Coffee-Table Notes

Four stars   Niki King sports flowing white robes offset against a starlit sky in publicity shots for the Edinburgh sired singer’s sixth album. If this image suggests some kind of celestial awakening, the record’s title too hints of personal and spiritual transcendence across a self produced set of songs of strength and heartbreak.   Set to a lush backdrop provided by a band with roots in Edinburgh’s criminally unsung after-hours jazz-soul scenes that King emerged from in the 1990s, the album’s twelve cuts show off the light and shade of love, life and everything that goes with it. This makes for an eminently grown up collection that is by turns reflective, mournful and redemptive.   The opening ‘Soul Route’ is a horn-led statement of intent featuring a core of keyboardist Steven Christie, guitarist Aki Remally, double bassist Paul Gilbody and drummer Stuart Brown. ‘Dreamer’ charts the travails of attempting to navigate around a fickle music business in a song that becomes an anthem fo

Traverse Theatre, Edinburgh Four stars War, memorial and the mythology of both explode out of Al Seed’s new solo show, which stopped off for a brief tour of duty at the Manipulate festival of visual theatre this weekend following its premiere in 2023. Ostensibly a reimagining of Theseus and the Minotaur story, in which the dashing prince Theseus seeks to slay the half-man, half-bull minotaur and end its killing spree, over an intense fifty minutes, Seed takes this ancient Greek yarn hostage to make it his own.   It begins with Seed standing on top of the platform that makes up the bulk of Kai Fischer’s battle scarred set, with Seed looking like a war game figurine on guard in an Action Man lookout tower. Coming to life twitching like an automaton on a loop programmed to kill, as all men of war are, Seed climbs down from his pedestal to take on all comers and rid the world of the enemy at the door.  Without a word spoken, the electronic clatter of Guy Veale’s score gives Seed’s trip int

The robots are coming in this year’s Manipulate festival of animation, puppetry and visual theatre. As AI technology increasingly takes over the world in a way that goes beyond sci-fi paranoia, Manipulate’s constituency of international performance makers are already playing with the possibilities of hi-tech.   Puppetry, animation and object-based theatre are arguably halfway there already in terms of incorporating non-human players into the mix. Out of this comes an ongoing series of pas de deux between man (and woman) and machine. So it goes with several shows in the 2024 Manipulate programme.    Ruins sees the Megahertz company in association with Feral fuse choreography and digital technology inside a video cube to explore the potential for news ways of being beyond ecological disaster.    On film, Junk Head is a stop-motion sci-fi action thriller set in a distant futurescape in which mankind has forgotten how to procreate, while a human created species has rebelled and developed i

Burns&Beyond Assembly Rooms, Edinburgh Four stars   There can’t be many serious contemporary classical composers who end their live shows with a classic pop sing-along anthem, This is exactly what Anna Meredith and band did, however, for their Burns&Beyond festival show of maximalist machine age euphoria delivered with enough Tiggerish ebullience to sound like a Radio 3 rave.   With Meredith currently working on a new album, this one-off show was clearly a treat for both her and tuba player Hanna Mbuya, cellist Maddie Cutter, Sam Wilson on drums and Jack Ross on guitar. Sporting matching jumpsuits that make them look like they’ve stepped out of a 1970s TV ad for minty sweet, Pacers, the quintet launch themselves into an opening rally of the first three tracks of Meredith’s second album, Fibs, released in 2019. Over the next hour, the relentless zing never lets up for a second.   Sawbones is bashed out with Meredith pounding drums like her life depended on it; Inhale Exhale is d

Traverse Theatre, Edinburgh  Four stars Once upon a time, there were three little girls who never dreamt for a minute they could change the world. By applying their passions to everyday endeavours, however, they end up making a difference, finding their voices en route. So it goes for Alice, Jade and Chloe in Hannah Lavery’s play for young people, in which assorted rites of passage and resistance puts the trio at the centre of grassroots activism.   All lined up against the brightly coloured wonders of designer Amy Jane Cook’s Paolozzi style adventure playground set, the trio take it in turns to tell their stories. As their criss-crossing narratives connect, they find common ground and strength in numbers enough to stand up for themselves and their assorted causes.   For Alice it’s being able to run races as an equal. Jade has to square up to racist bullying in the classroom. And Chloe has a small thing of an environmental crisis to deal with. Together, it seems, they can make everythi

Assembly Rooms, Edinburgh Four stars   ‘Be warned’, goes the disclaimer for one of the Burns&Beyond festival’s flagship shows this year. ‘This will not be your normal Burns Night or gig!’ Callum Easter’s post modern variety show that follows pretty much sums up the ‘Beyond’ bit of the festival name.    With Easter clad in white and carrying what turns out to be a joke book, he sets himself up as mine host and top turn of a night that culminates in a killer set of accordion driven Caledonian blues, electronic No Wave primitivism and off kilter David Lynch themes in waiting. With the action beamed out on a screen behind him, Easter opens with a solo number before his band The Roulettes join him on twin drums to conjure up something resembling Suicide playing a ceilidh.    The haggis is piped in by Fraser Fifield accompanied by a whip wielding Mistress Inka, aka Hettie Noir, vocalist with Edinburgh supergroup, Scorpio Leisure. There are no cheesy showbiz duets forthcoming, alas, as Mi

Royal Highland Centre, Edinburgh Four stars   The battle looks far from won as audiences enter this epic staging of Shakespeare’s Scottish play. Walking through a battle-scarred landscape of burnt out cars and the debris of war, the sounds of jet planes and helicopters swoop overhead. Set designer Frankie Bradshaw’s evocative installation is quite a curtain raiser for what follows in the more formal interior where the show takes place.   There are the Witches for starters. T he three young women who  greet Ralph Fiennes’ camouflage clad Macbeth as he and Banquo are finishing their tour of duty appear like some New Age ragamuffin girl gang. As they promise Macbeth the world, the die is cast on the catastrophic power grab to come. Played by Lucy Mangan, Danielle Fiamanya and Lola Shalam, it is they who pull the strings here. In many ways in Simon Godwin’s production of Emily Burns’ adaptation, it is their play.   The royal clique the trio manipulate into self destruction are a back stabb