The expansion introduces a unique service to the Scottish gaming scene: a weekly “Stock Rotation” where hundreds of rare singles for Pokémon and Magic: The Gathering will be swapped between the two cities. This strategy ensures that local collectors in both the capital and the North-east have regular access to a refreshed inventory of rare cards without relying solely on online markets. We sat down with Stuart Robb, Director of Thistle Tavern, to discuss how this new West End hub will integrate into Edinburgh’s competitive gaming landscape and what players can expect from the space’s sensory experience.

Stuart, you’re bringing a massive new venue to the capital while other independent retailers are feeling the squeeze. What makes Thistle Tavern the shot in the arm that Edinburgh’s tabletop scene needs right now?

We’re in the fortunate position of building on the success story we’ve already created in Aberdeen, where our store has seen a 100% increase in its first two years. Andrew and I pride ourselves on bringing players together and giving them the space to foster a real sense of community. Thistle Tavern Games Hub will add another dedicated venue to a city that’s already thriving with players. We’re excited to bring additional playspace to Edinburgh and help meet the growing demand for trading card and tabletop gaming in the capital.

You’ve secured 79 Shandwick Place, specifically noting its proximity to Haymarket Station and the tram stop. Shandwick Place is a heavy transit and nightlife corridor – why choose this specific stretch over established student hubs like Marchmont or the traditional geek clusters near the bridges?

Being right in the heart of the city helps demystify tabletop gaming and makes it far more accessible to people who might be curious but hesitant to take the plunge into the hobby. Pokémon is a great example of a TCG that has stood the test of time, but the collector base still heavily outweighs the player base. By offering a central, highly visible space, we can shine a light on the community side of trading card games and show that they’re about more than just collecting. Our goal is to turn passing interest into weekly rituals – friends meeting up in the middle of Edinburgh to play, trade, and discover just how welcoming and social this hobby can be.

Shandwick Place buildings come with their own historic quirks and tight footprints. What has been the most uniquely “Edinburgh” hurdle in outfitting the space to accommodate your target of over 70 players, especially compared to your Union Street expansion in Aberdeen?

Fortunately, there have been no major hurdles for us so far (fingers crossed)! The only small nudge is that the basement at Shandwick Place isn’t suitable for playerspace as we had hoped, but the overall location and size were still too good an offer for us to pass up. We hope 70 seats will be more than enough for us to begin with in Edinburgh, and I challenge the community to prove us wrong.

Edinburgh already has a fiercely loyal, albeit fragmented, tabletop community. With plans to seat 70+ players, how do you plan to complement the existing local indie ecosystem rather than just stepping on established toes?

We have nothing but respect and admiration for Edinburgh’s local scene; Andrew and I have been coming through for events here for years. What we’ve seen in Aberdeen is that when you bring players together, they naturally want more time and more opportunities to play. That’s where we see Thistle Tavern fitting in. Our additional seats are designed to complement the existing venues, not compete with them; offering extra capacity for people who can’t make current scheduled nights, and giving those who would happily play every night of the week another welcoming place to do just that.

When a player escapes a dreich Edinburgh Tuesday and walks through your doors on Shandwick Place, what is the exact atmosphere you want them to feel, see, and hear?

Thistle Tavern Games Hub is a bright, welcoming playspace. As you step in out of the drizzle, we want you to be greeted by light, colour, and the quiet buzz of games in full swing. Players can take their time browsing our wide selection of singles, beautifully displayed in Japan‑manufactured Senbi cases or organised in binders at the counter, before picking up fresh sleeves or the latest board game release and heading through to the playspace. There, regulars and newcomers alike will be able to sit back, relax, and either dive into the evening’s organised play or simply hang out with friends at their own pace. One thing that might surprise people is that we don’t serve coffee or food in-house. Instead, we actively encourage folks to bring their own, or better yet, support the local economy by ordering from nearby cafés and takeaways. All we ask, and will firmly but fairly enforce, is that everyone respects other players, looks after the space, and cleans up after themselves so it remains a comfortable home for the whole community.

You’re launching in late May. That gives you just a couple of months to bed in before the city completely transforms for the August festivals. How will the sensory experience and operations of the Tavern adapt when the city’s population explodes?

It’s absolutely front of mind for us as we plan our opening weekend and the first few months. While it’s still a little early to lock anything in, we’re already looking at options we can trial once we open; extended opening hours, dedicated trade‑in days or weekends, larger prize-pool events, and a range of festival‑season offers. The goal is to be flexible and responsive. We want to be ready to scale up when the city fills with visitors in August, without ever losing the welcoming, local‑first feel that will define Thistle Tavern the rest of the year.

The weekly “Stock Rotation” of Pokémon and Magic: The Gathering cards between Aberdeen and Edinburgh is a fascinating concept. Logistically, who is making that run up the A90 every week, and how does this system guarantee a better, fresher experience for an Edinburgh collector compared to buying online?

While Andrew and I won’t be able to be in Edinburgh as often as we are at Thistle Tavern Aberdeen, we absolutely plan to be semi‑regulars. One of the things we’re most looking forward to is comparing the buylists that Edinburgh and Aberdeen each build up, then rotating stock between the two to keep things feeling fresh. Our bulk boxes are already a big hit in Aberdeen, and I fully expect the same in Edinburgh. The ability to swap out thousands of cards for thousands of different cards on a regular basis is a huge draw – it gives people a real reason to swing by, grab a Monster or another drink, and happily browse for hours, hunting for that next hidden gem.

Your success in Aberdeen was built on a 50/50 split between online and in-store sales, backed by proprietary technology. However, brick-and-mortar hospitality in the capital is ruthless right now. What is the one thing you are doing differently here that no other gaming café has dared to try?

As much as the competition for people’s time in Edinburgh will be tougher than in Aberdeen, I don’t think anyone would argue that Aberdeen’s retail landscape is in a far more tumultuous position – and we’ve successfully learned how to navigate that. What we’re doing differently with Thistle Tavern is doubling down on that lesson. Our core focus is to build a space people genuinely want to spend hours in, week after week. If you create an environment that feels comfortable, social, and alive, you give people a reason to step away from their screens and online baskets and actually choose to be in a physical space. That, more than anything else, is the risk we’re willing to take: betting on atmosphere and community as the real differentiator in a brutal retail climate.

The Tavern is pioneering support for newer titles like the Cyberpunk TCG, Neuroscape, and the upcoming Palworld launch. Do you anticipate the Edinburgh gaming crowd having a different appetite for these niche titles compared to your Aberdeen base?

As the capital, Edinburgh will almost certainly attract a broader mix of players than Aberdeen, and we fully expect that to translate into a greater appetite for niche and emerging titles. Our commitment is simple: if there’s demand, we’ll support it; whether that’s brand‑new games or smaller titles that don’t yet have, or could really use, more organised support. We’re already laying the groundwork on our Discord, where we’ve set up channels and polls for all the major games. If there’s something we’ve missed that you’d love to see us run organised play for, jump in and tell us. Edinburgh’s community will help shape what we champion from day one.

You are bringing in five new team members for the Edinburgh launch. Beyond just game knowledge, what specific local insight were you looking for to ensure the Shandwick Place branch feels like an authentic Edinburgh institution from day one?

Just like in Aberdeen, every member of our Edinburgh team will come in with real game knowledge, whether that’s a single favourite TCG or a handful they actively play, and genuine roots in the community. We want players to feel immediately at home with a team that not only speaks their language but shares their hobbies. Our new hires have also been working closely with our Aberdeen staff to learn what it takes to create a welcoming, professional atmosphere. The goal is that when you sit down to play at Shandwick Place, you can expect top‑tier organisation, a smooth retail experience, and staff who are as invested in the games as you are.

The West End location on Shandwick Place positions Thistle Tavern within one of Edinburgh’s most active transit corridors, ideally situated for those commuting via Haymarket or using the tram network. This stretch of the city has seen various retail shifts in recent years, and the introduction of a high-capacity venue for roleplaying games and competitive card play offers a distinct alternative to the traditional nightlife and hospitality options nearby. The tavern’s decision to forgo in-house catering in favour of supporting local cafés and takeaways reflects a collaborative approach to city centre revitalisation that has already proven successful for their Aberdeen branch.

This expansion comes at an exciting time for the local gaming community, as Tabletop Scotland is confirmed to return to Edinburgh in late 2026. With 70 new seats available in the West End, the city’s capacity for hosting major regional and national tournaments is set to grow significantly. For those interested in joining the community ahead of the late May launch, you can connect via the Thistle Tavern Discord or browse their inventory on the official Thistle Tavern website.

The menu overhaul coincides with the brand’s 10th anniversary and introduces a new dough recipe featuring a 72-hour fermentation process. Using a Biga preferment and 66% hydration, the innovation promises a lighter, airier crust with a crisp finish. While some regulars might mourn the retirement of the potato-topped Shire pizza or the legendary Pineapple Express, the update signals a move into more premium, artisan territory.

The Bowser takes the crown

I went straight for the new heavy hitter: the Bowser. Named after the iconic Mario antagonist, Pizza Geeks is positioning this as their boss pizza. It is a robust combination of tomato sugo, fior di latte, pepperoni, salami, BBQ chicken, and red onion. The heat from the seasoning is sharp and immediate, cutting through the sweetness of the barbecue elements without overpowering the fresh dough.

The execution remains consistent with the Pizza Geeks’ signature style. The crust is thin, charred in places from the traditional pizza oven situated just metres from the tables, and remarkably fresh. Watching the chefs stretch dough and manage the flames adds a layer of theatre to the dining experience that justifies a mid-week visit.

Other notable additions include the White Walker, a spicy white-based pizza featuring mozzarella, nduja, and pickled chillies, and the Prince of Persia, which offers a sophisticated mix of tomato sugo, mozzarella, and spiced harissa aubergine. For those seeking something more indulgent, the new B.A. Burrata pizza comes with a whole piece of burrata on a base of tomato sugo and rosemary oil. They have also expanded their “For the Squad” sharing section, which now includes a house-sharing board and crispy golden arancini balls.

Atmosphere on Easter Road

The Easter Road venue retains its quirky charm. Even on a Monday night, the restaurant was busy. A large table of diners dominated the centre of the room, while a steady stream of bookings arrived as I was leaving. It is clear that the local community has embraced this spot as a reliable neighbourhood hub rather than just a takeaway option.

