Organisers of gothic music festival DEADINBURGH have sent out a message for those planning to attend but haven’t bought their tickets yet, hinting the festival could be in danger of cancellation if more tickets aren’t purchased in time.

Despite The Deadinburgh Festival being just a few months’ away at the iconic La Belle Angele, only 35% of all tickets have sold.

It’s been speculated online that the lack of sales may be due to a crossover with the upcoming Garbage gig at Edinburgh Castle on 11th July, along with the ongoing cost of living crisis.

This is now an URGENT CALL for goths and music fans to grab their tickets, and avoid massive disappointment. Here’s what the organisers had to say via email and on their Facebook page:

Dear Deadinburgh Patrons,

We feel like we need to be transparent about all this because this year’s festival rests upon it.

We’re currently sitting at around 35% in tickets sold so far. With only a few months to go this is worrying.

We urge everyone who is intending on attending this year’s festival to purchase as soon as they’re able to.

We absolutely understand that times are tough and money is incredibly tight in the current climate, but events like ours only exist because of the music fans and we now really need your help.

Many thanks

The Deadinburgh Festival

After some doubt from naysayers, last year’s inaugural Deadinburgh Festival was a surefire hit – and I should know, because I was there.

I’ve also been really excited about this year’s line up:

Small gothic festivals like DEADINBURGH are a rarity and really have the fans’ experience at their heart, so definitely worth supporting.

No-one really wants DEADINBURGH to die, so if you’d been on the fence about coming along, let us appeal to your heartstrings on this one.

Visit the official DEADINBURGH website to get your tickets today.

I’m new to this, and today I enjoyed my first ever play, pie and pint (actually a Fanta) combo – and what better way to try out this charming, tantalising format than with this powerhouse of a one-woman show! Off the Rails, written and performed by Stephanie MacGaraidh, packs a punch.

So, what’s it about? Well, here’s a little introduction from the writer herself:

‘For my professional writing debut, I wanted to follow advice and write about something I knew, so out came a musical about yearning for connection.  It seems like saying hi to the person next to you is a solid place to start.’   Stephanie MacGaraidh

The setup

Upon entering the theatre (to view the same stage where I once performed a one-off Chekov scene, I’ll have you know!), there’s some neon pink tubing, some ScotRail seats, an LED train sign, a guitar, a keyboard and looping equipment; that’s it. Then Stephanie enters, and you’re instantly immersed in the intriguing story of Maggie.

A ScotRail announcer sets up some initial expectations, and many questions follow; but you won’t find out the answers for a while. Get settled in, as you’re in for a bumpy ride!

Comedic, colourful characters

First, Maggie’s got a range of colourful characters to meet; from a hen party, to a slightly judgy elderly mother, to a man who has possibly the worst way of eating yoghurt ever.

The recurring character of Gareth the ticket inspector was my favourite, because he had some funny lines about the likes of unfortunate ham and cheese sandwiches, and catchy tunes about wanting to see your railcard. Every time Gareth came back he was accompanied by the whispy notes of “railcard, railcard…” It was perfection.

Cleverly detailed

As someone who has spent 4 – 5 days a week travelling on trains to Dundee for an entire year of uni (and who spent a chunk of that time making a log of which ScotRail trains had a pungently unpleasant smell of overused brakes), there were lots of little clever train-specific details I really appreciated in Off The Rails.

I’ve met plenty of Gareths, I’ve had to show my railcard, I know the ‘See it. Say it. Sorted’ slogan all too well, as do I know the little ‘chillin’ sign on some of the trains when they’re not in use. I can tell from Off The Rails that Stephanie has also spent a decent amount of time on trains.

Expertly performed

This is a musical comedy, so it’s not just about the characters; there’s a huge musical element that features a lot of live looping, with Stephanie on the keyboard, guitar and singing in perfect key – she doesn’t miss beat, and it’s wonderful.

Throughout the characters, and the songs, we learn about Maggie’s past, and the events that have led her to getting on a train in her pajamas and wanting to get on a ferry to Norway, never to return – on her 30th birthday.

Strong storytelling

There’s a strong storytelling element to Off The Rails, the pacing is brilliant, and what it really takes to learn what’s going on with Maggie is when she makes a genuine connection to another passenger, who has a story of his own to tell – and it’s the kind that really tugs on your heartstrings.

Yes, my eyes started leaking, and no, I hadn’t come prepared with tissues. This is NOT what I was expecting at all! Thankfully, there was more comedy to follow, which came along with the stark realisation of what Maggie had actually done – and yes, it’s 100% worth the wait!

There’s a lot to be said about the realisation around emotional baggage you’ve been holding onto for years, and that maybe you finally can let go. But just as meaningful is establishing that connection with someone who just gets you – and helps you realise what it is you actually need (spoiler: it’s not always a trip to Norway!).

In conclusion…

I laughed, I cried, and I appreciated some catchy tunes and downright bops and bangers whilst watching Stephanie MacGaraidh perform her written debut one-woman show Off The Rails. What a triumph. I believe this is something that needs to keep going, all the way to the Fringe and beyond!

Production note: Off The Rails was produced by Stephanie MacGaraidh (script and song writer), Katie Slater (director), Heather Grace Currie (set and costume designer), Ross Nurney (lighting designer), Ana Reid (Lighting operator).

