Emma Pollock / RM Hubbert @ Paisley Arts Centre, 15 Oct

Paisley's Spree Festival has consistently delivered memorable, intimate performances, and tonight RM Hubbert and Emma Pollock continue this tradition in the cosy surrounds of the town's Arts Centre. Two of Scottish music's most influential artists and central figures in the history of Chemikal Underground prove that songs exploring loss and sorrow can provide an oddly uplifting experience.

Whilst Hubby's flamenco-infused strums and complex plucking often examine the darker side of human existence, with the exception of the heart-fluttering flirtation of KAS, similarly Pollock's work can explore death and conflict, despite a more soaring, polished pop delivery. Both artists boast that rare ability to enrapture an audience musically and with their between-song repartee, with the compact, theatre-like setting the perfect space to show this. RM Hubbert as always can induce tears and laughter within the same breath, and he's on top form tonight; quick-witted and unashamedly emotionally exposed throughout.

Pollock joins him for Monster in the Pack before a solo version of his Kathryn Joseph collaboration The Dog, with Hubby joking that the pair were aiming to write the most depressing song ever. It's fragile and delicate, awash with vulnerability and heartbreak. Again Hubby balances this with humour, before closing with Car Song, co-written with Aidan Moffat, letting us know that the pair's forthcoming album is on track for a spring release.

Emma Pollock has always crafted intelligent, shimmering pop songs since co-fronting The Delgados, and this evening sees a first full band show for a while. She's assembled brother-in-law Jamie Savage, Graeme Smillie of Arab Strap's latest incarnation and Pronto Mama's Martin Johnston on drums for full effect. The set draws largely from her 2016 SAY Award-shortlisted third solo album, In Search of Harperfield, with the exception of early singles Paper and Glue, and Red Orange Green. Like much of Hubby's work, Harperfield deals mostly with the past and centres around parental loss. Pollock's strengths are her intricate melodies and pure, crystalline vocal delivery, and in a live performance setting these always deliver.

Clemency is an understated yet threatening tale of familial secrets whilst Intermission is beauty from sorrow, written as Pollock came to terms with parental illness, mortality and the changing roles of parent and child. With Harperfield released nearly two years ago, Pollock hints at new material in the pipeline. Songs like Parks and Recreation, In the Company of the Damned and Vacant Stare demonstrate just how adept she is at penning a perfect pop tune, whilst Dark Skies and closer Old Ghosts show a more stripped-back, reflective side to her work.

Tonight she's as charming as ever and it feels as though the lack of distance between performer and crowd aids her openness, with stories, chat and audience interaction flowing freely. A few restarts to retune and some forgotten lyrics don't matter, but rather add to the house-gig atmosphere, endearing Pollock to her audience even more.