Skip to main content

Club Life

 Five stars

Once upon a time, Fred Deakin was a shy kid who started playing records at teenage parties to try and make friends. Within a few years, as a student in Edinburgh, he was running some of the best clubs in town, and had the best posters to boot. And that was before he became a proper pop star as one half of electronic party people Lemon Jelly and a professor in design.

Most of this is in Club Life, Deakin’s very personal late night show and tell concerning his life manning the wheels of plastic fronting legendary 1980s and 1990s clubland concepts. These ranged from the nu jazz of Blue to the Easy Listening irony of Going Places by way of heroically named nights such as Thunderball, Devil Mountain, Impotent Fury, and self-styled worst club in the world, Misery.

These are all revived by way of assorted potted greatest hits selections, as Deakin takes us on a tour of Edinburgh nightlife from back in the day. Director Sita Pieraccini transforms Deakin’s testimonies into a participatory paradise that takes the democracy of the dancefloor as its starting point and invites everyone to join in if they want to.

Beyond its infectious euphoria, Deakin’s show doesn’t shy away from some of his own personal travails, nor some of the unpleasantness that could descend on a good night out in the days before everyone got loved up.
 

With Deakin aided by performers Abbie Kane, Ben Standish, Hana Nadira, Lily Smith and Price Jones, and set to Cameron Gleave’s video wall of iconic images, the result is part autobiography, part pop culture history and part participatory fun palace worth stepping out to. 

Summerhall until 27th August (Thu-Sun), 9pm.


The List, August 2023

Ends

 

Comments

Popular posts from this blog

Ron Butlin - The Sound of My Voice

When Ron Butlin saw a man who’d just asked him the time throw himself under a train on the Paris Metro, it was a turning point in how his 1987 novel, The Sound Of My Voice, would turn out. Twenty years on, Butlin’s tale of suburban family man Morris Magellan’s existential crisis and his subsequent slide into alcoholism is regarded as a lost classic. Prime material, then, for the very intimate stage adaptation which opens in the Citizens Theatre’s tiny Stalls Studio tonight. “I had this friend in London who was an alcoholic,” Butlin recalls. “He would go off to work in the civil service in the morning looking absolutely immaculate. Then at night we’d meet, and he’s get mega-blootered, then go home and continue drinking and end up in a really bad state. I remember staying over one night, and he’d emerge from his room looking immaculate again. There was this huge contrast between what was going on outside and what was going on inside.” We’re sitting in a café on Edinburgh’s south sid

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) 1. THE STONE ROSES    Don’t Stop ( Silvertone   ORE   1989) The trip didn’t quite start here for what sounds like Waterfall played backwards on The Stone Roses’ era-defining eponymous debut album, but it sounds

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug