Caledonia is a warm rush of Scottish air. theSpace @ Surgeons’ Hall suits it. The room feels close. The music fills it. Elsa Jean McTaggart is mesmerising. She sings with poise. She moves between violin and pipes with ease. It’s beautiful to hear and to watch. Gary Lister’s vocals blend well. His playing gives the songs weight and swing. You feel the ceilidh spirit in the room. Old tunes meet fresh arrangements. Stories stitch it all together. Footage of the islands deepens the mood. You can almost smell the peat smoke.

This is folk as living culture, not museum piece. The set is tight. The pace is kind. You leave lighter, and a little prouder of Scotland’s songbook. Forty-five minutes pass in a blink.

Reviewed by Jacqueline Sharp

More information and tickets here

Hebridean Fire is a show that carries you away to the Outer Hebrides. Elsa Jean McTaggart shines brightly on stage with a presence that is both warm and commanding. Her voice is strong and expressive, and she moves easily between guitar, mandolin, fiddle, melodeon and whistle. Each instrument seems like an extension of her. Gary Lister adds depth and rhythm on piano, accordion synth, bass and stomp. Together they create music that is rich, layered and full of life.

The audience are treated to reels, jigs, Gaelic songs and tunes that stretch back through the generations. There are also songs born of more recent times. The mix of past and present feels seamless. Stories about their cottage on the Isle of Lewis add to the atmosphere, grounding the music in real lives and places. Images projected on screen show the landscapes that shaped these sounds. It all combines to create a powerful sense of place.

The show is informal and intimate, but it is also polished. Elsa commands attention through her voice and gestures. It is difficult to take your eyes off her. She can lift the energy of the room with a fast reel, or hush it with a haunting Gaelic melody. Gary balances her perfectly, steady and playful, a partner in both music and life. The effect is joyful and deeply moving.

This is a reminder of roots, of choices and of the power of tradition carried forward. The duo offer a glimpse of a living culture, one that feels immediate and personal. At times it feels like being in a village hall on Lewis, at other times it feels ready for a Las Vegas stage. Elsa has the presence of a one-of-a-kind superstar, and this show makes that clear.

Reviewed by Jacqueline Sharp

More information and ticketshere

A Complete Unknown is a compelling, layered biopic that delves into the early years of Bob Dylan’s rise in the folk music scene, capturing the raw essence of his artistic transformation. The film follows Dylan from his arrival in New York in the early 1960s, his immersion into the Greenwich Village folk scene, and his ascent as a cultural icon. It meticulously chronicles his relationships with key figures such as Joan Baez, Pete Seeger, Woody Guthrie, and Johnny Cash, while exploring his evolution from folk acoustic performer to the electric trailblazer who shattered conventions at the Newport Folk Festival. I like others appreciated the film’s focus on a formative chapter in Dylan’s life, rather than following the typical cradle-to-the-grave biopic format

Plot Summary

The film opens with Dylan (played with uncanny authenticity byTimothée Chalamet) stepping off a Greyhound bus into the cold, chaotic streets of New York. Drawn by the myth of Woody Guthrie, Dylan quickly becomes a fixture in folk clubs, soaking up influences and developing his distinct voice. His rapid ascent is marked by pivotal encounters: his artistic and romantic entanglement with Joan Baez, his deep admiration for Guthrie, and his friendships with legends like Pete Seeger and Johnny Cash.

The narrative builds towards the infamous 1965 Newport Folk Festival, where Dylan, armed with an electric guitar, defies purists and sparks outrage among the folk establishment. His performance was nothing short of seismic. Opening with an electrified, blistering rendition ofMaggie’s Farm, followed byLike a Rolling Stone, Dylan’s transition into amplified rock shocked the audience. While some fans embraced the bold shift, others jeered and booed, feeling betrayed by his departure from traditional folk. Folk purists saw it as sacrilege, and critical reactions ranged from awe to anger. Pete Seeger himself was rumored to have been so upset that he wanted to cut the power, though accounts vary on whether this is legend or reality. Regardless, the performance was a watershed moment that redefined the boundaries of folk music and cemented Dylan’s reputation as an artist who refused to be confined by expectations.

This event also marked a turning point for Newport itself, accelerating its evolution from a folk purist haven into a more expansive musical showcase, embracing broader influences in the years that followed.