The entertainment is as geeky as the name suggests. During my visit, a popular pirate-themed anime was projected onto the wall, providing a silent but vibrant backdrop to the meal. The drink selection remains excellent, with local Pilot beer and lager available on tap, which pairs perfectly with the spicy kick of the Bowser.

The choice of music was the only point of contention. While the playlist was generally strong, a single song by The Smiths felt slightly out of step with contemporary sensibilities. Blame Morrissey for that. However, the energy in the room remained positive, fuelled by efficient service and the warmth of the oven.

Things to do in Easter Road

Easter Road is a vibrant corridor connecting the city centre to Leith, offering a mix of traditional pubs and modern independent shops. It is most famous for being the home of Hibernian FC, and the historic Easter Road Stadium is just around the corner from the restaurant, making Pizza Geeks a prime spot for a pre-match meal or post-game post-mortem.

For those visiting from further afield, the area is well-served by local buses and is a pleasant 20-minute walk from Edinburgh Waverley. If you are staying overnight, you can find excellent deals on local stays through Booking.com or check availability at the Hotel Indigo on York Place for a stylish boutique stay nearby.

If you are planning a trip to the city, Trainline UK is the best way to secure affordable tickets to Waverley. For those who prefer to explore the surrounding coastal areas like Portobello, a Rail Card can significantly reduce travel costs. If you are staying in the city and fancy a night in, you can often find Pizza Geeks available for local delivery via Deliveroo UK.

Overall

Pizza Geeks has successfully navigated the difficult task of refreshing a popular menu without losing its identity. The Bowser is a worthy successor to the retired classics, and the inclusion of more sophisticated ingredients like harissa aubergine and burrata shows a maturing palate. While I would like to see these menu rotations happen every 18 months to keep the momentum going, the current line-up is more than enough reason to head to Easter Road sooner rather than later.

EDITOR’S NOTE: This article was originally published stating that ‘Summer Fields’ was currently on display at the Modern Two. This was an error, with the one currently on display in the exhibition simply having the same name. The article below has been edited to reflect this.

Bringing together over 30 works by Joan Eardley, alongside paintings from the national collection, The Nature of Painting is an exhibition you won’t want to miss at the Modern Two – but there’s one Eardley painting that’s not currently on display, and has in fact recently been rediscovered.

This is a painting that had been thought of as ‘lost’ – and out of public view – for over 60 years. Summer Fields is an atmospheric landscape painted in the final years of Eardley’s life in Catterline, and was rediscovered by a manager from a charity shop in the East Midlands, who had taken it in as a house clearance donation.

A worn and fragmentary label showing the words: ‘Summer, Joan, Exhibited, The Scottish Gallery’ made him think twice, prompting him to get in touch with the gallery in question. A handwritten entry from the gallery’s archives, May 1961, had recorded the sale of the painting.

Now, 64 years later, the painting had returned, and conservation brought it back to its vibrant, atmospheric best. It was soon unveiled by The Scottish Gallery at the British Art Fair in September 2025, and exhibited at the gallery on Dundas Street, Edinburgh.

Here’s what Tommy Zyw, Director of The Scottish Gallery had to say: 

“This story speaks of the enduring power of Joan Eardley’s painting and of the role of careful stewardship, archives, and expertise in bringing such works back into the public arena. From Joan Eardley painting this work in Catterline, its sale in 1961, decades enjoyed privately then its arrival on the charity shop’s shelf, to the phone call that started its return to Scotland; we have been proud to support Summer Fields on its continuing journey.”

The painting has recently been purchased by a private collector. Sold on behalf of the charity from which it was discovered, the painting has achieved the largest single work sale in the charity’s history of £29,500 – which will go towards directly supporting vital medical research in the UK.

You can view the Joan Eardley: The Nature of Painting exhibition at the Modern Two, on from now until 28th June.

It’s become a proper fixture in the Edinburgh spring calendar, pulling people down to the coast right as the weather starts to turn. Portobello Town Hall anchors the big performances, with the wider weekend shining a light on local artists and businesses.

Portobello Town Hall and the Promenade host a fabulous line-up

Music is centred at Portobello Town Hall, with Saturday 2nd May headlined by folk rock band Mànran. Tickets are through Humanitix, with a cut of the fees going to charity.

Away from the ticketed stages, the promenade and beach are packed with free stuff. There’s a Makers’ Market, a vintage clothing pop-up, and the always-entertaining community dog show. Feeling brave? The Dip and Sip wild swimming event gets things going in the Firth of Forth, usually followed by a well-earned drink at one of the shoreline bars.

Things to do in Portobello

Portobello has a feel all of its own – more seaside town than city suburb. You can get there on the 26 or 49 bus, or cycle in along the coastal path if the weather plays ball.

For food, the Espy (that’s a 13-year-old review!) and the Rusty Seagull (3 months)are great for a pint and some people-watching. Civerinos Slice serves New York-style pizza and is always busy on sunny days. If the seafront kiosks have a queue, there are plenty of spots on the sand to sit with something from a nearby cafe.

