Tag Archives: RM Hubbert

RM Hubbert, HQFU at The Hug and Pint, 17/12/17

The small basement venue is packed as tonight’s support takes to the stage, Sarah J Stanley is an all round aficionado of the creative arts with music, filmmaking and art at her helm.

Stanley’s most recent musical endeavor, HQFU delivers a punchy and melodic brand of electronica that is impossible not to dance along to.

Her voice is both haunting and powerful, bolstered by slick beats, the resulting sound is a full and synth-laden set delivered by an undeniably talented musician.

There’s a palpable buzz in the Hug and Pint’s basement venue this evening, and I can sense that this is a room full of devoted “Hubby” fans.

As RM Hubbert takes to the stage, I swear you could hear a pin drop.

“I’m Santa’s edgier brother, I’m what happens when you’re bad,” he remarks, in the spirit of all things festive.

The room falls silent again as he begins to play; the notes of his flamenco guitar dance menacingly around the sinister lyrics of ‘I Can Hold You Back’; a track originally recorded with Kathryn Williams, tonight is rendered emotively by Hubbert.

Aware that the night has got off to a somewhat musically sombre start, Hubbert introduces his next song “A happy one,” called ‘Buckstacy’ a love letter to Buckfast and Ecstasy.

The driving beat which pounds throughout ‘Buckstacy’ is – I imagine – comparable to the palpitations one may experience during such a Glasgow-themed cocktail of caffeinated tonic wine and empathogenic drugs.

It is however a happy song, and there’s a lot of warm and smiling faces around the room.

Happiness is the elephant in the room tonight, as most here will be familiar with Hubbert’s well-documented struggles with anxiety and depression.

He takes a bit of time out in the middle of tonight’s set to talk about how music has been both a cause and a cure for his problems with his mental health.

He states that thanks to music, he’s come to the realisation that connecting with people is really important to him, and that playing live gigs allows him a platform to connect with new people, and in turn, feel emotionally well.

This perhaps is very evident in the collaborative nature of Hubbert’s records, and although he is on stage alone tonight, he seems content in a crowded room full of friends.

There are audible sighs around the room as he introduces ‘For Joe’ as if people are preparing for the heartbreak he is about to bestow on them.

It’s a gorgeous song that ebbs and flows gently, and regardless of your knowledge of the context in which it was written; delivers a steely punch in the pit of your stomach as the tempo peaks at the end.

As we move to the end of his set, he’s joined by HQFU for a song, and it’s clear from their on-stage rapport, that Hubbert is at the very top of his game when he is sharing his love of music with other like-minded people.

The intimacy of the venue, coupled with Hubbert’s self-deprecating humor, which permeates both his lyrics and his short, sardonic musings between songs, is why tonight’s show is one of those perfect couplings of time and place.

His bad Santa act isn’t fooling anyone, because by doors, there’s nothing but joy around.

Words: Amanda Johnston

Strange Behaviours at Tolbooth, 25-26/11/16

Tolbooth’s Strange Behaviours has two-day festival returns to Stirling for a third triumphant year.

With 18 acts to choose from, the event is a musical smorgasbord with a genre to please even the pickiest of music fans.

Living up to the events name, this year’s chosen aesthetics are just that – strange; broken and decorated mannequins are placed around the venue – some splashed with paint and one covered entirely in multi-coloured feathers.

A projector had also been set up in the Attic Stage showing scenes from Charlie Brown as well as footage of cakes being iced on a loop and other random background imagery.

Stock Manager kick off proceedings in the Attic Stage – having the most daunting slot on the bill being responsible for setting the tone for the rest of the night.

And they didn’t disappoint, they’re just a proper good rock band – complete with the behaviour (no pun intended) to match the sound.

Whether it be rocking out on the floor, knee slides as they jam together or knocking over parts of their set (sometimes accidently –but we’ll pretend it’s all part of their plan), the rock band persona oozes out of them.

Their music is complete with heavy riffs drops that are worthy of a good head-bang.

A new element has been added to the acts playing in the venue’s Gallery Stage this year – a versus battle but not like you know it.
First to put it to the test on Friday night is Chrissy Barnacle and December ’91.

Barnacle provides us with brutally honest tales of her own love life, filling the gaps between songs with quirky anecdotes and the history behind her tracks.

The personality that poured from her makes her entirely relatable – with a very 21st century view of love and relationships it is almost empowering to hear someone talk so openly about it and put it so eloquently to beautiful acoustic music.

