not sure if it was the top of the bunch, but it was way up there. The power of the genre was up front and large here. Positive, reflective, caring, thoughtful, respectful, angry at times, but overarchingly an experience that leaves you thinking that there’s things that can be done to help. Maybe it was the best experience of XpoNorth, coming to think of it…

[**Editorial note: This is getting long, and I need to do other shit with my day, so from here on in, apologies to the bands, but the reviews are going to be more ‘succinct.’]

The Dazed Digital Age:

Just down the road from the Phoenix, a bunch of people were hyped up after Solareye and heading to The Ironworks to see The Dazed Digital Age. Actually, as an aside, this is another big plus for Solareye, as the mood of people coming out of The Phoenix and buzzing down the street after what they had just experienced was the highlight for me for the 2 nights in that thing I was mentioning earlier, i.e. the buzz on the street, which was much less this year, but which peaked at this short walk over to The Ironworks.

I’ve written about The Dazed Digital Age before, and seeing them again, the feeling continues. They do what they do well, and they are very much liked by the audience. I’m not their biggest fan, however. They seem to just be missing ‘something’ – that classic, unhelpful thought ‘something’.

The friend I was chatting to thought that they were too static on stage, that they needed a front man owning it in the middle. He liked them, but the term ‘two-dimensional’ was given, and I find myself quoting him for the accuracy of it. I am sure that when I have seen them before that there was a 3rd member on stage, and this might account for a bit of this. However, in the end, I know that I’m in the minority of the audience for the night.

All the accoutrements around them – the feel, the lights, the adherence to the 80s synth feel is done well. It’s just missing something at the heart of the music for me. Maybe the front person, as the friend mentioned. Maybe a bit of fire in the belly. I’m not happy about being negative in light of the mood that was around me in the crowd, but they didn’t really do it for me. Again. But it was the most that I have liked them so far, so maybe I’ll get what I’m missing sometime in the future…

Pleasure Heads:

Next it was over to the Market Bar, and a reminder of loud, bouncing, rolling fun music with the Pleasure Heads. Whereas I should have tried to get into the Market for ‘Run Into the Night’ the night before, this time it was, somehow, even more wedged in. And yet in we went.

The band The rammed in audience.

Surely there’s going to be some University physics team coming up sometime and studying the Tardis-like nature of the Market. How that many people fit in that place is worthy of study. They should do this, and pay people, including myself, to drink beer in there and dance somehow where there’s no space to do so. I am up for helping science, as you can see.

Anyway, we were all there playing sardines for a reason. The Pleasure Heads were good! They were fun. They put in, and worked for their craft.

And there was much rejoicing.

As per caveat above that this is already a long review, I’ll be short here. They were good. They were fun. People loved it. The category was firm ‘alt rock pop’, an expansive genre that doesn’t help, but his voice was good and with a bit of gravel in it, the band had energy and drive to it. Notably for me the drumming stood out as excellent, and took the crowd along with the faster sweat invoking rhythm of it all. I see they reside in Glasgow at present. If you get a chance, I think you’re gonna have a good night if you catch them there.


Last band for the night, and hence for XpoNorth, were LaKyoto, back at The Phoenix. Again, the choice of seeing them was purely on the horse-picking philosophy of a name that grabbed us, so off we went.

We missed a bit of the start, but got a feel for them enough, I think. They were the most straight up pop that I managed to see for the whole programme. They were good for this also. Had the crowd bouncing and happy, even though it was approaching the end of the 2 nights and fatigue was starting to set in a bit, thinning out the numbers of a couple of hours before. They played with heart. They were enjoyable. The lead singer had a smooth voice – possibly a touch ‘autotune smooth’, but this is an observation, and in no way a complaint.

People holding onto the good vibes until the end of the show, and thus the end of XpoNorth

By this time of proceedings I was quite knackered and wondering about the sense in going for back to back chippy nights (*this did happen). So while part of the brain was wanting to say a final howdy to the friend I went there with who I don’t get to see enough, and part on chip shop goodness, there was enough talent and interest going on up on stage to keep the attention front and centre. This is another good band, particularly polished and smooth in quality, that had catchy tunes that held people there until the end. I wish to see them again in a less exhausted state, but the important part of that is wanting to see them again.


