Swatting flies probably wasn’t on John Cale’s agenda prior to his Edinburgh International Festival appearance, but one such irritating insect circles Cale over several songs. The elder statesman of avant-pop classicism finally appears to repel the assault from behind his keyboard, necessitating a roadie to come on and reposition his microphone.

This gives an extra edge to an already mighty ‘Guts’, from Slow Dazzle, one of several sojourns through Cale’s 1970s post-Velvet Underground purple patch. This sees Cale’s superb three-piece band led by long-term guitarist Dustin Boyer breathe fresh life into the title tracks of Cale’s Paris 1919 and Helen Of Troy collections, as well as ‘Barracuda’, from Fear. Fleshed out by understated electronic textures that go beyond rock’n’roll to something more progressively propulsive, there is even a magnificently demonic take on 1979’s ‘Rosegarden Funeral Of Sores’.
The scene is set straight off by way of the organ and atonal guitar drones that soundtrack a screen awash with 60s arts-lab static which introduces a set of old favourites mixed and matched with songs from Cale’s recently released Mercy album. For work both old and new, the rich croon of his singing voice retains its melancholy splendour throughout. A woozy, timeless air permeates the slow burning synthetic beats that punctuate both his material, with Cale making nods to his colourful past as if taking stock while still looking forward.

This is done by way of his wild-years-referencing ‘Night Crawling’ and, most definitively, on ‘Moonstruck (Nico’s Song)’, a personal reflection on the former Velvets singer whose solo records he produced. Topped off by his long-standing party piece of a fractured ‘Heartbreak Hotel’, Cale may be looking back in languor, but there are no flies on him yet. 

John Cale reviewed at Festival Theatre as part of Edinburgh International Festival.