The third, and potentially final, installment of the Aye Tunes Vs Peenko gigs was again relocated, this time to The Classic Grand. With lollipops being handed out and lots of good folk about the night started well.
First up was Luke Joyce, playing under his guise of I Build Collapsible Mountains. With just an acoustic guitar and his voice he set about filling the deceptively big venue and managed to grab the crowd’s attention with his soul searching laments.
Unfortunately upstairs had another gig on, and Goat Fuck Suicide – or whoever was playing – insisted on bellowing their annoyance with mum and dad through the roof, something Luke commented on jokingly by saying they were like kids upstairs and he knew what they were up to (killing grandma?).
All credit to Luke, though, as he delivered a set made up of tracks from his debut album, A Month Of Lost Memories, with Rails shining through, and this blogger soon realising that IBCM has a barrage of fantastic tracks that I’ve yet to become familiar with.
Next up were Come On Gang! who early on asked people to move forward, and got the party atmosphere going as the venue started to fill up.
This is a band that clearly have a great time on stage, with all three members happy to have a joke with the crowd, giving chat, and making it hard not to get involved.
The audience responded as the group – arranged in a reverse V, with singer Sarah on the drums at the back, stoking my love for cowbells – looked to outdo the noise of upstairs.
I’m a big fan of this trio – much more after this gig – and the angular indie on display marked them as a lighthouse in the sea of pop out there.
Their set was fanastic to watch; the latter part in particular brought some major highlights, with Fortune Favours The Brave recieving the best response of the night (and rightly so), and first single Wheels storming, despite their guitarist telling the crowd (for a laugh) the bass player couldn’t remember it.
This was a band I’d been looking forward to seeing for a while and they surpassed expectations, make sure you vote for them to play at the Edinburgh Hogmanay show! Vote here
The crowd had swollen when The Seventeenth Century joined us and they were not to be disappointed. This is a band I’ve seen quite a lot, but this was definitely the best I’ve seen them.
Opening track Roses In The Park was impressive as the vocal harmonies took turns with violin and trumpet (possibly a cornet) to drive the song forward.
Frontman Mark Farmer is an enticing character to watch; looking dapper, with shirt and suspenders (for his trousers – not of the leg kind before you get excited) and violin in tow, he poured his heart out while taking time to get stuck into his violin like you would expect a 70’s guitarist to do – basically kicking the shit out of it.
The only bad thing about this set was that it was so short, though they still fitted in favourites Young Frances and The Gregorian Calender.
The Seventeenth Century have two great singers in their ranks and it is the harmonies that really set them part for me. Closing track, Notes, highlighted this like a flare in the sky and was affecting in every way.
The end sequence saw them really go for it and produce a massive, almost heavy, finish with guitarist, Ryan Joseph Burns, and their frontman digging deep in their lungs.
The folk scene in Scotland right now is perhaps the most congested of all musical areas, but The Seventeenth Century have a very distinct take on it that moves away from the pop aspects of many and delivers an emotive, hard hitting display that is clearly brilliant.
Another great AvP night, where the fireworks inside could only be matched by the cracks exchanged by bams outside nextdoor’s Mcdonalds, and the bangs I got offered from young ladies cause I parked my car in a dodgy part of town.
Photo connivingly stolen from The Tidal Wave Of Indifference