No massive round up. This is long enough already. XpoNorth did another good job this year in putting on a varied, interesting showcase of talent for 2 nights in the middle of the week in Inverness.

The crowds in the venues were large and appreciative, but the mood on the street, the much-vaunted ‘atmosphere’ I garbled on about at length above, was significantly less at play throughout the town across the 2 nights. Maybe there’s a reason why, but will leave that for others to speculate on, should they wish.

The potential to explore so much music in short bite-size samples was again the strength of the programme offered by XpoNorth. Here’s hoping for more of the same next year.


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Solareye – The Phoenix – 04/07/19 XpoNorth 2019

Reading Time: 4 minutes

Holy shit guys, I’M BACK! Where have I been, you demand? Fucking nowhere m8. Well, that’s not true. I was off gallivanting at Eden Festival down in the Borders (which was EXCELLENT, by the way), and otherwise paying The Market Bar’s mortgage with my love of a good pint. That shit gets expensive, so I’ve been working to fund my frolics too – hence the radio silence on my part. SOZNOTSOZ.

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ANYWAY it’s XpoNorth this week, which means us Nettlers have to venture outside and sample other venues outside of our beloved HQ. It’s a strange new experience for us, but we only do it once a year. So far, we’ve coped appropriately. Personally I hadn’t been in The Phoenix in about 15 years – not for any reason other than I’m too lazy to walk down Academy Street – so I wasn’t sure what to expect. It turns out a lot has changed, and a lot has not. It’s been decorated and I absolutely do not remember it being the size it is, but the drinks are still as cheap as their choice of toilet paper. £2.20 for a tequila? I’m in there like swimwear mate.

I missed all of Wednesday’s Xpo shenanigans for personal reasons, but thankfully Woolly Dermal will be filling you in on those. There was nae danger of me missing Thursday though – I’d been told all week how fantastic Solareye was, and how I didn’t want to miss him. I wasn’t convinced as I’m by no means a hip-hop or rap fan but SHIT. HE WAS SO GOOD. I’m aware as a reviewer I should know more adjectives than ‘good’, but fuck you, I’m the writer here.

Solareye’s first song was played to a packed room which only kept filling throughout his set. We’d arrived early in order to get a seat (I’m far too old and far too crippled to stand at gigs these days) and caught the end of Lizzie Green, and I’d thought it was full then. It wasn’t. By the end of Solareye’s set, it seemed everyone and their dog had popped in for a swatch and I can see why – the Stanley Odd frontman puts on one hell of a show.

The second tune was an interesting experiment; a whole song – three verses – all in the same rhyming scheme. He asks ‘is this repetitive?’ in the chorus and it is, but in a good way. It flowed seamlessly, and his charisma and confidence oozed out of every pore. It was a strange juxtaposition of this guy knowing he’s good, but without arrogance (or having a face you’d want to punch). This was a man who knew how to engage the audience and pump up the atmosphere. I’ll not lie, I was giving this big licks.

The scope of the topics covered in Solareye’s set was vast and powerful, ranging from critique of consumerism to soggy Weetabix with his wee man. If you’d told me he’d be jumping from pillar to post subject wise, I’d have scoffed and said “that’ll be shite mate”. But it wasn’t shite, it was fascinating. There was an overarching theme of disenchantment intricately laced throughout his lyrics which tied the set together perfectly, and the exceptional delivery and general atmosphere made this the best gig I’ve ever seen at XpoNorth, hands down.

Now for some loop pedal beatboxing; I did not expect that. A disclaimer of “this is entirely reliant on technology” and hoping it didn’t go to shit was entirely unnecessary; the whole thing went off without a hitch. This is the kind of shit that mediocre Ed Sheeran-types record and think of as revolutionary, when underground artists have been perfecting that shit for years. I left feeling empowered and enlightened (if not mildly attacked for having my phone out during the set, I was recording for you cunts), rather than my usual drunk and (mildly) disappointed. You can find a couple of videos of Solareye’s set below if you were unlucky enough to miss it.