Plus, anyone who can use a Tina Turner reference – “what’s love got to do with it?” – so effortlessly in her set is a hero in my eyes.

Once Barnacle had finished playing a few tracks, the audience had to shuffle through to the adjoining room – where Craig Ferrie aka December ’91 is set up with his guitar. Admitting that he’s not as good with the chat in between songs, he simply lets his music do the talking.

His songs run through a similar theme to Barnacle’s, with love and relationships being the key topic to both acts’ music.

Be Charlotte is up next on the Auditorium Stage – making the wee town of Stirling the last stop on her recent tour around South Asia.

A vision of the 90s in her sheer fluorescent top, oversized glasses and topknot bun, she showcases brand new unnamed material as well as live set staples such as ‘Machines That Breathe’.

Her flawless vocals flow effortlessly from rapping to singing without any backing music – stunning her audience into silence.

Don’t be fooled by her petite appearance, her vocals can encapsulate an entire room and she’s not afraid to call you out for talking through her performance either!

The band I have been looking forward to seeing on the Friday night are The Pale Kids and their set is filled with banter, with frontman Josh declaring “that’s close enough” whilst tuning his guitar for their performance.

Their angsty lyrics and heavy distorted guitars engulf the intimate room; The Pale Kids are definitely a band made for a big stage, it’s impossible not to want mosh along to their music – you should come out of their gig with a headache.

A good headache, like getting brain freeze from eating ice cream.

Closing Friday night’s event is critically renowned guitarist (and occasional singer) RM Hubbert.

The Auditorium Stage becomes a calm haven with Hubby up on the stage sat on a chair with just his guitar and the audience mirror his set up by taking a seat on the floor to enjoy his performance as he captures their imagination with his heartfelt and soulful lyricism.

Never afraid to touch on dark taboo topics like suicide, the sometimes melancholic music contrasts with his personality as he chats openly and honestly with his audience between tracks therefore stopping his performance from getting too heavy – it is a Friday night after all.

Eugene Twist kicks off Saturday night on the Auditorium Stage, bringing his jazzy alt-rock to Stirling.

Twist is regularly compared to the likes of Bob Dylan for his vocal talent (I must admit, his appearance is slightly Dylan-esque as well), however he’s definitely a musician in his own right as he packs his songs with sophisticated lyrics and smooth melodies.

He treats his audience to a special stripped down version of ‘Halloween Drama Queen’ as well as new material to be featured on his upcoming album due in January.

Saturday night sees another versus set take place in the Gallery Stage, this time round it is C R P N T R and The Narcissist Cookbook.

At first look, you’d maybe be confused as to why these two acts had been paired together, but after a few tracks, it’s clear to see that they share a common theme.

As well as both being Stirling locals, their music shows them both to be lyrical wordsmiths.

If you squint a little and ignore the Scottish accent, you could mistake The Narcissist Cookbook for Ed Sheeran; either way, he’s definitely got the same level of talent.

At times, he resembled a one-man-band alternating between guitar and tambourine, whilst using the loop pedal to create a vocal backing track.

Although I can’t empathise with his feelings of distain towards coffee (portrayed through track ‘Sugar In My Coffee’), I have to admit I did find myself singing along to it days after the gig; he just makes damn good catchy music.

Moving through to the next room to watch C R P N T R’s (aka. Owen Sutcliffe) counter-performance, we are greeted by Sutcliffe and his companion donning a walrus mask.

An entirely bizarre set up, but Sutcliffe choses not to be restricted by his stage set up and brings his performance into the crowd as he energetically stomps around the room whilst professing about conundrums surrounding Tesco chicken Caesar wraps.

Sutcliffe creates an entirely immersive performance showing he won’t be kept back by boundaries – both literally and creatively.

Alt-folk musician and visual artist Sarah J. Stanley – playing under alias HQFU – brings the party vibes to the Attic Stage on Saturday night, bringing an end to the acts playing in the intimate stage at the top of the Tolbooth.

Stanley fuses her alt-folk roots with electro pop to create hazy, grungy dance music that’s perfect for a Saturday slot, a home-grown Alice Glass meets Jamie XX – Stanley is definitely one to look up if you like your electronic synth-heavy music.

The Tolbooth never fails to highlight the best Scotland has to offer and they do it best with their Strange Behaviours festival.

