Few people would consider Tom Waits to be a rich source for LGBTQ+ pride, but drag king Mr Brake Down has been teasing such themes from the eminent growler’s back catalogue for years. This Fringe marks an evolution in his act as Down moves from whisky-swilling solo performer to the lead in a dynamic full band. In the hyper-masculine world of Waits (with his homeless bums, hookers and rain dogs), Down has unearthed an ever-expanding space for queer joy to manifest itself. 

Perhaps most admirably, he also seems committed to the more oddball end of Waits’ music, stacking his performance with the deeply unsettling spoken-word piece ‘What’s He Building?’, nonsensical absurdist masterpiece ‘The Piano Has Been Drinking (Not Me) (An Evening With Pete King)’, atonally aggressive ‘Chocolate Jesus’, and even a snippet of the pathos-riddled ‘Christmas Card From A Hooker In Minneapolis’, leaning into these lyrically outré tunes with a theatrical flair that grasps at their knowing humour (although don’t worry; Rod Stewart favourite ‘Downtown Train’ also gets a look-in). 

Yet the real entertainment lies with Down’s voice which, while not a one-for-one replica of Waits’ unmistakeable croak, contains notes of striking verisimilitude. He seems to implicitly understand the empathy behind these numbers and guides his audience (many of whom have limited knowledge of the Waits oeuvre) through their offbeat emotional register with aplomb. The between-song banter fails to match the performances themselves in charm or character, yet there’s something vital and invigorating about seeing these sprawling oddities transformed into an ideal avatar for the trans experience. 

Doom And Glitter: A Tribute To Tom Waits, Augustines, until 24 August, 5.15pm; main picture: Zoe Knowles.