Getting there is easy enough, but it’ll be busy. Trains to Brunstane or Edinburgh Waverley are worth booking ahead. The 26 and 49 buses run along the coast and are usually fine.

For your Radar

The Porty Festival is one of those weekends that just works. Good music, a beach, and a community that clearly loves putting it on. First weekend of May – worth the trip.

Quick Links

• Porty Festival
• Manran

Edinburgh Reviews‘ creative director Bronwen (AKA Birdy) leapt at the chance to attend a media call to view artist Gayle Chong Kwan‘s The Great Instauration, and to have a chat with Gayle about her work.

The site-responsive exhibition is currently taking over the Grand Gallery of the National Museum of Scotland, with themes around the rethinking of scientific, exploitative and extractive histories.

It’s been described as “an underground, upside-down world filled with forms hanging from railings and columns. Large-scale sculptures of scientific instruments are transformed into fantastical roots, hanging fabrics of the geological strata of Edinburgh with archival and painted images, and steel plinths inscribed with lesser-known histories fill the space.”

It was thankfully very quiet in the gallery space, as our interview and photo op took place before the museum was officially open for the day.

Gayle: It’s quite nice being here when nobody else is here, isn’t it? 

Bronwen: Yeah, absolutely it is. That’s why I’m a big fan of the Museum Lates, too! So, can you tell me a little bit more about your process for these pieces? 

Gayle: Yeah, so with this, the whole work really started through research in archives and collections, across eight different institutions. So, it was a very intense period of looking and thinking through, because the commission brief was very open. It was about reimagining science or rethinking science. I mean, that’s absolutely huge. So, really the process was sort of thinking through and feeling through and starting to realise that I really needed to go back to the start of science. So, the scientific enlightenment or the scientific revolution. And that’s why I’ve explicitly sort of connected it with Francis Bacon’s 17th century text, The Great Instauration. And in a way, sort of thinking through the way science is a culturally created, the sort of discipline and actually these texts are literary texts as well. So, it’s sort of taking it away from it just being about science as a kind of objective study and thinking about the most sort of partial or particular ways in which science… it’s a kind of scientific gaze and what that does in the world. 

Bronwen: Incredible. Which was the story that inspired you the most when making this work? 

Gayle: I think my starting point was really the theodolite, which was an instrument up there (Gayle points to a spot higher up in the gallery). I started through the research to think about the role of scientific instruments, and I thought that would be a really… sort of succinct and expansive way of thinking through more complex histories. The theodolite was an instrument of measurement – and I thought this was really interesting because it was more about these kind of complex histories. It was used both in sort of colonial land acquisition, so you could measure, or it was how you sort of demarcated ownership. So, it was used in the colonial project, but also used in Scotland by the landowners to start to, during the Highland clearances, to start to accumulate. But also it’s a gaze, you know, it also had the sense of wonder because one of those was taken to Mauritius for the transit of Saturn in 1789 as well. So that was a sort of starting point. But some of the more complex stories really were in relation to the Obia, who were traditional healers or doctors, mainly in the Caribbean, and that was outlawed completely. There was a huge amount of people that were imprisoned, tortured and killed as well, because the colonial sort of administration linked that with anti-colonial protests. So, as well as Scottish doctors, a huge amount of doctors trained in Edinburgh, went out and worked on slave ships and also in slave plantations, then owned slave plantations. But at the same time as that happened, also traditional healers and medicinal practices in those countries were outlawed. So these kind of complex sort of crossovers of histories. 

Bronwen: That’s really fascinating – like falling down a rabbit hole of research! I’m curious, why are the inscriptions on the pieces displayed upside down? What inspired the choice there? 

Gayle: Yeah, so I started thinking about the notion of, so this space here is, the Grand Gallery was built and designed by the architect Frances Fuchs, who’s an architect of the Enlightenment. So, the whole space itself is this idea; it’s almost like a giant greenhouse, or more broadly, the idea of the light of the enlightenment. A bit like the kind of scientific instruments revealing the truth of everything. And actually, I was like: ‘Well, why don’t we turn it on its head?’ And I started thinking about geotropism and the way in which roots sort of attracted a move towards gravity. So, it’s like turning things on its head. And even these strata sort of silk hand-painted hangings, they’re upside down as well. So actually, when you draw, it would be the other way around. I was thinking of them almost like sort of fantastical root growths, the instruments become that. So instead of, as a way of reimagining, I was thinking about shifting spatial or bodily perspectives. 

Bronwen: I love that. So, which artists have influenced you in your practice? 

Gayle: Oh gosh, that’s there’s too, there’s too many. It’s like, maybe in relation to this, let me think through what… It’s difficult because my whole life has been art. It’s like, as an artist at different points, different artists mean different things. But I think one of the earliest ones was actually the Henry Moore bronze sculptures at the Royal Botanical Gardens in Edinburgh. And I think a lot of that, because I remember as a child climbing onto them and holding onto them and feeling the warmth of the bronze – and actually that kind of tactile, bodily, sort of embodied aspect. I mean, a lot of my work is not necessarily just sculptural and it’s sort of ritual, it’s performance, it’s bodily things. So I think that would be my pivotal work. 

