Eurovision singer Dadi Freyr to perform in Glasgow
The gig will take place on Wednesday, September 10.
READ NEXT: Huge Scottish singer to perform at OVO Hydro in Glasgow
The 32-year-old first rose to fame with his 2020 hit Think About Things, which went viral during lockdown. It has earner over 100 million streams.
Freyr was meant to represent Iceland in the 2020 Eurovision Song Contest with Think About Things before the event was cancelled due to the Covid-19 pandemic.
When he performed in 2021, Italy came first place followed by France and Switzerland.
READ NEXT: Celtic hero to headline special event in Glasgow
Tickets for the Glasgow show will go on sale at 10am on April 25.
To purchase tickets, visit www.gigsinscotland.com/artist/dadi-freyr
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Glasgow Times
13 minutes ago
- Glasgow Times
Jeweller to showcase nature-inspired work at Glasgow market
Jane Harrison, who works from The Briggait Wasps studio in Glasgow, will exhibit her latest creations at the Tea Green Summer Design Market, taking place at The Burrell Collection in Glasgow on August 2 and 3. Now in its 11th year, Tea Green Events has grown into one of Scotland's leading events for independent designers and makers and will feature around 60 exhibitors. Read more: New mural takes shape on side of Southside Paesano Jane, a graduate of Glasgow School of Art, said: "My jewellery is born from a love of nature and a passion for collecting and curating natural objects, things I find on walks around Glasgow and further afield. "I'm constantly inspired by the shapes, textures and colours I see in parks like Pollok and Mugdock, or along the shores of Luss and Loch Lomond." Her early collections drew from her garden, often incorporating natural elements such as seed pods and twigs, some of which she casts directly into silver. Her latest pieces, which will debut at The Burrell, include earrings inspired by fledgling sparrows and tiny frogs from her garden pond. Jane has been a regular participant in Tea Green's Glasgow events since the very first market. She said: "Tea Green is the only market I attend regularly. "The standard is always high, and the locations are incredible, places I'd never otherwise have the opportunity to exhibit in. "I also love meeting buyers face-to-face, sharing the story behind my work, and often reconnecting after the event for bespoke commissions. "It's also a brilliant space for creatives to connect, collaborate, and support each other, especially as we navigate rising costs and other industry challenges." Founded in 2014 by Dundee-based jeweller Joanne MacFadyen, Tea Green Events began at the Glasgow School of Art's Student Union and has grown into a national platform for Scottish creatives. Joanne said: "Tea Green owes everything to Glasgow, having held our very first market at the Student Union of Glasgow School of Art. "Having grown up in East Kilbride, I also have personal memories of visiting both The Burrell Collection and Kelvingrove, first as a child and then later as an artist and creative. "Returning to these beautiful, iconic venues with Scotland's most talented designers is an absolute privilege." Read more: Glasgow artist pays tribute to music legends ahead of huge reunion gigs Lauren Rhodes, commercial development and programming manager at Glasgow Life, highlighted the value of the partnership. She said: "Tea Green is a fantastic example of what happens when cultural spaces and creative communities work together. "It has been a real privilege to develop this partnership with Tea Green at Glasgow Life, helping independent designers connect with museum visitors while delivering a high-quality public event. "Events like these support Scotland's independent creative economy and generate vital income for the museums service. "They also help our cultural spaces feel relevant, welcoming, and meaningfully connected to the wider arts and design community in Scotland." The Tea Green Summer Design Market at The Burrell Collection will run from 10am to 5pm on August 2 and from 11am to 5pm on August 3.
