Skip to main content

The Go! Team

Mansfield Traquair, Edinburgh
3 stars
When The Go! Team’s hyperactive chanteuse and cheerleader-in-chief Ninja uses a red feather boa as a skipping rope at the end of the band’s set, it’s a perfect Go! Team moment. The Brighton based troupe’s debut album, Thunder, Lightning, Strike was a hyperactive cut n’ paste sugar-rush of playground anthems acquired from Charlie Brown cartoons and low attention-span party tunes thrown into its kitchen-sink mix.

In the flesh, the band that began life in guitarist Ian Parton’s bedroom, where Thunder, Lightning, Strike, was recorded, look like they’ve stepped straight out of an estuary-styled version of Sesame Street. Multi-cultural, multi-instrumentalist and multi-tasking, the 6-piece are a retro sound-clash riot of 70s grooves and kindergarten show tunes.

It’s a fine climax to this Smirnoff sponsored evening of Electric Cabaret, a series of shows aiming to mix and match a live light entertainment experience with weekend clubbing. With the venue formerly known as Café Graffiti somewhat self-consciously kitted out with peacock-feathered showgirls and a stage dressed up with an ornate off-kilter picture frame, we’re treated to Hula-Hooping, a human beatbox, Can-Can girls, a lady who makes sparks fly with an angle-grinder and a man who steps into a giant balloon.

What’s missing here beyond novelty value is any sense of intimacy. Where Edinburgh’s own cabaret emporiums, from Silencio to the ACME Workers Club and the just-founded Neue Liebe club, understand that small is beautiful, the atmosphere here falls somewhere between a Fresher’s ball and the Edinburgh Fringe.

The Go! Team thrive on such a mish-mash, taking on the venue’s muddy acoustics to preview new material even more over-excited than the old stuff, and ideal music to skip to, feather boas at the ready.

The Herald, April 23rd 2007

ends

Comments

Popular posts from this blog

The Maids

Dundee Rep

Two sisters sit in glass cases either side of the stage at the start of Eve Jamieson's production of Jean Genet's nasty little study of warped aspiration and abuse of power. Bathed in red light, the women look like artefacts in some cheap thrill waxworks horror-show, or else exhibits in a human zoo. Either way, they are both trapped, immortalised in a freak-show possibly of their own making.

Once the sisters come to life and drape themselves in the sumptuous bedroom of their absent mistress, they raid her bulging wardrobe to try on otherwise untouchable glad-rags and jewellery. As they do, the grotesque parody of the high-life they aspire to turns uglier by the second. When the Mistress returns, as played with daring abandon by Emily Winter as a glamour-chasing narcissist who gets her kicks from drooling over the criminal classes, you can't really blame the sisters for their fantasy of killing her.

Slabs of sound slice the air to punctuate each scene of Mart…

Phoebe Waller-Bridge - Fleabag

Phoebe Waller-Bridge is a busy woman. The thirty-two year old actress who burst onto our TV screens as writer and star of Fleabag, the tragi-comic sort of sit-com about a supposedly independent woman on the verge is currently overseeing Killing Eve, her new TV drama which she's written for BBC America. As an actress, Waller-Bridge is also filming a big screen project which we can't talk about, but which has already been outed as being part of the ongoing Star Wars franchise.

These are both pretty good reasons why Waller-Bridge won't be appearing in the brief Edinburgh Festival Fringe revival of the original stage play of Fleabag, when it opens next week at the Underbelly, where it was first unleashed to the world in 2013. In her place, Maddie Rice will take on the role of the potty-mouthed anti-heroine after touring Vickie Jones' production for Waller-Bridge and Jones' DryWrite company in association with Soho Theatre. This doesn't mean Waller-Bridge has turned…

Futureproof 2017

Street Level Photoworks, Glasgow until February 4th 2018
Four stars

Now in its ninth year, Futureproof's showcase of recent graduate photographers from seven Scottish art schools and universities returns to its spiritual home at Street Level, with nineteen artists embracing photo essays, abstraction and constructed narratives. It is Karlyn Marshall's Willies, Beuys and Me that grabs you first. Tucked in a corner, this depiction of a woman impersonating iconic artist Joseph Beuys says much about gender stereotyping, and recalls Manfred Karge's play, Man to Man, in which a German woman took on her dead husband's identity.

The personal and the political converge throughout. Ben Soedera's Foreign Sands contrasts natural resources and the constructed world. Gareth and Gavin Bragdon's The Bragdon Brothers moves onto the carnivalesque streets of Edinburgh. Kieran Delaney's Moments also looks at the apparently ordinary. Matthew Buick goes further afield, as tourists…