Bronwen: Fabulous. I’m a second year fine art student at the moment, so I was just wondering if you have any advice for artists who are just coming into the world of contemporary art right now? 

Gayle: I think the interesting thing about being an artist is that you can really define that there is no one way of being an artist. There’s so many different ways. So, I think if you sort of look to things that you might not necessarily connect up with art, but actually they’re really important to you, they become integral to your art practice. Because my first degree was actually in post-colonial Sub-Saharan African politics and history. And then I’ve done a masters, I’ve done PhD at the Royal College. So it’s like, your sort of root, and you always come back to these things that are important to you. It’s an interesting way of, I think you have to just be really in the work. That is the only reason you’re doing it. 

Bronwen: Absolutely. I feel that, because I started out in journalism. 

Gayle: Did you? So it’s like, okay. But there might be that a lot of the time things will come out through, I think, anger and sort of… anger about things that – not anger direct towards people, but about social injustice or history. I think it’s a really good starting point. 

Bronwen: Yeah, that’s been a few of my projects so far. 

Gayle: Honestly, I think that sort of sustains us. This was really difficult because it was emotionally very difficult research. And at one point, I felt like everything was just going to be in black and white, and I think I was actually… It just felt so all-encompassing that, you know, some of this… I can’t read about another Scottish doctor and his, I mean, just horrific things that they kind of did. By the by, I’d read about in these very dry texts, they did sort of inventories of ownership by slave owners or doctors on slave ships. Sort of describing the best cures for scurvy or obviously, you know, it was emotionally probably the most difficult research I’ve done. 

Bronwen: It does take a toll, like I’ve done a project on the genocide in Gaza. Women’s reproductive rights in the United States…  

Gayle: It’s not easy, is it? 

Bronwen: I mean, it’s really not easy. 

Gayle: But you have to stay with it. And actually, I remember one of the presentations I even did at the museum here, at one point, I just started crying. Not because I was upset, but because it was like, it’s so emotionally kind of charged. And I thought, and they were absolutely fine about it, and they were like, “Oh, it’s really powerful, you’re talking”. And I thought, actually, one of the things is maybe people should have been more emotional. They knew all this stuff was going on. 

Bronwen: Yeah, but it feels like we should be more emotional now as well, because people DO know what’s going on, maybe more than ever before.

Gayle: Completely, completely. When I do historical and archival research, I look for the emotional content, and that’s what I’m looking for. And some of these are just some of the saddest poignant things. William McDowell at Saint Kitts, a huge slave owner; they named all their slaves whatever they wanted, and he named them all these Scottish names. So, you can see there’s Gordon, there’s Flora, it’s all around on these. I mean, that’s just horrific, isn’t it? It’s poignant and tragic and everything all together. And then Chambers Street here used to be called Jamaica Street; that was the original. So, it’s all sort of connected up.  

Bronwen: Thank you so much for your time, Gayle – you’ve given me so much here! Your work is amazing, so well done!  

Gayle: Okay, fabulous. Lovely to chat to you and good luck with your studies! Let’s stay in touch.

Links

• Edinburgh Science Festival 2026 at the National Museum of Scotland.

Gayle Chong Kwan’s The Great Instauration will run until Sunday 19th April as part of the Edinburgh Science Festival.

The production is a spiritual successor to their previous hit Enter the Dragons, pivoting from midlife transitions to a surreal, madcap defiance of the “third age.” While the title tips its hat to George R.R. Martin’s epic, the similarities begin and end with the opening bars of the theme music. From there, the audience is plunged into a kaleidoscopic odyssey where our protagonists attempt to defeat Cronus, the god of time, as a middle finger to the societal invisibility of ageing.

Wicker Man Aesthetics and the Quest for Visibility

Visually, the show is an immediate assault on the senses. The performers appear in costumes designed by the talented Jess Eaton, described aptly as a cross between The Wicker Man and The Wombles. These tactile, earthy ensembles transform a minimalist stage, occupied primarily by two versatile, cloud-like structures, into a mythic landscape. It is a testament to Eaton’s skill that such bizarre attire can lend both comedic weight and a strange, pagan dignity to the performers as they navigate their “Road Bridge of Tears.”

The narrative follows a singular “protagonist” (the term “heroine” is dismissed as a cliché), played alternatively by Dooley and Edwards. This shifting identity reinforces the communal nature of the struggle against time. As they quest through a wild terrain populated by all sorts, including “old bags” and mutant seers, the show grapples with the heavy lifting of emotional baggage. One standout moment involves a mystic atop a mountain who forces the hero to weave a bridge from her own sorrow, a poignant metaphor for the resilience required to reach the later stages of life.

Anarchic Pacing and the “**ck It” Anthem

The strength of Game of Crones lies in its charisma and its chaotic, sometimes madcap energy. The performers are professional “clowns” in the technical sense of the term, utilising surreal plot devices, such as being trapped inside a computer screen, to facilitate an intermission. This “haywire” pacing is where the show finds its most interesting juxtapositions, notably a mashup between circus ringmasters and plastic surgeons – a sharp, satirical commentary on the societal pressure to either age naturally or fight the clock through clinical intervention.

