Having released one of the standout albums of 2023 and 2024 in Star of the Sea (the album was available last year, but the vinyl launched earlier this year), The Countess of Fife aka Fay Fife of Rezillos fame has built a formidable live band around her in the shape of Willy Molleson on drums (Eliza Carthy), Al Gare on double bass (Imelda May, Jeff Beck), Laurie Cuffe on guitar (Cuban Heels, Vellininios). and on acoustic guitar and backing vox, Kirsten Adamson who has been picking up plaudits herself for her 2nd album Landing Place, including My Fathers Song’s a poignant tribute to her late father. The latest outing for The Countess and her crew was a late night appearance at this years Edinburgh Fringe in the intimate surroundings Doonstairs at the Patter Hoose.
The band having already had a busy day appearing on the BBC Radio Scotland afternoon show live from The Fringe earlier in the day, had a later night than expected, the previous show in the venue earlier having over-run. Early comers like myself were champin’ at the bit to get in, the queue a mixture of Revillos/Rezillos/Countess of Fife die-hards and those who had just bought tickets for a Fringe show experience (the couple in front of us had bought tickets thinking it was a jazz band – of course we re-assured them they would have a great night nonetheless). Bearing in mind I am now sitting on the train from Edinburgh to Glasgow as I type this, a quick calculation determining I’ll be home around 1.45, the question is, was it worth a man of advancing years staying up for?
Of course, I knew from the minute we all started crowding into the compact but welcoming room, that welcome furthered by Fay – who was already on the stage fresh having had a rushed set-up and sound check – to take our seats it was going to be a great night. The opening double barrelled whammy of Empty Headed and lockdown influenced single Trapped an indication of what was to come, a night of Fay’s richly honeyed spellbinding vocal atop a backdrop of the band’s sublime take on twanging rockabilly-tinged alt-country Americana, occasionally delivered with a dark twist and sting in the tail.
As I’ve come to expect, Fay was on top form between songs too, regaling us with the tales behind the songs, teenagers in hairdressers inspiring Sixteen, a story about years of touring and wide open spaces shared, before revealing that actually it, had nothing to do with Motorbike Guy, and a comment about how hot the venue had the added quip, I like it though, feels like we’re cookin’. Through the light-hearted banter and geniality, there are also some powerful messages behind the songs, dedicating the affecting emotion of Let This Night Be Over to anyone going through hard times. Then Second Fiddle and one of the band’s earliest songs Don’t Dress Me Up, both highlighting a message to men out there, especially Scottish men said Fay with a wry smile, that women aren’t there to be second best or be told what to do or what to wear. Take Me to the Grave, from the bands live EP, jumped up the setlist after Laurie broke a string, the band adapting to the situation quickly and still playing a stunning version of the song.
All nine songs from Start of the Sea got a well-deserved place on the set-list, but for anyone who might be wondering already about a follow up to that stunning debut, fear not, all the signs are positive , with new songs such as Hard Woman to Love and Darker Side of the Night standing shoulder to shoulder with the Star of the Sea tracks. Talking of darker, Humans are a Bad Breed has always been a favourite of mine, one of the songs in which Fay explores the shadowy crepuscular side of humanity. I’m sure Call Me The Witch will now become a favourite too, the twanging guitar lines replaced by ones with a more sinisterly atmospheric undertone.
The closing duo of songs ended the show in impressive style, Wandering Star never fails to thrill, the song is a perfect platform for Ms Fife’s soaring impassioned vocal, it really packs an emotional punch. I could easily have gone home happy if that had been the final song, but we still had time for one last encore. I use the term loosely, Fay herself indicating they weren’t going to do the old leaving the stage palaver. The title of final song was left to their rousing reworked version of Revillos oldie, Mindbending Cutie Doll, leaving us all high on adrenaline despite the lateness of the hour.
The Countess of Fife – Website