The Herald Scotland
31 minutes ago
- The Herald Scotland
‘First-class' producer at BBC Scotland and promoter of Gaelic dies
Died: July 18, 2005 Neil Fraser, who has died aged 86, was a former head of BBC Radio Scotland and a seminal figure in the evolution of Gaelic broadcasting. He was widely respected for the high production standards he brought to all his work and the sense of ambition he encouraged in young colleagues. The former controller of BBC Scotland and lifelong friend, Pat Chalmers, paid tribute to him as 'a first-class programme maker'. He said: 'Neil was high-minded in the best sort of way. He believed in giving audiences what he thought they needed, which was not always what they said they wanted.' A notable broadcasting legacy in this vein was an epic series of 30 programmes on Scotland's Music by John Purser, which traced its history from Bronze Age to the present day with recordings commissioned including reconstructions of early music and works by many little-known composers. It is difficult to imagine such an undertaking today. One of Fraser's first acts when he took over at BBC Radio Scotland in 1987 was to ban music from the airwaves before 10.30am in order to establish a more serious news and current affairs profile. When he resigned after five years, he said it had 'become more difficult telling people you are reducing their resources and manpower'. While capable of great charm and diplomacy, there was also a steely determination, to deliver outcomes which matched his high standards, particularly where Gaelic was concerned. He navigated successfully through BBC politics and lived most of his life in Glasgow, while retaining a deep affinity with the society from which he came. Neil Fraser was born in Lochboisdale, South Uist. His father, Alexander, was a teacher and the family of his mother, Ina (née Maclennan) ran the Post Office. They were a piping family and although Neil did not play, his love of the music stayed with him throughout his life. When Neil was five, the family moved to Skye when his father was headmaster of Staffin School. He was Dux of Portree High School in 1955 and proceeded to Glasgow University to study maths. This was Gilmorehill's golden age, famed for debaters and budding politicians as well as notable Gaels. Neil flourished in this environment, played shinty and became president of the SRC, though his academic career was less distinguished. Read more 'He never gave up': tributes to patriarch of Scottish undertakers | The Herald Tributes to countess who modernised royal Scottish castle | The Herald Tributes to 'Mr Stirling': journalist dedicated to his home town | The Herald He took employment as a maths teacher in Glasgow but quickly discovered it was not his calling. Fred Macaulay was head of [[Gaelic]] at the BBC and rescued Neil from the chalkface by offering him a job. In 1973, he became the BBC's first [[Gaelic]] TV producer, making programmes across the spectrum from current affairs to light entertainment. The production standards and journalism in the Gaelic current affairs output of that era were exceptional while the twee formats associated with early Gaelic song programmes were transformed, bringing in traditional musicians who had never been seen or heard on the BBC. Neil moved into the English language mainstream as head of current affairs in 1978. Again, these were days of ambitious programmes from Queen Margaret Drive, with some outstanding journalists and broadcasters. Neil's own award-winners as producer included The Glorious Effect about the history of the great Highland bagpipe, and The Pinch based on the recovery of the Stone of Destiny. In 1983, in succession to Fred Macaulay, he became head of Gaelic. Disparity of treatment compared with Welsh was glaring and Neil had the long-term vision of moving towards a dedicated channel. Pat Chalmers recalls him as 'very persuasive' about the expansion of Gaelic content and he had another friend at court in Alasdair Milne who became the BBC's Director General in 1982 but fell out with Mrs Thatcher and was gone within five years. BBC Radio nan Gaidheal, launched in 1985, is a lasting memorial to Neil's influence during that window of opportunity, giving the language the status of having its own national broadcasting service for the first time. His last BBC job was as head of Radio Scotland with the challenging task of keeping multiple audiences reasonably happy, while entirely satisfying none. Every change met with resistance while the massive bureaucracy amidst a climate of cutbacks, after Milne was succeeded by John Birt, was not to Neil's taste. He left