Edinburgh - Regenesis of a Scene

Scotland's Burning' is an increasingly used idiom in the London-centric music press. While the NME desperately seeks to uncover the next albion-inspired pop punk quartet, the spotlight has transferred to the plethora of prodigious bands deriving from every nook and cranny of Scotland's sweeping landscape.

The success of the all-conquering Franz Ferdinand has led to unprecedented levels of exposure for artists like Bricolage, Shitdisco and Mother & The Addicts; each of whom offer a unique live experience that effortlessly captures the essence of their home city - Glasgow.

So where does Edinburgh fit into this rock 'n' roll renaissance? As a city that prides itself on developing the arts there's been a perplexing disdain towards the promotion of live music. But deep in the rumbling underbelly of the old town a new music revolution is beginning to unfold.

Central to this resurgence is Cabaret Voltaire - a venue which provides new bands with opportunities to play to more conversant audiences whilst granting them a greater creative input into the organising of gigs.

Owner Sarah David believes the "Franz Ferdinand effect" is playing a major part in the rejuvenation of Edinburgh's music scene. She says: "There are a lot more bands aware of being able to do something in Edinburgh now. It's definitely a lot brighter than it used to be".

With an ethos of 'breaking boundaries in music', Cabaret Voltaire has become pivotal in the city's musical invigoration. "We are completely open-minded about music," she enthuses, "We book anyone we like, regardless of their commercial appeal. Ideally, we want recording studios in there for bands; we aim to make it a multi-functional venue."

The adoption of a more adventurous music policy has enhanced the reputation of Cabaret Voltaire, with gig/club nights like I Fly Spitfires and Spies in the Wires regularly reaching capacity.

"The whole vibe of the place has changed completely" says Sarah, "People come down because they know a certain standard of music will be on. The reputation is spreading rapidly and big agents now want [their bands] to play here."

This inventiveness has been mirrored throughout the city, with nights like Fast at The Bongo Club, Festival 24 at Studio 24 and Toffs Can't Dance at the Caves coupling aspiring bands with the boisterous atmosphere of a club night.

Ewan Santer, vocalist for local band Thee Comrades and co-organiser of 'I Fly Spitfires', says: "These nights are making a huge difference because people know they are coming to see great bands from their local scene and are guaranteed a great night out."

Citing a lack of cohesion as a principle factor in the city's prior decline, Ewan is convinced the musical community is now uniting towards the same goal. "We are getting more people involved at every level," he exclaims, "We have people going to gigs, promoters working together and venues helping their promoters."

Edinburgh is no longer content to linger in the shadow of Glasgow's music scene. The likes of Thee Comrades, Common Redstarts and The Very may not be lavished with the acclaim of their West coast counterparts but with a revitalised musical subculture it will undoubtedly follow.

As Ewan observes, "All it takes is for one Edinburgh band to get big then our scene will be one of the most vibrant and diverse in the UK". It may seem an outlandish statement but as the nation's music scene continues to burn it won't be long before the flames on the east coast spiral out of control.