@ Assembly Roxy, Edinburgh, on Thu 1 Oct 2015
A gratifyingly impressive crowd have gathered at the lovely Assembly Roxy for the inaugural Edinburgh Soup. Four local charities pitch to the audience, all of whom have donated at least £5 to attend. The charity who receive the most votes receive all the donated funds.
Besides helping good causes, the attendees are treated to delicious soup courtesy of local cafe Union of Genius with bread from Wee Boulangerie, as well as music from three acts.
First up is Paper Rifles, a local/songwriter, whose day job as a history teacher comes across in his energetic, socially-conscious odes to such subjects as the formation of the NHS. His joy at playing to the sizeable crowd is infectious, and he’s very easy to warm to.
His style is reminiscent of Frank Turner‘s early solo work with an added Scottish burr. His brisk six-song set is rounded off with an impassioned cover of Deacon Blue’s Dignity. While his songs all seem to be of one style and tempo, Paper Rifles is definitely a talent to watch.
Next up is The Woods, another acoustic solo project, although Johnny McFadzean’s approach is completely different to that of the proceeding act. Possessed of a truly gorgeous, lilting voice, he plays delicate, wistful folk, that aims for elegiac but comes across as almost agonisingly earnest. McFadzean is undoubtedly a fine musician, but like Paper Rifles, all his songs are of one ilk; one of aching fragility and his set therefore lacks any real dynamism. Variety is added by some subtle backing on clarinet from Rowland Sillito of headliners Caro Bridges and the River, but the attention of large sections of the audience wanes noticeably, and McFadzean risks being drowned out by background chatter.
Thankfully, Caro Bridges and the River have little difficulty in keeping the attention. What the previous acts may have lacked in eclecticism, the headliners have it to spare. The six-piece are all given their chance to shine. Sillito proves equally adept on saxophone as he is on clarinet; and Matt Norris’ mandolin and banjo work, and Maddy Berg’s ukulele round out an expansive sound on top of Tom MacColl’s double bass and some strong percussion from Jamie Monteith on one of those surprisingly versatile cajon soapboxes.
Bridges herself has a fine voice that ably carries low-key balladeering and upbeat stomp-along crowd pleasers. They leave an audience warmed with excellent soup, worthy causes and good cheer in fine fettle.