All in all, 15/10 pal. Cheers for a belter.

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XpoNorth and the joys of rapid fire music education – Part 3. 28/06/18

Reading Time: 7 minutes

XpoNorth and the joys of rapid fire music education, Pt 3.


Continued from Pt 2

There is a genuine potential risk in putting on an event 2 nights in a row throughout the week. People go out the first night, as I did. Get caught up in the moment, and potentially have a bigger night than they expected on the first night, as I did.
Then have to get up and go to work, not pacing themselves for the longer haul over the 2 nights as their rational brain had sternly imposed upon them before the first night got going. As I did.
So there is a period at the start of the second night where you (read ‘I’) wonder about the balance between sense and fun. I also remembered exactly why I decided the last couple of years that I was gonna take some time off of work for this event and do it properly.
Ah, the best laid plans of bullshitting oneself. A fine art, honed and polished well. At least that was how it seemed after work, thinking about and banking on the restorative powers of beer, the energy of the crowd, and – to bring it back to the matter at hand – live music.
Luckily the restorative power of all came through for the Thursday night, and with (second) wind in the sails, 3 bands were seen.
I had planned to start the night seeing ‘Carma,’ but foolishly was directed to the wrong place by a friend, and didn’t double-check. Then I planned to see Ida Kudo, but the friend with the early start who I kept out too late the night before wanted to go back to MacGregor’s for the beer, and would’ve be a right schmuck to impose myself again. Sure I saw a friend straight after that couldn’t stop raving about how amazing she was, but that was after the fact, so I had to suck that one up and put it down to the pre-acknowledged random nature that I knew would be a component part of the night. Instead, the night was started as stated at MacGregor’s with good beer and:

Ewan C. Grant

Those into them were keen, and were keeping their front and centre spot
Hard to get closer to get a photo. 






This was an intriguing way to enter into a second sequential night on the town sampling bite size chunks of music. We had come here (MacGregor’s) for the beer, but there were many known faces already grooving along to the music upon arrival, us having missed the first 2-3 minutes making our way from a restorative, constitutional start-up beer at the Black Isle. No music there, but the upstairs garden and sunshine nevertheless providing its own part in kicking the evening off, after the non-starter wrong venue fuck-up that saw us miss ‘Carma.’
Walking into Ewan C. Grant, there was a packed house already. I don’t know if they are much better known beyond my particular ignorance (if so, someone please contact The Nettle and clear up the name bit above…), but people were out for it and up for it. They were grooving along in that subdued, internal dancing while looking at my feet way that combines so natural with certain brooding forms of base driven melody.
This certain brooding form of melody was driven by tech – board, keys, wires, dials, and a whole lot of the boy/ girl duo creating the music staring at what they needed to turn or press at the right time. It was good for what it was. Not front and centre for my taste, but really, I enjoyed them and so did the crowd, and what can you say against that?
There was a background overarching deep base feedback loop resonance that permeated for the entire set, continuous across time and linking the individual songs by virtue of this continuance. It varied in accordance to the songs, but it was a steady heartbeat feeding through the entire set.
This in itself created an ambiance and atmosphere in the way that steady, repetitive bass it wont to do. Beyond the regularity of this side of the coin, there was actually some decent diversity of tune on the other side of the coin. They were at what could be considered to be the start of the night, and being this time of year where the light from the sun stays on well into the night, they were playing in semi-twilight.
While perhaps best sampled drug-fucked at 2am in a smoke-filed basement somewhere, this twilight element was perhaps a good 2nd best experience of the mood with which to see them. I wouldn’t say that it was amazing, but it was certainly good. I’ve seen more inspired in the genre, but for what it’s worth, they were mostly after the witching hour, an advantage not given to these 2 surely fine people. I think that with more inebriation and a later hour it would have helped, but still, I think that if they were to play in town again, I’d give them a go.