Acting and Performances

The cast is phenomenal, breathing life into their real-life counterparts.Timothée Chalamet embodies Dylan’s elusive charisma, delivering a performance that captures his enigmatic blend of arrogance, vulnerability, and genius. His ability to channel Dylan’s mannerisms and speech patterns makes for an uncannily convincing portrayal.

Joan Baez, played by Monica Barbaro is a standout. She conveys both the deep affection and lingering frustration that defined her relationship with Dylan. Baez herself has remarked that Dylan is “kind of an asshole,” and the film does not shy away from this aspect of his personality. Their tumultuous relationship is depicted with nuance, culminating in Baez’s heartbreak and her subsequent writing ofDiamonds and Rust, a song laced with both admiration and regret. Baez sang of Dylan —“You, who are so good with words / And at keeping things vague” and that feels particularly poignant and true.

Pete Seeger, played byEdward Norton, andWoody Guthrie (portrayed by Scoot McNairy) serve as Dylan’s ideological compass, whileJohnny Cash (played by Boyd Holbrook), his pen pal and confidant, provides warmth and camaraderie in a world where Dylan often seems isolated. The interactions between these titans of music are electric, giving the film its heartbeat.

Themes and Cultural Impact

The film does an excellent job of positioning Dylan not just as a musician but as a poet and cultural force. The central theme of artistic evolution is explored through Dylan’s constant pushing of boundaries, challenging the status quo, and redefining himself. His songs—woven throughout the film—underscore his genius as a lyricist.

The film also delves into themes of authenticity, rebellion, and the price of fame. Dylan’s journey is not just about his music but also about his struggle to stay true to himself amidst external pressures and expectations.

Historical Context

The 1960s was a tumultuous decade marked by significant cultural and political upheaval. The folk music revival, which sought to revive traditional American music, became intertwined with social and political movements, particularly the civil rights movement. Dylan’s involvement in these causes, including his performances at civil rights rallies and participation in the 1963 March on Washington, is highlighted in the film, reinforcing his status as more than just a musician.

Dylan’s evolution from folk purist to rock pioneer mirrored broader changes in the musical landscape of the 1960s. His controversial shift to electric music at the 1965 Newport Folk Festival symbolized the broader generational and cultural shifts taking place.

Final Thoughts

A Complete Unknown is a rich, evocative portrait of an artist who refused to be boxed in. It does justice to the complexity of Dylan’s character—his brilliance, his contradictions, and his relentless pursuit of something beyond labels. One character describes him as a contrarian and another as an“arsehole”. He certainly was portrayed as sometimes selfish to the point of cruelty. The film also serves as a love letter to the folk revival era, bringing to life not just Dylan, but Baez, Seeger, Guthrie, and Cash in all their glory. To give just one example, Joan Baez’sHouse of the Rising Sun – simply spellbinding.

I absolutely loved the music in this film which were weaved seamlessly into the narrative. Every song was a reminder of why Dylan remains one of the greatest songwriters of all time. The electrified Newport performance was a thrill to watch, and the tension it caused within the folk community only added to its historical weight. As the credits rolled, the audience stayed in their seats, completely absorbed in his words and melodies. It was a testament to the enduring power of his music.

By Pat Harrington

★ ★ ★ ★ ★

309 words, 2 minutes read time.

Elsa Jean McTaggart and her husband Gary Lister have been a regular feature of the Edinburgh Fringe since 2011. Since then, they have built up a reputation for their interpretations of Scottish music. They always draw a crowd. This year, they bring three shows to the Fringe. These include a singalongScots of the Pops,Caledonia and their storming sell-out showHebridean Fire. Your reviewer chose to seeHebridean Fire.

Elsa opens the show with a stirring fiddle piece that quickly has her audience clapping in time with the rhythm. Gary plays the keyboard. A third musician, Lydia, plays the beatbox. They perform in front of a massive screen. The screen projects pictures and video of the places we visit on our musical tour.

Elsa gives a running commentary on her choice of pieces. She intersperses the music with explanations of their connection to the places we are visiting in music. We learn how Elsa and Gary came to live on Lewis during the year the world stood still. It was 2020. We also learn the secret of Harris tweed.

Elsa shows her musical versatility on the fiddle, mandolin, tin whistle, and a small guitar. All are conveniently at hand to her on her ‘instrument tree’. On our musical tour, we experience rip-roaring ceilidh music. We also have an interview with a local Lewis character. Additionally, we hear a hauntingly beautiful Gàidhlig version of the twenty-third psalm. Finally, we listen to some of her own compositions written during the Covid lockdown.