Musically, the show hits high notes, particularly with the infectious “**ck It” song. While the notoriously reserved Edinburgh audience offered polite clapping rather than a full-throated singalong, the lyrical wit was undeniable. The show isn’t always smooth; the narrative can feel a bit too chaotic, making it difficult at times to track the exact trajectory of the quest. However, for a 50-year-old male reviewer who doesn’t necessarily fit the “primary” demographic of menopausal exploration, the emotional connection remained surprisingly strong. The frustration of “creaky knees” and the tragedy of becoming “invisible” simply because one is busy caring for everyone else are universal truths delivered here with a sharp, comedic sting.

Overall

Game of Crones is a quirky, ferociously funny, and defiantly feminist piece of theatre that thrives on the chemistry of its leads. While the narrative gears occasionally grind under the weight of its own madness, the sheer charisma of Dooley and Edwards carries the day. It is a messy, brave, and surreal celebration of the “third age” that proved well worth braving a national storm to witness.

So, in a rough order and lots of thoughtful debate, here’s the current top pizza list. It’s like pizza toppings but the other way around.

Origano

Leith Walk

Top spot goes to Origano, the sit-in restaurant that hides behind an ageing green front, rather than the takeaway specialist, which is the same family but one I’ve never tried.

Origano takes the top spot as a lovely Italian restaurant that always has a great vibe and even better pizzas. The food here is delicious, perfectly cooked, and for the pizzas, that means you can watch your food go into the big oven and then slide out on ye-old-style paddles.  Prizes are fair, service is quick and should you strangely not be a pizza fan then there are other options on the menu.

Razzo Pizza

Great Junction Street

If you were to pick a pizza place because of the number of Deliveroo drivers waiting outside to pick up a takeaway, then you’d come to Razzo. Each time I’ve seen a debate on Reddit about the best place to go for a pizza I’ve seen Razzo win or nearly win.

Needless to say; I’ve been and I rate the pizza here highly.

There’s more than Neapolitan-style pizza on offer, though; there’s antipasto and desserts. You don’t have to takeaway as there’s room for small groups. I think this is a local to take visiting friends, perhaps even dates, to lowkey impress.  Just don’t tell them about the Deliveroo queue judging technique.

Novapizza

Howe Street

There will be a lot of takeaways on this list, but Novapizza is not one. Novapizza is a charming little plant-based and dairy-free Italian restaurant that makes vegan pizzas work.

Novapizza’s high position on this list is not a token nod to food options; the pizzas here are that good. If you don’t think you can imagine liking a dairy-free pizza, then challenge yourself to a Novapizza, and the chef here will change your mind.

Just book in advance because, although walk-ins are technically possible, I’ve tried a half-dozen times without success.

Matto Pizza

Cadzow Place

There are several Matto Pizza restaurants in Edinburgh now, but the only one I’ve tried and the original Matto, as far as I’m concerned, is the takeaway and little sit-in venue on Cadzow.

Check to see if the chalkboard outside the restaurant is offering “The special one” or “The special two” for a rotating (if inconstant) selection of quirky pizza. If not, don’t worry, because you’ll still get quality wood-fired pizza.

Matto Pizza is a walk off the beaten track during the Fringe, but not so far that you can’t get back into the heart of the action. I often find myself here if I’ve finished a show near the bottom of the Royal Mile and have an hour and a half before the next one, because I know I can get a pizza in that time. It’s a handy hack.

Pierinos

Leith

Pierinos is the only chippy on this list. It’s an award-winning chippy, and if you’re visiting Edinburgh only for the weekend and want to try an authentic local experience, then pop in for the fish and chips. I, though, go for the pizza, and I must have been over a hundred times.

Pierinos lets you custom-build your pizza with whatever toppings they have, but I want to call out the Turkish-style pizzas, which are (yes really) bases with shaved doner meat on them and on which you can heap chilli sauce and salad.

Pizza Geeks

Leith

There are a few Pizza Geeks candidates, and I’m going to pick the Tardis in Leith. It’s not the original, it’s not the latest, but it’s the Pizza Geeks I tried first. It should also be clear by now as to which parts of Edinburgh I visit the most often. They once did chocolate pizza here.

Pizza Geeks are on this list not just because of their nerdy theme but because their pizzas are good enough to make the cut. That said, their pop-ups aren’t as good, especially not the Festival pop-ups, but those are still a cut above their immediate rivals.

Bonus points go to Pizza Geeks for their outside food deals with several nearby taprooms and venues.

Dough

Rose Street

I’ve mentioned the Festival several times already, and I’m going to do it again, but this time cautiously. Dough is both an oasis of escape during an event like Hogmanay or the Festival and a crowded trap. It all depends on the timing.

So, I admit it. I’ll pop in here between Fringe shows to escape the queues, but also because I’ve sampled pizza from across Edinburgh and there are few in the centre of town as good as Dough. The service here is quick and friendly, the menu is just about large enough, and the quality is always good.

Stone Fired Artisan Pizza

Newhaven

Out of the way and easy to miss, Stone Fired is a tiny little pizza takeaway with about room for you and your oldest kid to wait for the food. Fortunately, service is quick, the food is made right in front of you and always good. You won’t have to wait long, and kiddo will be happy.