Miracle Glass Company:

Vocal harmonies, energy, and seriously good 70s throwback fun


The next stop was over at Hoots, and the Miracle Glass Company, another chosen on the merits of under 60 seconds ‘they look the goods’ research.
Straight up, these were – for me – the best band of the night. I put in the caveat ‘for me,’ as it is important in context. I was there at the start with a number of people, and I was there at the end with one friend. The rest had looked, not much liked, and wandered off to await the next band upstairs. To double-down on this, another friend came up and asked us if they were good and worth staying for. We both enthusiastically gave the thumbs up, but he was off again after less than a minute of his own assessment.
This was a band that divided the crowd. Some – like most of the fuckers I knew – gave it a thumbs down. However, me and my dancing buddy absolutely, categorically, fucking loved them.
Hooting-and-a-hollerin’ loved them. Bedouin tribe rattle the tongue call out across the desert love them.
This was some stand up, take it for what it is throw-back classic 70s R-O-C-K rock! Parts reminded me of the Steve Millar Band, part West Coast American easy rock like the Eagles or some such, part Boz Scaggs, even (because of the beginning harmonies on one song) part Sandy Rogers.
Most songs we thought reminded us of something or other from the decade, it seemed.
The lead guitar was classic surfer dude rock, the base player classic stoner, greaser dude tight-shirt bounce, and the drummer decked in Bee Gees glory was giving it his all, and was good at it.

The most striking thing about them was that all of the 3 sung, either individually or in harmony. They engaged the crowd, they caused dancing and smiling and tapping on the shoulder to point and smile. Fuck they were fun. It was a shame that the nature of the music divided the crowd, but then again I suppose that this is a risk of music which is so unashamedly that which it is. For me, they were great. I’d bounce and smile and holler to them again any time.

The Dazed Digital Age

Heading upstairs from Hoots to Mad Hatters, we gained just the single decade, transforming from 70’s guitar-driven harmonising vocals 70’s rock, to synth-driven, low wave pulse driven prog-rock. Think less new romantics like Soft Cell, less Talking Heads in their bouncy synth moments, or any of the 80’s rap and hip-hop, and more Gary Newman or Peter Murphy and Bauhaus.
Again, there was a good crowd and a good mood for this one. The stated partner in crime from the night before had announced as from the first song that they were a fan. For me, it was an interesting one to try to pin down. And I also acknowledge here that there was a sidebar influence on my thinking herein. The keyboardist for Lional was the frontman here, still with the groove factor sunglasses on, but now with his own sunglass-bespectacled partners in crime on stage helping him out.

Throwback to the 80s this time. What they aimed to do, they did

The issue of conflict for me is that in Lional I think that his music brings something seriously good into the balance and the mix of the band. For me here, it was less a component part, more the unleashed main game. And once again for me, as opposed to healthy swathes of more appreciative crowd, this percentage growth affected the balance unfavourably.
To which, I know that this is unreasonable thing to say, they being two different band and outfits. This was very clearly an 80’s loving outfit that were good at replicating the feel of the area. I remember thinking that they should get a go on the soundtrack to the next series of Stranger Things, or that they would have happily grown up on the goodness movies like Short circuit or Weird Science, and would have fit beautifully into the genre.
It just wasn’t necessarily that inspiring to me. It was good, it was enjoyable, it was even authentic. But after a while it was a bit samey. In a 30-minute set, this is either a desired effect, or a problem. They are relatively newly formed however, so the answer to this will work itself out in the mix.
They also formed the end of the whole program and thus the XpoNorth event. Good kudos for them, and one appreciated by a good deal of the crowd. Not my thing, but I can appreciate being outnumbered in this, as well as the respect that they were afforded in this spot on the running list. They are what they are, as described above. If this is for you, then check it out.

And then…
After them, the lights went on, the bouncers stepped close into people’s personal space and politely but convincingly suggested that everyone would be happier to drink up and get out. I’m sure that there was a bunch of people hyped up and keen to move onto the next place.
I took the opportunity to remember the bed that I didn’t give enough time the night before, and headed off. 2 nights, 8 bands, and a lot of ‘I’m gonna keep them in mind should they ever come back.’
Mostly though I just went home full of new music and happy that such a thing as XpoNorth exists.
Until next year. I’ll do it right then, I shall once again promise myself…

Links to Facebook pages (except for E.C. Grant, who didn’t get that love from the XpoNorth page, and who I couldn’t confidently track down): [We did – Ed.]

