The South are an impressive 9-piece band that features former members of The Beautiful South, including singer Alison Wheeler and lifelong sax player Gaz Birtles. They play the songs made famous by The Beautiful South and bring back the full flavour and arrangements with this exciting live band. The South are keeping alive all those timeless songs such as A Little Time, Perfect 10, Rotterdam, Old Red Eyes is Back, Good as Gold, Don’t Marry Her, plus many more singles and album track; these songs span an impressive 20-year career starting way back in 1989!

More than a decade after first emerging, protest singer, LGBTQ+ activist, comedy audiences favourite and folk star Grace Petrie stands out as one the most important songwriters working in the UK today. Exploding onto the folk scene in 2010 with the low-fi acoustic guitar/vocal release Tell Me a Story, Petrie quickly attracted attention with her polemical folk anthems, acerbic lyricism and open-hearted performance style. Support slots for the likes of Billy Bragg and Emmy The Great soon followed, with The Guardian declaring her “a powerful new songwriting voice”.

The goal of Scotland’s annual celebration of queer cinema is to get people watching, talking about, and making more queer films. We want to screen movies that people might not otherwise get a chance to see and create inspiring and informative events across Scotland. Moreover, we want to support marginalised groups within the LGBTQ+ community by providing a networking system for queer filmmakers, as well as filmmaking workshops for audiences wanting to start on the medium.

Say Sue Me are a surf-inspired indie rock quartet from Busan, South Korea. The band are influenced by 1960s US surf bands such as The Ventures and 1990s US indie-rock bands like Pavement and Yo La Tengo.

Nora Brown is the “brightest young star in old-time music” (Songlines), playing traditional music focused on southern Appalachian banjo and guitar, with her singing revealing her “thirst for storytelling.”( NPR) . She digs deep: “a reverent nod to deeply-rooted ole-time traditions, and an exhibit of sonic heirlooms carefully amended to meet a modern moment with vintage elegance.” American Songwriter. The New Yorker called her most recent solo record Long Time To Be Gone “a disarming collection of traditional laments and exquisite banjo instrumentals.” Nora will perform in a duo with award-winning fiddler Stephanie Coleman. First brought together by Brooklyn’s tight-knit old-time music community, Nora Brown and Stephanie Coleman share a rich musical partnership that belies their 20 year age difference. Stephanie is a master old-time fiddler, having recorded with and toured internationally over the last two decades with celebrated artists including trailblazing all-women string band Uncle Earl. Beginning at age 6, under the tutelage of the late musician and scholar Shlomo Pestcoe, Brown also counts Alice Gerrard, George Gibson, and the late John Cohen, Lee Sexton, and John Haywood among her teachers and mentors. Just nineteen years old, Brown has released three albums, a single, and an EP on Jalopy Records. Across each haunting collection of traditional music, Brown’s playing is lucid, confident, and full of grace. Presented by Please Please You & The Black Swan Folk Club This is an 16+ event

Part of Tramway's Dance International Glasgow festival, 9 - 24 May BUZZCUT presents a Double Thrill with Norwegian/Jamaican choreographer Harald Beharie’s award winning solo Batty Bwoy showcased alongside Scotland- based dancer and choreographer Pik Kei Wong’s critically acclaimed work Bird-watching. Collect your tickets and begin the night at the CCA. After the first performance there will be a short walk to The Vic for the second performance. This is a 1 minute walk up a steep hill, there will be audience support staff who are happy to assist and/or we can provide free accessible cabs (please let the box office know on arrival if you require this). Recommended for ages 18+ Audience notes: The performance contains nudity and explores themes of homophobia. ACCESS - Highly visual Harald Beharie's Batty Bwoy doesn’t start with a question or a critique, but from a place of play and desire, entangled with violence and charming cruelty. Reappropriating the Jamaican slang for a queer person “Batty Bwoy” (butt boy), it twists and turns the myths of the black queer body, unfolding possibilities in an interplay of consciousness and naivety. Scrutinizing queer monstrosity, Batty Bwoy articulates through the porosity of bodies and languages – their mouths swallowing and regurgitating the corporal fictions projected onto their skins. In an odyssey of prog-rock, Batty Bwoy attacks and embraces narratives of the perverse and deviant queer body. The expression "Batty Bwoy" comes to evoke an ambivalent creature at the threshold of the precarious body, liberated power, joy, and batty energy! Drawing from; mythologies, disgusting stereotypes, feelings, fantasies of the queer body and identities, homophobic dancehall lyrics, 70s Giallo films, resilient gully queens, and the queer voices in Norway and Jamaica that have been part of its process. Fresh from a 5-star triumph at Edinburgh Fringe, Bird-watching, Pik Kei Wong’s mesmerizing solo asks audiences to confront their own perception of the female form. Developed in Hong Kong where she worked in the dance scene before her move to Scotland in 2023, Bird-watching artfully navigates the complex interplay of desire, cultural norms, and female empowerment – transforming discomfort into a profound appreciation of the body’s power and presence. CREDITS Batty Bwoy Choreography/Performance: Harald Beharie Artistic collaborators/sculpture: Karoline Bakken Lund and Veronica Bruce Composer: Ring Van Möbius Sound designer: Jassem Hindi Outside eye: Hooman Sharifi, Inés Belli Producer: Mariana Suikkanen Gomes Distribution: Damien Valette Supported by: Kulturrådet, Fond for lyd og bilde, FFUK, Sandnes Municipality, Oslo Municipality and TOU. Bird-watching Choreographer and Performers: Pik Kei Wong / Composer ：Fiona Le（Premiere）Jasper Fung / Lighting designer： SunFoolLau / Costume designer: Luise Yau / Installation Frame designer: William Muirhead Image: Harald Beharie performing the solo Batty Bwoy, at Dansens Hus in Oslo, Norway. Photo - Tale Hendnes

For folksinger Willi Carlisle, singing is healing. And by singing together, he believes we can begin to reckon with the inevitability of human suffering and grow in love. On his latest album, Critterland, Carlisle invites audiences to join him: “If we allow ourselves to sing together, there's a release of sadness, maybe even a communal one. And so for me personally, singing, like the literal act of thinking through suffering, is really freeing,” he says. Rooted in the eclectic and collective world of his live shows, Carlisle’s third album, Critterland takes up where his sophomore album, Peculiar, Missouri left off, transforming Peculiar’s big tent into a Critterland menagerie and letting loose the weirdos he gathered together. The album is a wild romp through the backwaters of his mind and America, lingering in the odd corners of human nature to visit obscure oddballs, dark secrets and complicated truths about the beauty and pain of life and love. Produced by the GRAMMY Award-nominated Darrell Scott and released Jan. 26, 2024 by Signature Sounds, Critterland considers where we come from and where we are going. On the album, he takes on human suffering through stories about forbidden love, loss, generational trauma, addiction, and suicide, believing that by processing the traits and trauma we inherit, he can reach a deeper understanding of what it means to succeed and to exist. Presented by Love Thy Neighbour. This is an 18+ event