Elsa and Gary have found the perfect mix. They know how to draw, interact with and please a crowd, but they don’t rest on their laurels. They’re not afraid to experiment with new material. They’ll be a feature of the Fringe for a few years yet, and deservedly so.

Reviewed by David Kerr

Till August 2024. Ticketshere

⭐⭐⭐⭐

The Scottish folk singer Elsa Jean McTaggart is a regular fixture at the Edinburgh Fringe each year. In this presentation, she showcases the work of great female folk singers from these islands and from North America. In this tribute, she makes no attempt to imitate the singers she honours. Instead, she puts her own stamp on these wonderful songs.

From Emmylou Harris’sTulsa Queen, we tour around Scotland with an interpretation of her own aunt Janet Russell’s song,Hill of Ardmornand Elsa Jean’s own mum’s favourite song,How can I keep from Singing?  as popularised by Jean Redpath. We shoot across to Ireland for a tearjerking version of Mary Black’sSong for Ireland and then cross back to Wales for a spirited rendition of Mary Hopkin’sThose Were the Days; audience participation was encouraged. England was represented by the poignant Sandy Denny song,Who Knows Where Time Goes?

Crossing the Atlantic, the legendary Joan Baez is recognised with a version ofThe Night they Drove Old Dixie Down and Joni Mitchell with her signature song,Big Yellow Taxi.

On the back of this enjoyable tribute concert, Elsa Jean McTaggart has released a tribute CD, also entitledGreat Women of Folk. Copies are available in the vestibule on the way out. I bought one.

Reviewed by David Kerr

Venue53theSpace @ Surgeons Hall – Fleming Theatre

• 17:40
•  Aug 20, 22, 24, 26
• 50 minutes
• Suitability: 0+
• Country: United Kingdom – Scotland
• Group: Elsa Jean McTaggart

Irene Rose

Venue 53 The Space @ Surgeons’ Hall Theatre 2

August 3^rd to 25^th

Launching straight into the mournful Scottish ballad,Arise Mary Hamilton; with nothing more than an acoustic guitar to accompany her; Miss Irenie Rose takes her audience through the canon of the songs the American singer and political activist Joan Baez has made her own over the last five decades.

In her good-humoured style, she recounts how Baez’s politics and pacifism has permeated all her work. She was more political than her old beau Bob Dylan and made much more use of some of his songs. Bob was paranoid when he was on drugs; Baez never did drugs.

The venue is intimate, so Miss Irenie Rose makes it seem that she is talking and singing just for you. All the old standards are there;Blowin’ in the wind, the hauntingDonna Donna and the darkly humorousFarewell Angelina.

The audience joined in a rousing chorus of hope in the time-honoured civil rights standard,We Shall Overcome and went into ecstasy when her sister, Elsa-Jean McTaggart, joined Miss Irenie Rose on stage to finish the show withThe Night They Drove Old Dixie Down.  Joan Baez is in her seventies now; although she is still touring.  Fans who want to remember her at the height of her powers will enjoy this superb, respectful tribute from a young, talented Scottish folk singer.

Reviewed by David Kerr

#EdFringe2018 #EdFringe #IntoTheUnknown

The Edinburgh Playhouse

18-22 Greenside Place
Edinburgh
EH1 3AA

Running time: 2 hours

Best known for accompanying Paul Simon on his hugely successful 1986 albumGraceland, this nine-man South African Zulu choir held their adoring fans in raptures with a moving range of haunting a capella harmonies expressing universal values and experiences.

As you would expect, one of the songs –Long Walk to Freedom – was a tribute to the late ANC leader Nelson Mandela. However, most of the songs are related to the mundane things of everyday life; to encourage a young man taking cold feet before his wedding to go ahead with it and another extolling the virtues of mothers-in-law.

One or two cultural differences did show up for the Edinburgh audience. The songLovely Rain may go down well on the parched South African veldt and in the townships, but in Edinburgh? One thing Edinburgh has no shortage of in most years is rain. In fact a house less than a mile away was hit by lightning in a heavy thunderstorm the previous evening.

The choir members interact well with the crowd, gently taking the rise out of one-another and, just before the break, with the audience too. What’s astonishing is that the performers bring out this extraordinary range of harmonisation without any accompanying musical instruments. It’s all done with the human voice alone. Once you see and hear this you’ll never forget it!