If you don’t leave after the two nights with a list of some new favourite artists then you haven’t taken full advantage of the great acts on offer to you.

After three successful years, Strange Behaviours doesn’t show any signs of slowing.

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Words: Laura Imrie

One’s to Watch: Strange Behaviours 2016

After the roaring success of the previous two years, Tolbooth’s Strange Behaviours festival makes a welcome return to Stirling for a third year.

This mini-festival celebrating the best Scotish music has to offer, spans two nights and three different stages with an array of genres to suit anybody’s taste.

Here’s a little preview of what this festival has to offer and who you should be fitting into your schedule for the two nights!

Be Charlotte

Dundonian Be Charlotte is known for her innovatio; an award-winning lady of many talents, not only does she have the flawless vocals to compliment her electronic indie pop sound but she defies stereotypes by rapping and beatboxing too.

The Pale Kids

A four-piece from North Ayrshire – their sound is easily compared to such indie legends of the 2000s such as The Strokes and Arctic Monkeys. The Pale Kids make this genre their own with their Scottish wailing alongside distorted rocking guitars and coupled with angsty honest lyrics.

RM Hubbert

Topping the bill for Friday night, RM Hubbert has been a part of the Glaswegian music scene since the 90s, playing under various guises but now rides solo and manages to create chills with just his guitar for company. Although mostly instrumental, when Hubby does use his voice it’s utterly enchanting.


Playing under the alias HQFU, Sarah J Stanley’s set will be a sensation for eyes and ears as her electronic-trance music is often paired with psychedelic lighting and visuals. Both her musical style and appearance creates the sense of a Scottish Alice Glass.
You won’t need to hit the local clubs on Saturday night to get into the party vibe.

The Cosmic Dead

Describing themselves as a “psychonautal cosmodelic buckfaustian quartet” definitely reflects the music of The Cosmic Dead as, like their apt description, none of it seems to make sense but somehow it works. They push the boundaries of music with their trippy space rock sound and epic saga-length tracks. Most musicians give you an insight into their mind but with this band, you’ll be taken to a completely different planet.

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With a line-up like this (along with many, many more acts), the event’s promise of having “music you know you like and music you never knew you loved” will certainly be met.

Words: Laura Imrie

RM Hubbert – Telling the Trees [Chemikal Underground]

RM Hubbert’s fourth album gives further evidence as to why he is one of Scotland’s best-loved and increasingly vital artists.

Telling the Trees sees Hubbert return to Chemikal’s Paul Savage for production duties, with whom he worked closely on 2013’s Breaks & Bone and 2012’s SAY award-winning Thirteen Lost and Found.

The latter was entirely collaborative and saw Hubby write and reconnect with old friends, including Aidan Moffat and Alex Kapranos, reputedly crafting songs organically within six-hour writing sessions to powerful effect.

In contrast, Telling the Trees is born of entirely fresh connections.

Hubbert created initial ideas specifically for each artist after a period of intense binge listening and the resulting tracks were fleshed out over the internet, foregoing physical interaction.

It is a sign of Hubbert’s genius that his raw response to each of the artists has provided each of them with a canvas upon which to create some of their best work.

The album traverses Hubbert’s previous balancing act of subtlety and virtuosity, in both musical and lyrical content – and every collaborator, to their credit, succeeds in emphasising varying nuances within this framework.

Rising literary star, Anneliese Mackintosh’s lyrics in ‘The Dinosaur Where We Fell in Love’ are an apt introduction to the temporal fluidity in Hubbert’s contemporary approach to flamenco and classical guitar, which simultaneously drives you to pick up the nearest guitar and never touch one again.

The more production-heavy tracks with Anneke Kampman, Helen Marnie and Sarah J Stanley give the album a rejuvenating nudge in all the right places, creating some of Trees’ most inventive moments; also, ‘Self Portrait in a Convex Mirror’ might just be the best song name of the year so far.

Instrumental, ‘KAS’, is a triumph of expression and astounding achievement of symbiosis with Aby Vuilliamy’s viola, which she uses to channel emotions laid entirely bare.

Possibly the most chill-inducing moments on Trees include Kathryn Joseph and Martha Ffion.

Somehow, every collaborator has hit well above the mark, however ‘The Dog’ especially suggests a paring worthy of future endeavours; emotive guitar and Joseph’s visceral lyrics conjure a truly ethereal listening experience.