Stone Fired Artisan Pizza does that boutique sourdough base, which means it gets to use ‘artisan’ in its name and I’m yet to have a bad pizza from  here. I go, though, because I want pizza and more. This clever little business also sells cakes and desserts of decadent joy. I can’t say it’s a good calorie decision but if you ever need to cheer up; order from here.

Fired Dough

Lothian Road

Fired Dough is a new discovery for me because I assumed it was a soulless chain with unremarkable pizza, simply because it was on Lothian Road.

I was wrong.

Yes, every time I’ve visited it’s felt a little impersonal and that the restaurant area needed a clean, but the busy staff were always quick and attentive. Importantly, the pizza here is way better than soulless franchises, the menu is interesting and the food is good.

Fired Dough is in a great location and absolutely worth knowing about.

Best pizzas?

That’s the list as it stands now. Places not on the list might be venues we’re yet to visit or might not have made the cut. Either way, if you have a suggestion, then leave it in the comments below.

Also, fair to say, I’ve not tried all the pizza in Edinburgh. I’m confident (just ask my belt buckle) that I’ve tried loads! Before I finish, let’s give an honourable mention to One Canon for being a pizza pub! That’s beer and pizza together throughout the week. A very handy location to know and not far from the centre of town.

The first impression of Pierinos is one of professional consistency. While many traditional chip shops have struggled to adapt to the shifting culinary landscape of modern Edinburgh, this shop has leaned into its heritage while polishing its presentation. The interior is clean and bright, and the staff manage the high volume of orders with a practised efficiency that reflects their decades of experience. It is the kind of local institution where the staff recognise long-term regulars, yet newcomers are treated with the same brisk, friendly hospitality.

Award-winning Scottish standards

The sheer volume of accolades bestowed on Pierinos is a testament to their commitment to the craft of deep-fat frying. They consistently dominate regional and national awards for the best fish and chips in Scotland, and this success is built on high-quality ingredients. Whether you opt for the traditional battered haddock or the breaded alternative, the fish is consistently fresh, with flaky flesh that pulls away easily beneath a crisp, golden coating.

For those seeking a truly local experience, the supper menu is extensive. The haggis supper and the black pudding supper are particular highlights, served with the kind of chunky, deep-fried chips that define the Edinburgh chippy experience. These chips are thick, soft on the inside, and carry that unmistakable salt-and-vinegar punch. The chicken pakora is another curious but delicious staple here. It carries a distinctive, vibrant red hue that might surprise the uninitiated, but the flavour is robust and serves as an excellent side or a main event in its own right.

Pizza secrets and Turkish twists

While the traditional fried food is the initial draw, the pizzas at Pierinos have earned a cult following that rivals the fish and chips. These are not make-do takeaway pizzas; they are crafted with care and made on a base that’s not sourdough thin but thin enough, chewy, and charred in all the right places. The quality of the dough and the freshness of the toppings elevate this menu section far above what one might expect from a traditional chip shop.

One of the more unique offerings is the Turkish-style pizza. This is a brilliant, indulgent fusion that tops a pizza base with a generous layer of shaved doner meat. It is served with separate tubs of house-made chilli sauce and fresh salad, allowing you to assemble the perfect bite. It is a heavy, satisfying meal that has become a go-to treat for locals after a long week. The fact that Pierinos is licensed to sell alcohol means you can pair your pizza with a cold beer, making it a complete night in.

Things to do in Leith

Leith is one of the most vibrant areas of Edinburgh, offering a mix of maritime history and modern culture. Visitors can explore the Royal Yacht Britannia, which is permanently docked at the nearby Ocean Terminal. For those looking to stay in the heart of this historic port, there are excellent accommodation options such as the Malmaison Leith.

Transport links are excellent, with the tram taking you from the Shore to Princes Street in under twenty minutes. You can arrange wider travel or flights via Trip.com. For a selection of local apartments and guesthouses, Booking.com provides a comprehensive list of stays within walking distance of Bernard Street. For those planning to explore the surrounding coastal areas, car hire is available through carrentals.co.uk. After your meal, a stroll along the Water of Leith walkway provides a scenic route through the city, passing through Stockbridge and Dean Village.

Overall

Pierinos is much more than a simple takeaway; it is a local landmark that has maintained its standards for twenty-five years. While its popularity means that delivery times can occasionally stretch during peak weekend hours, the quality of the food invariably justifies the wait. From the award-winning fish and chips to the surprisingly sophisticated pizzas, it remains the gold standard for casual dining in Leith. It is a family-run success story that continues to give back to the community it serves through local charity support.

This wasn’t merely a gig; it was a sensory-overload communion. From the moment the lights dimmed, the audience was swept into a whirlwind of house, garage, punk, and soul, all anchored by a relentless percussive drive. Front-loading the set with a mix of nostalgic anthems and newer material, the band ensured the historic venue felt less like a concert hall and more like a fever dream in deep space.

Intergalactic Imagery and Operatic Excess

The visual ambition of the performance was staggering, leaning heavily into a sci-fi aesthetic that bordered on the surreal. A black pyramid monolith dominated the stage, serving as a focal point where dancers spiralled down, and musicians emerged from a central circular portal to perform. The costume design was equally audacious: drummers draped in “angelic space ponchos,” dancers in skin-tight silver with laser-firing bras, and even a giant, spiky figure that resembled a “super-sized virus” stalking the stage.

