Bella Caledonia with Kathryn Joseph, Siobhan Wilson and Liz Lochhead
Ten years of writing and publishing. To celebrate I have abandoned politics for song and poetry. I’m amazed and delighted to be able to invite you to join Liz Lochhead, Siobhan Wilson and Kathryn Joseph to perform for you at the Counting House in Edinburgh on Wednesday 24th January.
We only have limited numbers available so buy now to avoid disappointment.
Perhaps most famous for her play Mary Queen of Scots Got Her Head Chopped Off (1989), first performed by Communicado Theatre Company at the 1987 Edinburgh festival, her other stage work includes Blood and Ice first performed at theTraverse in 1982; Dracula (1989); Cuba (1997), a play for young people commissioned by the Royal National Theatre; and Perfect Days (1998), a romantic comedy, first performed at the Edinburgh Festival in 1998.
She translated and adapted Molière’s Tartuffe (1985) into Scots, premiered at the Edinburgh Royal Lyceum in 1987, and the script of her adaptation of Euripides’ Medea (2000) for Theatre Babel in 2000 won the Saltire Society Scottish Book of the Year Award.
Her poetry career spans a full three decades from her first collection, Memo for Spring (1972) to her collection, The Colour of Black and White: Poems 1984-2003, (2003).
She will be performing with saxophonist and composer Steve Kettley.
Her blend of fuzzy guitar, beguiling vocals and masterful cello have made her a rising star who has been played by Laura Laverne and Vic Galloway and featured live sessions with Liz Kershaw and Cerys Matthews on Radio 6.
She recorded her debut album Glorified Demons in Glasgow and it features, among others, the super popular track All Dressed Up, which has been downloaded over 50,000 times.
Reviews of her debut album There Are No Saints have been impressive.
Rolling Stone’s Maura Johnston wrote:
“This Scottish-born prodigy’s debut opens with a fever-dream where her voice, sylphlike and airy, is multiplied into a choir, a loping piano guiding along her harmonic cascades and flights of countermelody. There Are No Saints goes on to pair Wilson’s acrobatic soprano with minimal accompaniment, allowing her quixotic melodies to shine – “Whatever Helps” is a distortion-smeared lullaby for the beaten down, a spaced-out take on the French standard “J’attendrai” introduces a theremin to the mix, and the lurking string drones (which Wilson plays) on “Disaster and Grace” turn Wilson’s eventual octave-leap into one of the album’s many arresting moments.”
Follow her on Twitter at @SiobhanIsBack
Joseph’s haunting vocals and inspired arrangements landed her the Scottish Album of the Year Award in the same year. She beat off competition from a shortlist which included Belle & Sebastian, Paolo Nutini and Young Fathers.
Joseph’s voice is like no other. Reviewers have suggested you might hear echoes of “Joanna Newsom, Billie Holiday or Karen Dalton (or even Lana Del Rey)”.
Nicola Meighan has written: “Joseph’s voice is truly her own. Bruised and yet beautiful, down but not out, her wonderful, visceral songs … She is the real thing.”
Indeed she is.
We hope you can join us to witness three great talents in a unique setting.