Ballads of the Book @ Tramway
Roddy and Co. have plenty to be proud of.
| 10 Jun 2007
Support Your Local Poet. Thus ran the tag line to Idlewild's 2002 tour of their album, The Remote Part. It's testament to the conviction behind lead singer Roddy Woomble's words that, five years later, Ballads of the Book is doing exactly that. Under his guidance, Scottish writers have penned lyrics for homegrown musical acts, with the results released earlier this year by Chemikal Underground.
Today's event is the pinnacle of this endeavour. With his new band, Norman Blake (2/5) is first up on the Electric Stage. "We've got a couple of songs to play for you", he tells us. He isn't kidding either. After playing Girl, his contribution to the BOTB album, and one more song, it's a hasty goodbye from the ex-Teenage Fanclub singer. There's a feeling Norman was drafted to get the audience in nice and early. If so, then job done. Burnt Island (3/5) benefit from Norm's swift exit, as the bemused crowds gather around the Acoustic Stage. Thankfully, this relatively unknown duo, fronted by author Rodge Glass, offer something more substantial. Although missing their drummer, their soaring vocal harmonies, sparse acoustic guitar and beguiling banter are the perfect Sunday afternoon tonic.
On the Electric Stage, Foxface (3/5) give us our first rock-out of the day. Opening with Monster Seas, it's clear that this somewhat eccentric trio will no doubt be sharing a beer backstage with fellow dark country rockers, Sons and Daughters. With banjo and accordion accompaniment from drummer John Ferguson, who does indeed don a 'foxface', they manage to carve a nice little niche for themselves. A quick refuel at the upstairs café finds man-of-the-moment Roddy Woomble spinning some vinyl and rightfully soaking up the atmosphere. With such a distinctly Sunday afternoon vibe, it takes a brave man to try and instigate some crowd participation. Step forward Alasdair Roberts (3/5). His bittersweet folk, with a distinctly medieval feel, may not seem like the stuff of crowd singalongs, but on his penultimate offering, he does indeed succeed in getting the audience to harmonise with his hypnotising, finger-picking pathos.
Jesus on the Cross may have been one of BOTB's weakest offerings, but thankfully it appears to be a momentary blip on the new musical venture of Emma Pollock (4/5). Although the ghost of her former band, The Delgados, looms near, Emma does enough to prove that her nous for powerful pop didn't disappear with that band's dissolution. In fact, set-closer, The Optimist, could well rival even the best of her back-catalogue. Lolling from ramshackle folk to foot-stomping pop, King Creosote (4/5) effortlessly breaks whatever sleepy demeanour remains in the audience. The ridiculously infectious Twin Tub Twin plasters cheek-snapping smiles across the faces of all and sundry and suddenly people are tapping their feet, nodding their heads, even dancing. The most exhilarating moment of the day, hands down.
There's just enough time for a refreshment at the bar, where Aidan Moffat is DJing, before Sons and Daughters (4/5) emerge in sparkly shirts and dresses. Their contribution to the BOTB album was inspired and tonight they are nothing less than that. Dance Me In and Rama Lama do not disappoint and there's plenty of new material, which suggests the Glasgow quartet have lost none of their wide-eyed macabre. They end with the tentatively titled Girl Group Song, described as their pop offering. Aiming for greater exposure whilst losing none of their dark edginess? Let's hope so. Back to Aidan John Moffat (3/5), as he is billed here, who closes the Acoustic Stage with a short set. Armed only with his keyboard and his wit, he assures us that he has practiced for at least half-an-hour today. His best moment comes when he hypothesises about the relationship between Danny and Sandy from Grease. By his own admission, it's purely so he can rhyme Danny with fanny. Juvenile indeed, however, surely he's earned such privileges.