History will certainly be kind to RM Hubbert and Telling the Trees adds new branches to a discography firmly rooted in the upper echelons of Scottish music.

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Words: Andy Gregory

Fields of Green Song Writers Circle with Rachel Sermanni, Jo Mango, The Pictish Trail, RM Hubbert, Louis Abbott at Platform, 21/1/16

Easterhouse has a reputation as being a grim place, dogged by urban deprivation and lacking culture, however on Friday night within the stark modern walls of Platform five vibrant Scottish talents bathe this part of the city in the brilliant light of musical wonder.

“The Fields of Green” is a collaboration of folk musicians brought together by Jo Mango as part of Creative Carbon Scotland’s study of the carbon footprint of touring musicians and music festivals.

The result is a five track EP, Wrack Lines, released on the Olive Grove, in which Louis Abbott, Rachel Sermanni, RM Hubbert and The Pictish Trail have all written a track with Mango exploring the subject of touring, music and the environment.

The gig kicks off with Admiral Fallow’s Louis Abbott playing an acoustic version of ‘Building as Foreign’ from the bands recent Tiny Rewards album.

Beautifully picked out on guitar and sung in his usual rich Scottish tone it sets the packed and attentive audience up for what clearly is to be a special night.

After or before each track the artist explains the meaning of the song and a bit about how it was written.

Abbott discloses that the track paid homage to ‘Subbuteo’, from debut album Boots Met My Face, a song about childhood and returning home.

RM Hubbert keeps the intimate feeling going with a rendition of the darkly melancholy ‘Bolt’, from his Breaks and Bones album.

An incredibly gifted guitarist he strums and drums on his classically strung flamenco instrument producing a flawless depth, which encapsulates the room.

Next up is The Pictish Trail; my first time seeing him, this is a guy you want at your parties!

Hugely engaging with a hefty sprinkling of talent thrown in for good measure, he keeps the audience on their toes with quick witted one liners and stories of life on the island of Eigg.

None of this detracts from the quality of his song writing and he introduces himself with the delicate ‘Lighthouse’ in which he quietly picks and strums his way to a wonderful crescendo of an ending.

Jo Mango, who has been compeering the show, then delights us with a new song ‘Pale Fire’, which as she explains is the colour of the flames when you burn your poetry.

Backing her charmingly innocent voice with piano she reaches for quivering falsettos leaving the audience in a stunned pin dropping silence.

Last and certainly not least, the as usual barefooted, Rachel Sermanni delights all with ‘Ferryman’, from her 2015 release Tied To The Moon. Perpetually, enigmatic she beautifully strums a mandolin that is almost lost in the background of the haunting melody of her voice.

Mango then combines in turn with the other artists to perform the tracks from the Wrack Lines EP (£5 to buy with all profits to Creative Carbon Scotland).

Each song is brilliantly composed and in the tradition of folk music telling a story, be it about touring as a musician or damage to the environment.

With Abbott on guitar and Mango on piano ‘Loneliness and Rhythm’ uses off rhythm time signatures to convey the off kilter nature of touring.

Hubbert is accompanied Mango’s faultless vocal with slow broken guitar, which he stalls to dramatic effect before picking and drumming his way along on ‘Sustain’.

The Pictish Trail then has the room in raptures of laughter with ‘Believe Me, I Know’ with lyrics telling of hitching lifts in the back of a car to get to gigs before playing to paltry audiences and earning only enough for the petrol money home.

The serious moral being is it worth the damage to the environment to allow a few fans to hear your art?

Mango then sings ‘The Sky Exploded’, wondrous and tender with a soft repeating riff, the narrative is to do your own small things to be better every day despite the major catastrophes happening around us.

The highlight of the EP and the night follows, with Sermanni and Mango deliciously entwining their vocals with achingly gorgeous whimsy on ‘Bitter Fruit’; two exceptional Scottish talents combining to remind us of the rich vein of form modern Scottish folk can mine from.

After a short break the evening gallops on with the audience drinking in another round of individual songs from the artists; each one a highlight in its own right to dedicate more words to them would stretch this review to bursting point!

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Words: Peter Dorrington

Wickerman (Saturday), 25/7/15

Saturday got underway in earnest with RM Hubbert on the main stage; I arrive, a little late, to him announcing: “Radio One won’t play pop songs about depression…”

He describes ‘Bolt’ as a more upbeat number (facetiously described as his attempt to get mainstream radio plays), but it is followed by what, in his own words, is a sad song.