The Dazed Digital Age
Miracle Glass Company
Ewan C. Grant


Part 1:

Xpo North and the joys of rapid fire music education


Part 2:

Xpo North and the joys of rapid fire music education – Wednesday 27/06/2018

Xpo North and the joys of rapid fire music education – Wednesday 27/06/2018

Reading Time: 10 minutes

Part 2 of 3 – Wednesday night

I have been lucky enough over the last few years to see some amazing bands for the 1st time because of XpoNorth, and it was always going to be the case this time out as well. In fact, the only band out of 8 of seen this year that I had already seen before was Lional, and the only reason I was going to see them again was that I just will see them, come what may, given the opportunity.
In saying this, as the separate ‘Intro/ overview’ review explains in slightly more detail, I found out about the event very late in the day, owing to what I think was a balance between poor advertising, and me being in a cave, apparently.
To try to counter this, I spent a frenzied, unfair and very off-the-cuff couple of hours trying to sample each of the 68(!) announced acts, by virtue of the links to their Facebook pages provided on the XpoNorth page, and hearing that which they wished to promote themselves by therein.
Some (the minority) didn’t have actual videos posted there, and I felt for the one on the XpoNorth page who’s link wasn’t actually a link, just the name ‘ewenc.grant’. I did actually see that act on the Thursday, but didn’t hear any correction of the name, so on the Thursday review that’s how it’s dubbed. If anyone wants to correct me here, please feel free to do so.
This process was unfair, but also just a guide, knowing that I’d also go to things by virtue of what others I was going with wanted anyway, which did eventuate.
More than anything, I had to approach this with a certain mind-set – a ‘sensibility’, for the Jane Austin oriented. I had to head into town with an open mind and just see what the next couple of nights would offer.
And so to start…

Megan Airlie:

(There was more of the band tucked around the corner also. And while they deserve exposure, it shouldn’t be ‘over-exposure’ like my phone did here – apologies. She does have a face, I swear)
One who did catch my ear straight away from the maybe not quite 60 seconds my extremely non-rigorous sampling research was Megan Airlie.
As an aside, one of the unknown things that such an event provides is the ability to see venues that you wouldn’t normally go to or associate with such activities as live music. The PentaHotel was such a place.
One of the bonuses of this was the discovery that they had a really nice outdoor courtyard space. Although this was somewhat countered by only having Bud Light on tap (everyone had drunk the other tap dry before having to succumb to the fate of Bud Light), it is still a nice thing to discover and keep up the sleeve.
Anyway, the short research I did made me think of someone crooning some lazy soft rolling blues in a 1930s Speak Easy, which was enough to pique the interest and get me there.
There was definitely some of this feel in the mix on the night, but the image that most strongly resonated was that of how the band were tapping into something that was, now they were showing me the links, quite cyclical, popping up through the decades. I thought of the speak easy, and then of the edge of MoTown with a Booker T groove but with an Otis Redding gravel in the voice. A friend leaned in and said it reminded them of Jeff Buckley, which actually was very fair comment, and something I wish I’d thought of.
All of these over the decades tap into a smooth, soulful goodness. The band behind Megan Airlie were understated but definitely made a good mark. Some with bare feet, or intense emotion on their face (that’s you, Mr Bass Guitar), or salt-shaker in hand to smoothly add to the rhythm, and with at least 3 of them harmonising well in the back-up vocals, they completed a good sound which centred naturally and rightly around the lead of Megan Airlie herself – guitar in hand, and voice that capped off the whole ensemble.
I liked the whole band and would definitely give them another go, but if I had to pull out one stand-out element it was her voice. Controlled, going from sullen moody to emotive and raw and raspy, she was seriously good.
It was also a good start to this whole XpoNorth thing, I thought, happily knowing that I’d had my last Bud Light in a long time (if all goes to plan), and that they were a band to look out for in the future.
Next step, Hoots.


