Please note: This gig will take place in the Steak Bar, next to the Function Room, and places will be limited. So please make sure you purchase your ticket in advance.

Preview

Carol Laula's rise from a young unknown to a household name in Scotland has been phenomenal. Carol first captured the attention of the Scottish media, when in 1990, her independent single, "Standing Proud' was chosen to represent Glasgow in its year of culture. Since then, all three of her albums - 'Still', 'Precious Little Victories' and 'Naked' - have been released there to high critical acclaim, as well as propelling her to the forefront of the Scottish music scene. Carol's reputation has also grown internationally over the years. She was even invited to perform at New York's famous Carnegie Hall alongside Mary Chapin Carpenter and Sarah McLachlan at the very first all-female singer/songwriter concert.

Unlike many other singers, Carol Laula has remained true to the raw gigging experience. She regularly invites her audience to make requests with an ease that would strike fear into the hearts of most seasoned musicians. She has also won numerous awards for her appearances at the acclaimed 'Celtic Connections' festival, including 'Best Performer' in 1995. "There's nothing more disappointing than looking forward to seeing someone perform live and then they act all precious on stage, taking themselves terribly seriously", says Carol "Sometimes you'd be as well to go home and listen to their album with a bottle of wine and, sadly, it'll probably be better. That's why I pride myself on making the live side of my work that little bit special."

After extensive touring of Scotland, Canada and the U.S., Carol took a well-earned break from the industry to study Politics and Sociology at University, but she is now returning to music with a new album in the pipeline and a fresh musical outlook. Although Carol's sweet harmonies and intelligent lyrics have drawn comparisons to Joni Mitchell, she is quick to stress to audiences that they are likely to see a departure in style, with her opting for a new rougher sound. "I've been working on a variety of new songs which totally lend themselves to a whole host of new sounds- sounds enhanced by technology but which essentially still come from the root source. Ultimately what I want to achieve is something much bigger and more exciting, but that's not to say that I don't like what I've done in the past. I see it as a natural progression; I just had to move on. It's vitally important to me that I not only maintain the brilliant fans that I already have, but I attract many more along the way."

Those fortunate enough to have had a taste of Carol Laula's new material have noted its exceptional nature. From the wonderfully melodic 'Happy Place' to the sublime 'Heaven', Carol has made the process of musical development seem effortless.

Support comes from Emily Williams, who returns to the Talbot (she supported Duke Special last June) after her recent international performances in the U.S.A. and Europe, with folk band Ember. Playing songs that have been described as 'haunting, lyrical, poetic, moving and often funny', Emily's style has been compared to that of Tracy Chapman, Tori Amos, P.J. Harvey and Bjork.

Review

Ousted from the function room by the annual anglers' dinner bash, the more intimate confines of the Talbot's dining room (with its clever retro/sixties Berni Inns decor) constituted our one-night-only home - something of a mixed blessing.

Faced with the need to wind up proceedings by 11.00, to avoid sound spillage from the disco next door, we had to put Emily Williams behind the mike in front of a still-settling audience, but, as on her 2003 visit, she caught us up in her intriguing songs, which are marked by some striking imagery ('Skin', in particular), and a melodic approach that's often unorthodox (and vaguely reminiscent of the better female folkies of the 60s/70s, such as Janis Ian). Once she's playing, she has a way of showing involvement with her material - a slight rhythmic sway, that catch in her voice - that's really engaging, and we look forward to the eventual appearance of her unavoidably delayed debut CD: Emily's an intelligent young songwriter of significant promise.

Scotland's Carol Laula is a vigorous and confident performer, with a voice that's blessed not only with a huge range, but a projective power that was sometimes almost too big for the room. We'd love to see her in the context of a full backing band, which would match her vocal impact. As it was, she delivered convincing full-on readings of her articulate and catchy songs from her five albums: 'Chasin' Whisky' and 'Bring Down The Rain' from 2002's 'First Disciple' shone, as did Martin Stephenson's 'Crocodile Cryer' and the Goffin & King classic 'Wasn't Born To Follow' from the new 'To Let' album. Carol plays sturdy guitar (mostly on a beautiful two-thirds scale instrument), does funny little Pete Townsend song-ending jumps, and keeps up an amusing and informal banter with her audience. In sum, a strong performance, the sheer strength of which was probably more suited to the proportions of our customary venue.

Still, nice'n'cosy, wasn't it?