He dedicates it to his late father-in-law who he reveals had a major influence on his own life, relating that loss to the loss that the festival has been enduring this year.

It’s a beautiful sentiment, one reflected by Hubbert’s sensitive and gentle mastery of the fret-board, and only reaffirms why Hubbert, a previous SAY award winner, is such a gift to the Scottish music scene.

The set ends with ‘Car Song’, where Hubbert is normally accompanied by Aidan Moffat (who he guesses is still in bed); what I find surprising is how vocally similar the two are – as when he sings Moffat’s part, it really is uncanny.

witheredhand04Withered Hand is an artist who I have not seen live in some time – in fact it was just before he released his first album, Good News, in 2008 that I was engrossed by his live performance.

It was, therefore, with much excitement that I made my way towards the Scooter tent, only to find he was already half-way through his second song (it turned out that all the acts for Saturday had been brought forward 15 minutes to allow for the Wickerman Burning at midnight – making all our schedules incorrect).

Third song in he plays ‘New Dawn’, an imposing and up-tempo number that begins to stir the crowd.

Wearing a trucker cap, with a Black Sabbath T-shirt, it’s clear Withered Hand has gone through a bit of a change since last seeing him.

Brimming with confidence and heading a tight, five-piece band the new dynamic has introduced greater complexity and ambition from his older writing.

A good example of this is ‘Love in the time of Ecstasy’, where the slow, solo build up gradually builds to glorious cacophony integrating the plethora of sound that the five can produce.

It feels like a different song in this context, an upbeat gospel-inspired song that bares some resemblance to The Eels live version of ‘Climbing to the Moon’.

After a huge response from a now full Scooter tent, we are introduced to a newer track, ‘Horseshoe’, followed by original break-through hit, ‘Religious Songs’ (dedicated to all the Pagans on site).

The song order alone shows how far Withered Hand has come, his stagecraft is considered and routinely accessible.

This sometimes seems to feel almost at odds with the original awkward, theological and sexually obsessed roots of the material – lines such as “I beat myself off when I sleep on your Futon,” are now sung like proud anthems of personal revelation by a devout group of fans; in short it all works wonderfully.

Mere moments from the Scooter tent, Emma Pollock takes the stage in the Phoenix tent – 15 minutes early of course.

She admits that this was a bit of a homecoming as she had lived in Castle Douglas for six years and completed her sixth year of school at Kirkcudbright Academy.

The surrounds are somewhat distant from her spiraling, sun-drenched Californian sound, and despite being in a dark tent, the weather seems to be obliging, bestowing some golden shafts through the open spaces of the tent.

The stand out track in the set is ‘Red Orange Green’, which she plays shortly after introducing her new backing drummer.

Generating excitement on the Summerisle stage, Neneh Cherry seems ready to capitalise on the improved weather conditions.

Her Saturday evening starts with some poetry, as she floats onto the stage, immaculately presented, easily winning the award for best shoes on show.

She decides not to reflect the clement weather, plunging straight into ‘Blank Project’, a dark, moody track, seemingly inspired by elements of contemporary German sound and production, typical of her new approach to music.

It’s hard to fault, her movements are perfectly timed to the bass-driven percussive elements and it immediately sends a signal to the crowd – this will not be an exercise in 90s synth pop nostalgia; quite right.

Despite thoughtfully enjoying Neneh Cherry’s set – it felt as though we had been denied some upbeat, sunny festival vibes.

jimmycliff07It was a fleeting concern as next up on the main stage is Jimmy Cliff.

Needing no introduction, and before he even arrives, the Summerilse stage is as busy as I have ever seen it.

The crowd eagerly anticipates Cliff’s arrival and he does not disappoint.

Soon into his set, ‘You Can Get It If You Really Want’ lifts the atmosphere and hordes of people are up and dancing – providing an upbeat festival sound, a sound which Cliff provides with suitable aplomb and the audience welcome with joyous revelry.

Hit after hit surge festival goers into action – not since Chic played two years ago have I witnessed such an optimism in a Wickerman crowd and by the time he finishes with the eternally enlivening ‘Wonderful World, Beautiful People’ spirits have well and truly been lifted.

Sharing a similar trajectory as WHITE, who entertained on the previous night, C Duncan is currently riding high on a wave of promise.