***** Five Stars

Reviewed by David Kerr

http://www.eif.co.uk/2014/ladysmith

EDINBURGH FRINGE 2012

The kilted duo pose for the cameras.

The Sorries

Venue 40, Quaker Meeting House, Victoria Terrace

Lovers of the music of the legendary Scottish folk band, The Corries, will not be disappointed by this tribute act.  This well-matched duo, Martin Philip and Douglas Kay, run through a programme of Corries cover songs, traditional folk songs, original material, topical observations and witty banter.  At one part they even attempt to outdo one-another with virtuoso guitar riffs – duelling acoustic guitars.  Throw in an electric mandolin and a pair of bodhrans and these lads will demonstrate their crowd-pleasing talents.

It’s impossible to just sit still and listen to The Sorries. It will be all you can do to stop yourself taking to the floor and dancing a jig around the hall.  Don’t do it; just clap along, join the lads and the rest of the audience in belting out the odd chorus and have a real good time just like everyone else in the hall.

***** Five Stars

David Kerr

www.thesorries.co.uk

EDINBURGH FRINGE 2012

This Land
The Story of Woody Guthrie

Interplay

Zoo Southside

Woody Guthrie, the legendary American folk singer, was one of the principal musical figures of the early to middle part of the last century. His folk songs caught the mood of his generation with his tales of the great depression, the Oklahoma dustbowls, the war on Hitler’s Germany and the plight of workers and the downtrodden sectors of American society. He went on to influence Bob Dylan, Pete Seeger Phil Ochs and Bruce Springstein. Billy Bragg has recorded a British version of This Land, his best known song.

Punctuated with rumbustious renditions of some of Guthrie’s best known songs, This Land journeys through the highs and lows of his life; from his early days in the dustbowls of Oklahoma to his hospital bed where, by the time he met the young Bob Dylan, he was laid up with the final stages of Huntingdon’s Chorea.

Based on Guthrie’s own memoirs, the story is told by seven different Woodies, each one representing a different phase of his life. This inspirational play demonstrates the man’s dedication in the face of personal tragedy and debilitating life-limiting illness. It’s a perfect play from a perfect cast.

***** Five Stars

David Kerr

http://www.interplayleeds.co.uk/thisland/

Some of the Woodies serenade the audience leaving the theatre; So long, it’s been good to know you…

Revamped 1 by Tim Bragg

This revamped compilation of songs comes from a number of previous albums that are no longer available, although listeners are rewarded with one new song,TheFighting’sOver, and a pleasant slow cover of the Thin Lizzy classic,TheBoysareBackinTown.

Tim Bragg offers a number of memorable melodies and catchy guitar riffs, notably in the opening song,RiseAboveItand inOfDoubtsandGod. This album explores love and loss, whether it’s looking for an elusive girl in a white dress or a dad’s pride in his son. MyBoy contrasts completely with Harry Chapin’s estranged son in the bittersweetTheCat’sintheCradle.  This dad takes time out for walks by the river with his boy, perfect walks where he can take pride that his boy is growing into a man.

Not every song has to talk about love, however.CommonCourage suggests something else is needed.

The re-release ofFieldsofEngland is timely, given the Con-Dem government’s recently announced scheme to wipe out planning laws in order to allow a property developer’s free-for-all. This would make an excellent soundtrack for a YouTube video protested at George Osborne’s scheme to bulldoze the fields of England into oblivion.

This album is permeated by a sense of spirituality, reminiscent of Van Morrison’sAvalon Sunset, especially in the track,HolySpiritwith its commendation of quiet meditation.  The catchyHeavenonEarthsuggests that you can find heaven on earth, working the land. InOfDoubtsandGod though, Bragg declares with frank honesty that, ‘I’ve got doubts about everything’ and that ‘I don’t know anything about anything’.  This questioning attitude is the mark of true faith in which the Way is a Journey rather than ‘The Answer’ to everything. Like much of Bragg’s work, this song provokes deeper thought that is not dispelled by its infectious melody.

The production values on this album are high, given that it is self-published, but it’s a shame that no lyrics were included on the CD booklet. That’s only a minor criticism.  It’s superb. Let’s hope that we won’t have to wait too long forRevamped2.

The striking cover of Revamped 1.

Revamped 1 is available for download onAmazon.co.uk for £7.49 or £0.89 per track or fromITunesfor £7.99 or £0.79 per track. Find out more from tahbragg[at]googlemail.com if you want to buy a physical CD.

David Kerr