Hidden Door 2026 line-up REVEALED 👀
From 3rd – 7th June, we'll bring together over 100 creatives for live music, immersive art installations, dance performances, poetry and spoken word, unique collaborations and much more.
Full details: hiddendoorarts.org/hidden-door-...
#HiddenDoorFestival
From last weekend, a chat with Kevin and Zahra, co-curators of Glasgow’s Creatives of Colour Festival. For @scotnational.bsky.social
★★★★ Review: The High Life: The Musical, Still Living It! – Exquisitely ridiculous return to the madcap world of the Scottish cult comedy 👇
★★★★ Review: What I’m Here For – Visually striking collaborative medical drama from Scotland’s Vanishing Point and Denmark’s Teater Katapult 👇
A chat with the excellent Comfort for @scotnational.bsky.social 💛
www.thenational.scot/culture/2599...
★★★★ Review: Outskirts – Feel-good musical comedy centred around a Glasgow gay bar.
Read The Stage's review 👇
★★★★ Review: Flora – Bold and poignant new musical uncovers the tumultuous true story of one of Scotland’s most famous daughters 👇
Big fan of the new ELUCID & Sebb Bash! A review for @thequietus.com
A chat with the wonderful Miwa Nagato-Apthorp for @scotnational.bsky.social 🧡
Read online: www.thenational.scot/culture/2593...
A production company has been blasted for creating a 'two-tier' review system, which allegedly implies that both critics and audiences in Scotland are 'less important' than their London counterparts
Coming soon! The 404 Ink Bursary for small presses and accompanying crowdfunder will launch in mid-March. This will give away at least £3,000 to small presses - we hope to raise more to pay it forward to even more people.
A review of Medea, seen at the Byre in St Andrews last week
My review for @thestage.co.uk
Spoke to Lexa Gates for @thefortyfive.bsky.social’s Feb digital cover ✨
Re:imagined Live at The Queen’s Hall in Edinburgh is officially going to be a live album 🙌🏽
Come along for a huge night of music, where our back catalogue will be performed alongside a string ensemble 🎻
This is going to be huge 💿
My first review for @thestage.co.uk 🙌
A review of the new Jill Scott for @thequietus.com ✨ thequietus.com/quietus-revi...
Our Annual Report highlights the stark truth that 59% of grassroots music venues no longer receive regular national touring shows. Whole regions - towns and cities with millions of people - have effectively vanished from the UK’s touring map.
Love the sound of this 'Scottish indie folk supergroup', written up here by @arusa.bsky.social Qureshi
www.theguardian.com/stage/2026/j...
Thanks so much for sharing Libby! It really is an incredible show – can’t recommend it enough!
It was a joy to speak to Jo Mango, Liam Hurley and Phil Crockett Thomas about the wonderful A Giant on the Bridge for @theguardian.com. It's on tour soon – don't miss it!
In today’s @scotnational.bsky.social chatting to the folks behind @henhoose.bsky.social and their new album The Twelve 💖
The last thing to read before you switch off for Christmas🎄
Our wonderful blogger @arusa.bsky.social talks to Kirstin Abraham about facilitating multi-sensory outdoor workshops for neurodivergent families.
A thoughtful read for the festive season✨
🔗 www.independentartsprojects.com/blog-theres-...
A wee end of year music round-up for @scotnational.bsky.social feat. legends like Jacob Alon and @henhoose.bsky.social ✨
Pleased to have contributed some words to @thefortyfive.bsky.social’s great AOTY list 🌟
thefortyfive.com/opinion/best...
Image including an abstract for an academic journal article titled 'Note to scene: Gender, race and rose-tinted nostalgia in emo': Abstract Twenty years on from its mainstream breakthrough, the popularity of emo music has resurged, offering new opportunities to appraise its cultural legacy. While acknowledging the creative and cathartic qualities of emo as fans, we reflect on how the intersections of race and gender have (not) been thoroughly engaged with in prior research on the genre. We also demonstrate how improvements concerning representation in emo are still constrained, with people of colour (POC) – particularly Black women – carrying heavy self-advocating responsibilities. Through a two-part case study – first, the marketing and booking of When We Were Young festival and second, a reflexive first-person analysis of music journalism surrounding emo’s ‘new wave’ acts – we explore how emo has been (re)branded for old(er) and new(er) generations in the 2020s, how musical belonging and expertise is negotiated within the culture, and how nostalgia narratives can serve to romanticize emo’s exclusionary past at the expense of its more inclusive future. Keywords: Black alt, emo, gender, music festivals, music journalism, nostalgia, popular music, punk, race, subculture
🎸 🖤 🤘 New publication just dropped, and this time it's open access! 🎸 🖤 🤘
Williams, J. N., & Sobande, F. (2025). Note to scene: Gender, race and rose-tinted nostalgia in emo. European Journal of Cultural Studies, 0(0). lnkd.in/eMmjq6ue
Lamaya
Uninvited
Last Amplifi of the year at @thequeenshall.bsky.social 🥰 Big thanks to Lamaya and headliners Uninvited
@weareherescot.bsky.social
Our cohort of some of the country's most opinionated music writers have voted – it's our albums of the year
We need your help.
@waterstones.bsky.social, without any direct communication with us, will be opening their 6th Edinburgh branch less than 100 metres from our front door at the Foot of the Walk in Leith.
Please read on for more information
www.heraldscotland.com/news/2562908...
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It was a real joy to chat with Roony for @thequietus.com 🙌