The place was already packed by the time I got there, although obligingly people were standing a little back, offering space gladly pilfered front and centre.
I, like many living in Inverness I’m sure, had seen Tamzene a few times, yet for me it was a little while ago, and as a solo act. There were 4 on the stage in this incarnation, and the band behind her, back-up vocals included, definitely added a roundness and completeness to her presence and the whole performance.
In terms of the music, it was utterly intriguing to me, in a positive way, in that it slapped some of a well-worn musical prejudice out of me, smartly. For the thing was that her songs sounded like straight up and down, clear, bonafide Top-40 songs.
Her voice was of the quality, as was the mixing. More than that though was the sound, the feel, and looping and rhythms in the songs. I kept thinking that these would be good songs to use for some ad where they have the young and the beautiful selling a pair of shoes/ a watch or some clothes brand as a lifestyle choice. Maybe shot in black and white, or as though every day was in the golden light of the sun setting over the warm, embracing water in Spain.
The funny thing is, for all that, I really enjoyed the music. Seeing this stuff live, I understood some of the appeal to it. It was smooth, it was layered and patterned in the change-ups in the songs. It showed imminent skill and was fundamentally likeable. It was also astounding, as an aside, to not only see what would happily fit into the Top 40 live, but to see it in, and from what I understand, from Inverness.
I liked the band and in and of themselves, but also very much liked that they kicked me up the arse (if it was the soundtrack to an advertisement, the foot doing the kicking would have had either radiant, never worn before white or maybe gold trainers – possibly Adidas – adorning it). It pushed me past being dismissive, and showed me the skill and likability of it.
It still wouldn’t be my ‘go to’ music, but out of all the music over the 3 nights, I can see the marketability of this act as much as any. Good for them!

The Dunts:

The eclectic nature of the XpoNorth programme hits home when you wander from Tamzene straight to The Dunts, as we did. From the clean, light and relatively airy downstairs of Hoots we traipsed up the stairs of The Tooth & Claw.
It was a hot day anyway, and the heat held sway up there in this venue. I distinctly remember feeling the humidity starting to cling to me walking up the stairs, and by the time my waist was about level with the floor on the ascent, it was like being waist deep in water, the 2 levels of warmth and atmosphere being so distinct – head muggy, feet cool. I warned the partner in crime for this gig coming up behind me, but still wandered in.
We’d bought a beer downstairs for the glass over plastic factor as well as the chance to chat, wandering up when we heard them start. They were easy to hear but not as easy to see. The heat and the dark sheet walls and the smoke machine that someone was a little too over-excited about meant that for large patches the 4 on stage were more or less silhouettes in the mist.
That is all the ‘other stuff’ though. The music itself was pretty good. Not great, but absolutely toe-tapping worthiness. They were also the 1st band I saw that had people gleefully dancing to them, including me, so gotta give them this as well. However, out of all of the bands across the 2 days they were the one that myself and said partner in crime turned to comment a couple of times about what did seem quite clanging errors. Spots where they just, not to put too fine a point on it, fucked up. They played though them and kept their heads about it all, but they were there.
Saying that, I wouldn’t say that they had polish at the forefront of their minds in quite the same way as Tamzene directly before or Lional directly after them. They were a fun, raucous, raw, charged up, young band that needs a little polish, needs to define what they actually want to play, but do not need to find more fire in the belly. That they have down pat.
Above I mention about them potentially wanting to decide what style that they want to play. Maybe this isn’t a thing, maybe they’re bouncing around genres happily – the audience were. It did raise comment between us though. There were times at the start where I most thought of influences like the Fratellies, or even the White Stripes. In the middle they felt a little bouncier and pop-punkier (is that a word…), and for the last few songs, more standard rock/ hard rock/ pub rock angle.
They were hard to pin down in terms of style, they were a little unpolished, and they were obviously pouring buckets of sweat and trying their hardest in the upstairs heat. In among all that, there was something genuinely infectious about their playing and their energy.
They make me want to see them again.
In a year or so, when they’ve got some of the kinks ironed out.


