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MY LEONARD COHEN Reinterpreted covers of Cohen’s classics ●●●●●

CAMINO DE SANGJARU Traditional Korean music with a modern twist ●●●●● SK SHLOMO: SURRENDER Astounding musicianship in part gig, part confessional ●●●●●

Australian covers performer Stewart D’Arrietta was last at the Fringe with 2018’s Tom Waits tribute Belly of a Drunken Piano, and somehow that show makes more sense than this. D’Arrietta’s voice is low and gravelly, more suited to the dark blues of Waits than the uncategorisable pop poetics of Cohen; yet while it’s true that very few people could surely pull off a pitch-perfect Cohen imitation, D’Arrietta doesn’t so much make these songs his own as rent them out and rearrange the furniture in attractive fashion.

It’s the sense of storytelling which feels as though it grants D’Arrietta licence to have a crack at Cohen’s music. He tells of the singer’s ‘muse’ Marianne Ilhen and Cohen’s final correspondence with her before ‘So Long, Marianne’; the dark legacy of the Holocaust which was the unlikely inspiration for ‘Dance Me to the End of Love’, given a klezmer-style update here; and of the flirtation with religion and bankruptcy which brought about the ‘I’m Your Man’ tour. Every seat in the room is filled and the closing ‘Hallelujah’ is greeted like the inter-generational pop classic it’s become, a sign of Cohen’s posthumous popularisation. (David Pollock) Assembly Rooms, until 25 Aug, 6.30pm, £15–£16.50 (£14–£15.50).

Traditional band Korean Gipsy Sangjaru set out on a musical pilgrimage of discovery, strapping their instruments to their backs and walking the 800km Way of Saint James trail from France to Santiago in Spain, along the way exploring the idea of where tradition meets modern innovation. Bounding on stage in elaborate white fluffy

headgear, bashing out a frenzied traditional Korean instrumental on gongs and drums, they add swing and jazz elements before guitar and bass are layered over janggu and gayageum (Korean drums and strings). Inspired by their trek, they mix eastern and western influences into new and intriguing sounds. It sometimes drifts into slightly surreal territory,

touching on prog rock but still underpinned by Korean folk an interesting mix of old and new. A perfect example is an early track about Alice in Wonderland’s continual pursuit of the White Rabbit, accompanied by cute and quirky 8-bit graphics.

SK Shlomo has won numerous awards for this beatboxing and looping and in this part gig, part confessional, the world class beatboxer opens up about his struggles with mental health.

The range of weird and wonderful beats and breaks he can produce orally are astounding (there’s a bass drop that stuns the crowd). His one-man Prodigy and the final track that turns audience members' shouts into a blistering techno track are phenomenal.

It’s an unlikely medium for a deeply personal show. Shlomo was at the top of his game, working with the likes of Bjork and Ed Sheeran, but two years ago, he withdrew from public life. The writing and recording process for his debut solo album opened up some unexpected memories and insecurities.

The pressure of public scrutiny, online abuse and childhood trauma led to depression and thoughts of suicide. Reaching out and seeking help saved him and became the foundation for his album Surrender.

They are a continually engaging trio and even if their By the end, the show feels hugely positive and

final message that the journey can be as important as the destination isn’t exactly groundbreaking, their sense of adventure is infectious. (Henry Northmore) Assembly George Square Studios, until 26 Aug (not 19), noon, £10–£12 (£9–£10). watching Shlomo’s astounding beatbox and looping skills as he creates tracks from nothing is a joy to behold. (Henry Northmore) Underbelly Cowgate, until 23 Aug, 10.10pm, £10.50–£12.50 (£9.50–£11.50).

CAMILLE O’SULLIVAN SINGS CAVE Perfectly balanced tribute to the music of Nick Cave ●●●●●

Camille O’Sullivan has long peppered her sets with covers of Nick Cave tunes, but here, she dedicates an entire 75-minute show to him, singing nothing but the songs of Cave and the Bad Seeds. The lighting is moody and atmospheric, helping O’Sullivan to channel Cave’s energy as she struts on stage dressed in a black cape and sparkly silver heels, before performing a pared-back version of ‘God is in the House’. Hunkered down on her knees, sipping from a glass of red wine, she’s like a female version of Cave apart from the hints of her Irish lilt coming through as she belts out the tune with gusto. The set is balanced perfectly between stripped back,

contemplative Cave songs, and rollicking numbers where she demonstrates how perfectly in-tune she is with her backing band. During the quieter numbers, such as a perfect version of ‘Into My Arms’, the audience are reverent and so quiet that you can hear O’Sullivan tapping her heels. She commands the stage during these songs, just as she does in the more upbeat segments, when she kicks and struts, full of wild energy and growling Cave’s lyrics in her husky voice. ‘I’ve loved his work and the Bad Seeds for a very long time,’

O’Sullivan tells the audience while explaining her decision to focus only on the music of one artist. ‘His lyrics are king and he goes to the darkest parts of the heart but also the most spiritual.’ She explores those depths by adding her own unique spin to his songs, bringing a lot of comedy to the classic murder ballad ‘Stagger Lee’, and showing us she can do soft and gentle as well as loud and raucous, with an ethereal version of ‘Sad Waters’. Even if you’re not a fan of Nick Cave and the Bad Seeds, O’Sullivan’s stage presence is incredible, and this performance unmissable. (Lauren McKay) Pleasance Courtyard, until 25 Aug (not 19), 9.15pm, £17.50–£22.

14–26 Aug 2019 THE LIST FESTIVAL 77