Unlike WHITE he has a lot of songs (a product of a very busy year) to draw upon; the twenty five year old Glaswegian is becoming a radio favourite and he fills the small Solus tent within minutes.

His magnetism is evidenced in opening song ‘Far’, a steady, lilting sound, accompanied by whistling harmonies that immediately reminds me of Sufjan Stevens early album Seven Swans.

In recording, the soloist has a multi-layered approach and live, in the tailored confines of the tent, he manages to reproduce it with a well-rehearsed group.

His sound is full of craft and intrigue, during ‘Here to There’ he manages to get a very excited (and lubricated) Blochestra to kick off with contagious dancing.

He finishes on a high, with the singular Garden’, particularly impressive.

C Duncan has a well-developed and distinctive sound – and undoubtedly shines as one of the big hits of this year’s Wickerman.

For the final act of the festival I decided to avoid main stage headliners Example and DJ Wire in favour of fierce Glasgow five-piece Outblinker in the Solus tent.

They, like Ubre Blanca the night before, deal exclusively in sustained, immersive instrumentals and I was excited to see them, as a few weeks earlier I had documented a live session with them and was eager to refamiliarise myself with their live output.

They do not disappoint – opening with ‘Pink, they demonstrate tight intricacy with assailing blasts.

They are a collective of some very talented musicians and they power though their (regrettably short) set goading the crowd’s excitement for the Wickerman Burning.

I feel however, as I felt to a certain extent with Ubre Blanca, that this type of sound doesn’t lend itself well to a short (30 minute) set in a festival environment.

Their music is long and enveloping, demanding attention – definitely one to check out in a dark, beer-stained venue!

The festival ends with the annual burning of the Wickerman; as always the firework display is outstanding, although unlike previous years the organisers had decided to leave the main stage empty forgoing acts like Public Service Broadcast and Utah Saints who had played that slot before.

Overall, the festival is a hit for me; I’ve always thought that the smaller tents of this festival had more fascination, showing a more esoteric breadth of talent than the main stage and with the addition of the Pheonix tent it felt like another step forward in this respect.

Problems with the scheduling and weaker Summerisle acts can be easily fixed for next year, and I am convinced that these issues are in part influenced by the trauma the organisers have had to undergo this year.

Next year the Wickerman will be entering its fifteenth year, and I believe that after this year of transition, the long-term improvements will be felt, and enjoyed by larger numbers than ever.

More Photos

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Words/Photos: Gordon Ballantyne

The East End Social presents RM Hubbert, Richard Dawson at Rutherglen Town Hall, 8/8/14

The venue for tonight’s East End Social show is Rutherglen Town Hall, an unsuspectingly good venue with a relatively cheap bar to its city centre counterparts, and there are signs of a good night when wandering in to catch Richard Dawson’s set.

Dawson makes a good noise playing his acoustic guitar through a amplifier, playing a fairly unique brand of folk, however it isn’t long before the set begins to verge on a racket, while he screams down the microphone and rattles his guitar so it sounded disorderly and a bit of a rabble.

He then began to sing acapella, the most tasteful of which was one (amazingly, I know) on the topic of syphilis, it’s safe to say Dawson is an acquired taste as many in the audience do appreciate his set.

When RM Hubbert comes on stage, the crowd listen intently to his every note, as well as every word in his hilarious, self-deprecating anecdotes between songs, an early highlight is a version of ‘The False Bride’, which he recorded with Alasdair Roberts for his SAY award winning album, Thirteen Lost & Found.

Hubbert’s melancholy, intricate guitar work contrasts amazingly with his often humorous, yet extremely dark stories between songs, he speaks about his battle with depression and the death of his parents, among other things.

‘Bolt’ from 2013’s Breaks & Bone is described as a “pop” song, somewhat ironically, however it is a fine example of Hubbert’s awe-inspiring guitar wizardry, while also being on point and quite funny lyrically: “he broke your heart, you broke his jaw; at least you should’ve done”.

He also brings out frequent collaborator, and East End Social festival organiser, Emma Pollock for a number, and later apologises for Aidan Moffat’s absence for the brilliant ‘Car Song’, due to him contracting a cold on a trip to Legoland.

RM Hubbert’s set is something special, and he has the crowd in the palm of his hand, pin-drop quiet during the melancholy, flamenco-influenced songs, and often in heaps of laughter between them, yet another successful night for the East End Social project.

More Photos

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Words: Neil Hayton
Photos: Vito Andreoni