(The heat went up, the jacket came off. The music remained consistently good.)
I’ve talked before about Lional, and shall again, with any luck. Fuck they’re good. I liked The Dunts, for sure, but going straight from there to The Phoenix, this element of polish resonated.
As it turned out, the dining room of The Phoenix is a surprisingly good size and feel for a venue for live music. If they were wondering about it ever, they should consider it as an option. It’s popularity – i.e. Lional’s – did seem to surprise the venue, though.
I was glad that there was a small break to get there and to get a beer, and I really felt for the 2 poor, hardworking bastards behind the bar that were understaffed and working their arses off. It was a wait for the beer, but they do good beers there. Apologies, but I had to segue to applaud these 2 for their obvious hard work in lubricating the crowd for the gig to come. To the bar staff!!
Lional have brought out a new album recently, and a couple of weeks ago did the launch at The Ironworks. They’ve got a video clip for the new single, they have a strong, deep back catalogue now to work with, and they have a guy on the keyboards wearing super cool sunglasses inside at night. Oh, and a shout-out to the bass player’s shirt n’all. Class.
Upon reflection, if you say them walking down the street, they had such different fashion to each other you wouldn’t connect them, but luckily this says nothing about the tightness of the playing, which again struck me ‘bout them.
The style is mostly 80s through 90s Brit-Pop influence, but it’s hard to leave the categorisation there. They bring something else to it, which I know is there, and like, but unfortunately cannot pin down, no matter how many times I see them. By this stage I’m inclined to say that this final ingredient is their own originality. Being a band from inverness people may baulk at that, but the more I think about it, the more it seems valid.
Either way, they are a tight, sharp outfit. Even now I can recall the clarity of the guitar riffs, the build-up of the songs, the clean pause, slow-down and build up again. That, or the drive of other songs – punchy, sharp, infectious. It’s quality rock, with some pop, some syth on keyboard, and some noticeable groove support with the drums and bass.
If anyone actually reads these, then there sick of me saying this by now. Just go and see them, ya bastards.

Emme Woods:

By this time of the night I really was sated. Had happily got my fill of good music, and partner in crime for the night was working early in the morning and agitating to go home. The vibe in town was good though, the weather warm, and the part of the personality that sees the reason and logic of going home happy was unceremoniously brushed aside by the part of the brain saying ‘fuck it, let it roll on!’ Convincing them that half hour more wasn’t going to do them any harm, and that it was my buy and their choice for good beers at MacGregors, lack of sense happily held sway, and we got to see Emme Woods.
Again this nudging was in part due to the instinct over science research conducted, wherein it took under 10 seconds to decide Emme Woods had a good voice, moody and dark and smooth, and a good sound.
The confession here is that by this time of the night, the ‘feeling the vibe’ had definitely taken over any thoughts of ‘let’s really stop and analyse this for the purposes of a review’. This was added to by the packed bar, open back glass windows letting in the cooling air and also letting the crowd spill out into the beer garden. People, beer and good times were flowing by now, and the band were underpinning this atmosphere admirably.
The voice was not only dark and smooth, but also demonstrably a powerful roar when she wanted. The band was good. They played the songs and the crowd, and all were happy with them being in control, if control was a word for the atmosphere generated there and then.
They resonated in a few ways for me. Her voice reminded me at times of Patti Smith, and at others of just plain Smith (e.g. songs like ‘Baby it’s you’).
There was a distinctly 70s angle going on, but then among that there was a trombone doing rhythm. A fucking trombone! And it was good! It worked! It added fun, style and dancability (again potentially making up a word here sorry, by in keeping with the feel of this stage of the night, it feels somehow legitimate to do so).
From all this, though, what they gave, to give it anthropomorphised form, mostly resonated in the big smile of the guitar player in the hat, which was matched by the crowd all around. They were solid, tight, but creating a vibe of late warm night looseness in the place. A smart scheduling move to put them on there and then, and they carried it off with aplomb.

And then:
After they finished, it was definitely late for a school night, and most knew, even if they had only planned to go out the one night, that they’d had enough fun that they’d be lured back out again the next night.
That’s in a separate Thursday review, hopefully easily clickable from where you’re reading this.