Musically, the night took unexpected, brilliant turns. At one point, a vocalist delivered an operatic sequence that evoked the haunting “Diva Dance” from The Fifth Element, complete with silver-clad performers and space-themed visuals on the backscreen. This blending of high art with the raw, primal energy of 90s rock and big beat created a “vibrant carnival of energy” that left the Edinburgh crowd breathless.

Raw Energy and Primal Communion

While the studio recordings of hits like Red Alert and Where’s Your Head At are polished pop-house staples, the live iterations were notably “roarer” and more primal. The performance sacrificed some melodic precision for a far more emotional, vibrant experience. It felt less like a manufactured stage show and more like a collective celebration of “quirky pop sensibilities” pushed to their absolute extreme.

The energy in the Usher Hall was palpable and, at times, physically daring. Fans in the upper tiers were seen dancing with reckless abandon, seemingly unbothered by the “precarious drop from the circle.” It was a testament to the band’s enduring cultural significance – though they may be veterans of the scene, their ability to command a room remains unmatched. “This is a moral imperative,” the evening suggested: if you have the chance to see this madness in person, you must take it.

Overall

Basement Jaxx at the Usher Hall was an hour and a half of glorious, unadulterated chaos. By blending sophisticated choral arrangements with the grit of live drums and guitars, they managed to elevate a dance concert into a theatrical event. It was a stomping, soul-charged start to the week that reminded Edinburgh exactly why this band remains a cornerstone of British electronic music.

The show examines whether the reporting of global events has become a primary driver of modern chaos rather than a tool for clarity. Chaponda, a familiar face on QI and The Royal Variety Performance, suggests that modern journalism in 2026 has entered a period of absurdity that makes traditional satire feel almost redundant. He notes that competing with the literal statements of major political and tech figures has made joke-writing “easy,” a fact he describes as a “really depressing” state for the craft of comedy.

Returning to the intimate, basement-style energy of the Monkey Barrel allows Chaponda to engage directly with local crowds away from the international madness of the August festival season. This “off-season” intimacy is central to the show’s exploration of the “AI spectre,” offering a space for interaction and dynamism that screen-based entertainment lacks.

You’ve described Edinburgh as your “home away from home” thanks to the Fringe, yet you also mentioned the “freezing cold” being the only downside. Beyond the venues, what is the one specific Edinburgh spot, be it a cafe, a particular street, or a drafty pub, where you feel most like a local rather than a visiting performer?

I wish I could say the castle as I’m regal and prowl the streets with pomp and circumstance, but really it’s the Grassmarket where I did my first Edinburgh show, made a bunch of friends and return to for a drink or chat (unless it’s cold! In which case I stay in).

Topical Storm explores whether the reporting of events has become part of the chaos. As a satirist who has “been the news” yourself, do you think modern journalism in 2026 has lost its ability to take a joke, or has the news itself become so absurd that it’s actually putting comedians out of a job?

How can I compete with the actual things that Trump, Farage, Musk etc actually say. Truth is subjective, politicians deny things to your face despite evidence to the contrary. It’s very easy to write jokes and I wish it was hard. I want to live in a utopia where my job is borderline impossible. But oh no, this show was written in record time, and it’s hilarious, and that in turn is really depressing.

You performed at Monkey Barrel on 22nd March. That venue has a very specific, intimate energy compared to the cavernous halls of the Pleasance or the Assembly during August. How does your approach to Topical Storm change when you’re playing to a dedicated Edinburgh comedy crowd in the “off-season” versus the international madness of the Festival?

This show celebrates the intimacy of live entertainment in the face of the AI spectre making everything on screens suspect. There is interaction and Q&A in the show and Monkey Barrel is the perfect venue for dynamism.

Your show touches on algorithms that reinforce what we already think. In a city like Edinburgh, which can sometimes feel like a very polite but intense intellectual bubble, have you ever found that a joke which “started a conversation” elsewhere was met with a very different kind of “Edinburgh silence”?

I’m Malawian and David Livingstone was Scottish and I’ve done shows in Edinburgh talking about the links with that missionary who evangelised my homeland. I’ve had conversations spiralling out of that and the Scottish-Malawi partnership are often an organisation who comes to my shows as some sort of impromptu works do.

Having won a battle at Celebrity Mastermind in 2025, you’ve proven you can handle “hard facts”. In an era of fake news and “truth-adjacent” blogging, do you feel there’s a new responsibility for comedians to be the ones actually providing the “Mastermind” level of factual grounding for the public?

I did win Celebrity Mastermind, but I should say, this isn’t because I’m super clever. Comedians know lots about various weird subjects because we are always researching jokes. This makes you a master of obscure facts (perfect for a news show). But when it comes to ‘hard facts’ I’m not the person to go to. I know no statistics about how the price of oil will rise because of America’s war on Iran. But if you want to know how badly the Melania documentary sold in the UK, call me! I am a master of soft facts, nonsense facts, and mild diversions from the monotony.

Thanks, Daliso!

See Daliso Chaponda Live

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