I was delighted to have been able to attend an outdoor screening of Enys Men at the inaugural Fiends in the Furrows folk horror festival in Leith. The three-day long event has been described as “a mix of pop-up outdoor and indoor screenings & events across Leith, from 23-26 April.“

The festival boasts a few different venues, and this one was shown at Dock Place (Custom House), on a mild and only very slightly chilly evening. I was grateful for the food trucks in place to allow me to grab a bite of Greek street food on the benches beforehand! (There was also pizza from Pizza Geeks)

The outdoor screening experience

It’s such a novelty for me to attend an outdoor screening – although, I’m aware they do happen in the ‘Burgh, albeit usually in the summer months. Food benches were at the back, and metal seats were laid out in rows for watching the film itself – being metal, they were pretty chilly, so I was very glad I’d thought to bring a blanket that I was able to sit on! Pretty soon I ensconced myself in blanket completely, because although I thought I’d be fine in my leather jacket… I was wrong (but still grateful for no rain).

Still, I really enjoyed the experience of the outdoor screening, and the overall relaxed folk horror vibe. It was quite cool watching the gulls on the screen, whilst gulls are playing over our heads, with pigeons walking down the aisle and at one point landing on top of the screen!

I’m less of a folk horror affictionado, but according to folk in the know, it was apparently really cool of Fiends in the Furrows to have a showing of a folk horror film that wasn’t one of the ‘big three or four’. This feels like a significant thing to acknowledge, so well done, that festival.

A brief review of Enys Men

I was entirely new to the film going in (having been invited by a friend), with no prior knowledge of the plot or the background. Set in 1973, the film has an appropriately retro feel (I was shocked to later learn it was actually shot in 2023), and follows a single unnamed woman on an isolated island with only a two-way radio for company… or perhaps not. It’s difficult to tell if the other people are real, from past memories, or are perhaps spirits of the dead taunting her.

It’s a slow burn at first, with an overall uneasy tone, as things start to happen which help us piece together what occurred, and might be going on now. There was a tragedy at sea, and the seeming loss of The Woman’s friend/lover, a serious injury of her younger self, and strange groups of people doing unexplained things.

It’s all a bit vague and unsettling, and as we follow The Woman around specific points of the island, we start to worry if she’s actually losing her mind, haunted by past memories, or seeing things of the supernatural variety. There are many questions, such as ‘why is she throwing a rock down that hole every day?’, ‘what is she checking for?’ and ‘who is she seeing down there?’.

It’s overall an eerie, unsettling, and contemplative film that took me a little bit of time to fully process. Conclusion: The Woman is Not Okay. May end up in the sea, or slicing open her serious old scar to try and remove the imaginary moss growing out of her. Send help.

To sum it up…

I really enjoyed my one outing to Fiends in the Furrows, the outdoor screening was a success – not too cold, not too overwhelming busy, food for all, and a lovely introductory speech to boot. For those in the know, the film was an impressive choice, and I enjoyed it.

Well done to Fiends in the Furrows for a successful (I hope) inaugural festival, and I hope we’ll see you back next year!

The atmosphere is that of a focused, high-energy cafe where the kitchen takes centre stage. It is a small operation, housing only four or five tables, and a vibe of quiet one-on-one chat, friends catching up and brave groups venturing in from the Walk. There is an immediate sense of purpose here; Ernest & Bob is not trying to be a sprawling gastropub, but rather a specialist workshop for the perfect smash burger.

The Art of the Smash

The menu is lean and confident, featuring a handful of curated options like the OG Smashburger, the Tangy Tango, and the Morning Glory. I opted for the Firebloom, a spicy variant that immediately justified the restaurant’s reputation. The hallmark of a great smash burger is the Maillard reaction, that crispy, lace-like edge on the beef patty, and Ernest & Bob delivers this with surgical precision. The patties are thin, juicy, and packed with a depth of flavour that makes the £10 price tag feel like an absolute steal.

The sides are equally deliberate. You can choose from classic fries, truffle fries, halloumi fries, or tater tots. Notably, do not go in expecting a customisable menu or health-conscious alternatives. I witnessed a patron politely but firmly informed that sweet potato fries were not an option. This refusal is not about elitism but about maintaining the integrity of the fryers and the speed of the service. In a venue this small, every square inch of the kitchen must earn its keep.

Close Quarters and Canned Beer

Ernest & Bob is an intimate venue, making it an ideal spot for a casual catch-up with a close friend or a messy, low-pressure date. It is not the place for a corporate lunch or a large department outing; the space simply cannot accommodate it. Part of the charm is the lack of pretension. You should expect to leave with a bit of hot sauce on your cheek and the satisfaction of a meal well-earned.

The restaurant is open late and serves a selection of canned beers that complement the food’s meaty and sometimes daring profile. While the service is friendly and the staff are clearly passionate about their craft, the food is not “fast” in the traditional sense. Each burger is smashed to order, and during peak times, the wait is a necessary investment for the quality provided. It is a refreshing change of pace on Leith Walk, offering a premium product in a grounded, independent setting.

Things to do in Leith

Leith is one of Edinburgh’s most vibrant districts, offering a mix of historic charm and modern hospitality. After a burger, a walk down to the Shore provides access to some of the city’s best bars and Michelin-starred dining. The area is also home to the Royal Yacht Britannia, located at Ocean Terminal, which is easily accessible via the new tram extension.

For those visiting from further afield, Leith offers a range of accommodation. You can find excellent stays, from boutique hotels to serviced apartments, on Booking.com. If you are looking for a more traditional luxury experience near the city centre end of the walk, the Playhouse is at the top of the Walk. Getting to Leith is simpler than ever with the tram link from the city centre, and you can plan your entire trip, including trains and flights, via Trip.com.

Overall

Ernest & Bob is a masterclass in doing one thing exceptionally well. In a city where “gourmet” burgers often come with unnecessary frills and inflated prices, this Leith Walk gem offers pure, unadulterated quality. It is a glowing example of why Edinburgh’s independent food scene is currently outperforming the big chains. If you want a decent burger, skip the city centre tourist traps and head straight here.

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.