Links to Facebook pages:
Megan Airlie
The Dunts
Emme Woods


Part one can be found here:

Xpo North and the joys of rapid fire music education

Part three can be found here:

XpoNorth and the joys of rapid fire music education – Part 3. 28/06/18

Xpo North and the joys of rapid fire music education

Reading Time: 4 minutes

Part 1 of 3 – Introduction and Overview

Tall and talented bass player for Lional, stylish shirt indicative of the unheard of Invernesian heatwave XpoNorth added to the joy of

XpoNorth, as advertised, is a creative arts festival. The main heart of the event is centred at Eden Court, where over a couple of work days, traditionally – perhaps I can legitimately use that word now that it has been has been going for a few years now in Inverness – there are a range of amazing sounding talks and events to whet the appetite of the culture inquisitive and hungry.
This is coupled by evening entertainment which stands out in the calendar as 2 amazing, diverse nights of multiple, beautiful, rapid fire music opportunity, coming from 7-8 venues across the heart of Inverness, all with 3-4 bands on both nights.
The basic premise is that each band get 30 minutes to showcase themselves and capture the audience. For live music fans, what this equates to is a veritable smorgasbord of tapas bar hopping goodness, sampling a wide range of experience in a small space and time.
And with this opportunity comes people, out and about on school nights, pumped and primed and keen as mustard at the feast on offer.

Emma Woods late on Wednesday, MacGregors. Beer, music and crowd all flowing fine

In relation to the main event/ day events at Eden Court, I unfortunately cannot comment, really, apart from what I read and what others told me.
I’ve been keen for this part and it sounds amazing, however for the last few years I have either been at work for these sessions, they have been booked out, or I have in some other way stuffed up and not got to this part of the event.
I have to say on this point though – either in my defence or as a gentle prod to the organisers – that this year it felt that the event was criminally under-advertised. I remember seeing a poster in where the upcoming gigs and events are placed in the front alcove of a music shop on Church Street a couple of months ago, and thinking I really want to do this properly this year. About Tuesday this week a friend asked if I was all set for it starting the next night, and knew that from this beginning, I had to get my skates on.
I’m sure some of the fault is in me living in a cave, but the numbers and feel on the street, as well as direct questioning to many all speaks, I think, to the legitimacy and generality of my experience here. A great product, under-advertised, and undersold.
While this is a shame, there was still an amazing amount on offer that I did get to see and want to thank the organisers for – thanks! – and it will be that which will form the reviews of the event.

The 2 reviews I’ll be writing here on XpoNorth will be on the music programme part of the overall event. I’ve split it into the 2 as a natural split exists, i.e. Wednesday and Thursday nights. Also because of the volume of content. I saw 5 bands on the Wednesday night and 3 on the Thursday, so might as well carve them up in this way.
One aspect of this event to consider, before launching into the band reviews, is that the nature of both the event and us as humans, as social creatures, necessarily played their parts in the choices of the bands that I managed to see.
My Thursday night serves up a couple of examples. I wished to see Carma early on, however relied on my friend saying it was at the Ivy Bar, instead of looking at the running sheet to confirm it was at the PentaHotel. My bad.
I also wanted to see Ida Kudo, who a friend said afterwards was amazing and their stand out – a fact that was both heartening and shit me off a bit, as I said no to that, as a friend preferred to go to MacGregors instead as they wanted a tasty beer just then. At least the beer was tasty.


Beyond the haze, The Dunts, top of The Tooth & Claw

As a connected aside, there’s a part of me that wonders about doing this ‘better’ next year – for I will get back to this great event next year.
Better may turn out to be selfish – decide on the bands I want to see, and go ahead and listen to them, instead of either being pulled to other people’s options, or pulled at times from listening and into conversations, which also happened a good deal.
I know that this will provide a better focus on the music, but also hesitate as it’ll influence the experience in other ways as well. As I say, as collective, social beings, there is something lost in this choice of path also.
I have no real answer here to this thought, only a ponderance that perhaps the beauty of the event lies, ultimately, as demonstrated in the music programme, in the choice we were lucky enough to have on offer.
And over to the reviews,  which will appear in tomorrow’s edition bastardwordiness.thenettle.scot,  just a simple click away… 

Part 2:

Xpo North and the joys of rapid fire music education – Wednesday 27/06/2018

Part 3:

XpoNorth and the joys of rapid fire music education – Part 3. 28/06/18