in 1992. Neil had fought Gaelic's corner tenaciously and used his extensive political connections to build support. He helped cultivate a succession of Tory Secretaries of State for Scotland who for their own, sometimes very personal, reasons were well disposed towards Gaelic. In 1992, Malcolm Rifkind provided a transformational Gaelic TV Fund worth £9.5million, £21m in today's money. In 1997, I became the first Minister for [[Gaelic]] in the Scottish Office and one of my objectives was to initiate a process which would lead to a [[Gaelic]] channel. I turned to Neil whose report, setting out the rationale, proved a crucial mechanism in moving the concept forward, though arguments about how it would be funded dragged on for far too long. Neil continued to be involved in ensuring the ultimate delivery of BBC Alba. Neil Fraser (Image: Contributed) After leaving the BBC, he took on roles which included leading a Gaelic media course at Sabhal Mor Ostaig in Skye where he was greatly respected by students to whom he imparted unique experience and shared unfailing kindness and encouragement. He continued to make films for independent companies. One of these, about the folklorists John Lorne Campbell and Margaret Fay Shaw, led him to become a key member of the Canna Advisory Group which was dedicated to maintaining their priceless recordings. His love of piping was reflected through the John McFadyen Memorial Trust which he initiated along with Alasdair Milne and as a board member of the Silver Chanter in Dunvegan. In 1972, Neil married the distinguished singer, Anne Lorne Gillies. They parted in 1990. He is survived by their three children – Robbie, a film-maker; Rachel, a clinical psychologist; and Marsaili, who has worked for humanitarian NGOs at home and abroad; and by five grandchildren. BRIAN WILSON At The Herald, we carry obituaries of notable people from the worlds of business, politics, arts and sport but sometimes we miss people who have led extraordinary lives. That's where you come in. If you know someone who deserves an obituary, please consider telling us about their lives. Contact
Scotsman
43 minutes ago
- Scotsman
Tim Key returns to the Edinburgh Fringe with Loganberry, a 'skewed nod' to his breakthrough screen success
Tim Key is dividing his time between a book, a film, a TV series and a new Fringe show. Not bad for someone who 'doesn't have enormous range,' finds Jay Richardson Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Tim Key is meeting his drinking buddy John Kearns later, his fellow Edinburgh Comedy Award-winner immortalised in his writing as 'The Colonel'. Climbing Arthur's Seat, Key will survey a city that's been integral to his singular career, encompassing comedy, poetry, radio, television and film, and 'take stock'. Lest you imagine him a pretentious versifier though, a full Scottish breakfast and 'poem about sausages' is all he's managed so far today. Advertisement Hide Ad Advertisement Hide Ad Tim Key returns to the Edinburgh Fringe in 2025 with a new show, Loganberry. | Tim Key The 48-year-old appears relaxed in his customary baseball cap. That's despite a whirlwind four months since the US release of The Ballad of Wallis Island, a film in which he plays an eccentric millionaire who hires his favourite, disbanded folk duo for a private gig. Co-written with long-time collaborator Tom Basden, starring the pair and Carey Mulligan, it's attracted considerable acclaim and is still showing in UK cinemas. The Paper arrives a little over a month from now. Spun-off from the US version of The Office, the mockumentary is set in a struggling Midwestern newspaper and features the Cambridge-born comedian as part of a transatlantic ensemble. Some 14 years after the sitcom's showrunner, Greg Daniels, sought a recommendation for comedy in London and was directed to him by Friday Night Dinner creator Robert Popper, Key was given just 48 hours to decide whether to take the potentially life-changing role. He retains his own voice but sports an outlandish haircut, and his grapples with an American accent are tongue-in-cheek referenced in L.A. Baby!, his newly published fourth volume of poetry with (and featuring the semi-fictionalised thoughts of) his illustrator and 'emotional crutch' Emily Juniper, chronicling his Hollywood culture shock and mental instability. Advertisement Hide Ad Advertisement Hide Ad Somehow, he's also found time recently to appear in Bong Joon Ho's sci-fi comedy Mickey 17, with the Oscar-winning Korean director another avowed admirer. And to shoot his 'most intense scene' yet with Steve Coogan, reprising his role as floundering 'Sidekick' Simon Denton on the BBC's upcoming spoof documentary, Alan Partridge: How Are You? Right now though, Key is fine-tuning, 'adjusting the levers' of poetry, comedy and crowd-engagement of his latest Fringe show, Loganberry. Typically, his playing cards, those ones he affects to read his gnomic poems off, remain close to his chest in terms of what it's about. 