It's apt that Idlewild (2/5) should headline tonight, but unfortunate that they no longer seem to possess the spark and excitement they once had. Admittedly their new material is a slight return to form, whilst the old favourites occasionally impress, but their heavy reliance on big choruses and guitar-posing histrionics are difficult to swallow. A real pity for a great band, but in Ballads of the Book, Roddy and Co. have plenty to be proud of. [Darren Carle]
Today's event is the pinnacle of this endeavour. With his new band, Norman Blake (2/5) is first up on the Electric Stage. "We've got a couple of songs to play for you", he tells us. He isn't kidding either. After playing Girl, his contribution to the BOTB album, and one more song, it's a hasty goodbye from the ex-Teenage Fanclub singer. There's a feeling Norman was drafted to get the audience in nice and early. If so, then job done. Burnt Island (3/5) benefit from Norm's swift exit, as the bemused crowds gather around the Acoustic Stage. Thankfully, this relatively unknown duo, fronted by author Rodge Glass, offer something more substantial. Although missing their drummer, their soaring vocal harmonies, sparse acoustic guitar and beguiling banter are the perfect Sunday afternoon tonic.
On the Electric Stage, Foxface (3/5) give us our first rock-out of the day. Opening with Monster Seas, it's clear that this somewhat eccentric trio will no doubt be sharing a beer backstage with fellow dark country rockers, Sons and Daughters. With banjo and accordion accompaniment from drummer John Ferguson, who does indeed don a 'foxface', they manage to carve a nice little niche for themselves. A quick refuel at the upstairs café finds man-of-the-moment Roddy Woomble spinning some vinyl and rightfully soaking up the atmosphere. With such a distinctly Sunday afternoon vibe, it takes a brave man to try and instigate some crowd participation. Step forward Alasdair Roberts (3/5). His bittersweet folk, with a distinctly medieval feel, may not seem like the stuff of crowd singalongs, but on his penultimate offering, he does indeed succeed in getting the audience to harmonise with his hypnotising, finger-picking pathos.
Jesus on the Cross may have been one of BOTB's weakest offerings, but thankfully it appears to be a momentary blip on the new musical venture of Emma Pollock (4/5). Although the ghost of her former band, The Delgados, looms near, Emma does enough to prove that her nous for powerful pop didn't disappear with that band's dissolution. In fact, set-closer, The Optimist, could well rival even the best of her back-catalogue. Lolling from ramshackle folk to foot-stomping pop, King Creosote (4/5) effortlessly breaks whatever sleepy demeanour remains in the audience. The ridiculously infectious Twin Tub Twin plasters cheek-snapping smiles across the faces of all and sundry and suddenly people are tapping their feet, nodding their heads, even dancing. The most exhilarating moment of the day, hands down.
There's just enough time for a refreshment at the bar, where Aidan Moffat is DJing, before Sons and Daughters (4/5) emerge in sparkly shirts and dresses. Their contribution to the BOTB album was inspired and tonight they are nothing less than that. Dance Me In and Rama Lama do not disappoint and there's plenty of new material, which suggests the Glasgow quartet have lost none of their wide-eyed macabre. They end with the tentatively titled Girl Group Song, described as their pop offering. Aiming for greater exposure whilst losing none of their dark edginess? Let's hope so. Back to Aidan John Moffat (3/5), as he is billed here, who closes the Acoustic Stage with a short set. Armed only with his keyboard and his wit, he assures us that he has practiced for at least half-an-hour today. His best moment comes when he hypothesises about the relationship between Danny and Sandy from Grease. By his own admission, it's purely so he can rhyme Danny with fanny. Juvenile indeed, however, surely he's earned such privileges.
It's apt that Idlewild (2/5) should headline tonight, but unfortunate that they no longer seem to possess the spark and excitement they once had. Admittedly their new material is a slight return to form, whilst the old favourites occasionally impress, but their heavy reliance on big choruses and guitar-posing histrionics are difficult to swallow. A real pity for a great band, but in Ballads of the Book, Roddy and Co. have plenty to be proud of. [Darren Carle]
Ballads of the Book is available now on Chemikal Underground Records.
http://www.chemikal.co.uk