'It reflects where I am in life at the moment,' he says when pushed of a show that's been in development for 18 months. 'There's stuff that's happened since, which, if I was starting a show now, would be very different.' Advertisement Hide Ad Advertisement Hide Ad One theme though is 'confronting' his breakthrough success and what it means for his artistic integrity. He wonders if he should even mention his and Basden's indie darling, hailed 'one of the great British films of all time' by Richard Curtis. 'It's interesting,' he admits. 'I usually keep stage stuff separate. But there are bits I've been developing which maybe give a slightly skewed nod towards it. I need to work out exactly how I deal with it, if I deal with it at all. Because there's something appealing in not acknowledging what's going on. In my shows, there's always an element of not knowing exactly what's happening, a contradiction inside it all.' Tim Key promoting his film The Ballad of Wallis Island. | Getty Images His poet persona is shambling but in command, alternately playful and passive-aggressive, 'sort of an underdog but also sort of arrogant. A guy who has everything and also nothing, vulnerable but sometimes in his interactions with the audience, almost taunting. I'm way above the audience and way below them.' He attracts people to work with him. His brass neck in sneaking into the Cambridge Footlights when he wasn't at the university has been well documented, facilitating his debut Fringe appearance in the group's 2001 show Far Too Happy, featuring another regular collaborator, stand-up Mark Watson. The university was also where he met Taskmaster creator Alex Horne, sowing the seed for him becoming Task Consultant on the hit show. And it was where he formed the sketch group Cowards, featuring Basden, with whom he's making a seventh series of Tim Key's Late Night Poetry Programme for Radio 4 next year. What's less remarked upon is how he created his ineffable act, leaving even the shrewd Coogan struggling to work out 'why what he was doing was funny'. After ten gigs in 2002 as a conventional, 'mediocre' stand-up in 'jeans and jumper', he turned up in a suit to perform in a friend's living room of all places and 'everything just clicked, every single building block was there and it had a really strong, distinctive flavour.' Advertisement Hide Ad Advertisement Hide Ad 'I'd bought a can of beer on the way, then opened it and it went everywhere, so I tucked it under my jacket, started reading my poems from scraps of paper - which five years later would become the playing cards – and quizzed the audience about them.' All to Soviet lounge music, a legacy of him studying Russian at his real alma mater, the University of Sheffield. Previously, stand-up had been 'horrific'. Now, 'it was bearable, there were possibilities. I was finding it funny and so were others. I thank my lucky stars that the other stuff was bad enough to stop. If it had been better, I wouldn't have tried something so different.' His 2009 Comedy Award-winning show featured film footage. Subsequent Fringe hours have seen him sink fully clothed into a bath and a hidden dancer belatedly emerge from his bed. His last show, 2022's Mulberry, poignantly captured the Covid lockdown experience. 'I wanted to write a show about that time that was knockabout and funny' he explains. 'Quite a difficult assignment I think. But it was relatable because we'd all been through it. I have a lot of affection for that show. I want this one to find the same place in my heart so I fall in love with it.' The Ballad of Wallis Island will undoubtedly bring more high-profile acting roles. Key modestly confesses to being someone who 'doesn't have enormous range', yet for nearly 20 years he's had a Zelig-like capacity to pop up in some of British television's most iconic comedy, including successive Alan Partridge vehicles, Peep Show, Detectorists, Inside No. 9, Stath Lets Flats and Taskmaster's debut series, stealing scenes every time. Advertisement Hide Ad Advertisement Hide Ad Regardless, 'I'll always do live stuff whatever else is going on' he confirms. 'It's quite nice, a pleasure, not to be on stage for three months. But then I start thinking of things I want to say and start to miss it.'
