TUESDAY 15 MARCH
Paradiso (Grote Zaal), 19.30, €22.50 + membership

There’s always a steady stream of quality music flowing out of Scotland, but one of the most interesting acts from the past year is something of an unlikely guitar hero. A veteran of El Hombre Trajeado, a now defunct band renowned for Minutemen energy levels and mathematical riff precision, RM Hubbert has emerged as a solo instrumentalist, taking inspiration from flamenco guitar and taiko percussion, but transposing the techniques to musical shapes he could more easily relate to in his Glasgow life. His low-key debut First & Last is a subtle snapshot of dark times, allowing the guitarist to deal with depression and the loss of his parents. These beautifully expressive instrumental pieces have been gaining momentum, seeing him hitting the road with Mogwai, signing with Chemikal Underground and prepping a new album with studio support from Franz Ferdinand’s Alex Kapranos and other guests.

If you can’t manage the €22.50 to see a heavily tattooed Scotsman strum a classical guitar in support of Moggers (you can actually win tickets here), drop him a line. His ‘Will Play for Food’ scheme could even see him performing in your home in exchange for a plate of stamppot. Just be aware that your dining delicacies may receive an honest Twitter critique afterwards.

MR Hubbert (as Paradiso have been calling him for this Mogwai support) was also kind enough to reply some rambling interview questions about his actions. The responses are below…

I’ve read that when you were learning acoustic styles like flamenco, you found it hard to engage with those styles emotionally… that they felt quite conservative. From my perspective, I can see flamenco as deeply passionate – live performances that are full of flair, costumes and dancing. But personally, I find Latin music to be one of the hardest genres to connect with. It’s a sweeping generalisation, but could it be that this music isn’t such a natural fit with the Scottish psyche?

It was actually the melodic structures of flamenco that I found difficult to connect with. I agree that the performance part is very exciting; that rawness is the part I love. I do agree about the Scots psyche not being an ideal fit for that level of emotive intensity. That was a big part of the appeal for me, I wanted to express myself in a way that was usually very uncomfortable for me.

My first exposure to RM Hubbert was your support slot with The Unwinding Hours in Glasgow last autumn. At the time I wasn’t even aware of the El Hombre Trajeado connection because I’d never gotten to see them live. The emotion pouring from every song was instantly apparent. Even without words. Is this the most emotive project you’ve worked on?

I think it is fair to say that this is the most personal and emotive music I have made. The entire purpose of the project is to try to enable me to communicate my feelings better to those around me. That’s actually why First & Last is an entirely solo record; the subject matter was very personal to me and I felt that having other musicians playing would dilute it somewhat.

You talk openly and warmly on stage about the events that inspired ‘First and Last’. But do you worry about journalists/writers latching onto these things as an easy talking point? Especially now that you’re getting a lot more attention than you maybe expected from this wee DIY album.

On the contrary, I would rather talk about the events that led to First & Last than the music itself. I find it a strange type of catharsis in confronting my depression that way. Not that I mind talking about the music either, I might add. I could bore people to tears talking about that!

How did your ‘Will Play for Food’ concerts come about?

I did a show a few years ago that will be a familiar tale to many musicians: big venue, tiny crowd and little money. It dawned on me that whilst playing to 15 people in a 300 capacity venue is not a good experience, 15 people in a kitchen or garden could make for a really intense experience. I wasn’t comfortable asking for money for these so I thought that dinner would be nicer. It also gives me a chance to get to know the hosts and attendees before the show.

When you were in Amsterdam last winter you played a secretive dining gig at OCCII. How was their veggie/vegan platter? Did it rate with Glasgow’s equivalents?

The food was amazing. I’m not even entirely sure what we had but it was delicious. Glasgow doesn’t have that many vegan options. The 78, Stereo and Mono all serve great vegan food though.

When you went around Europe in winter, which country served up the best food?

I have to admit that I’ve developed quite a soft spot for German food recently. Berlin falafel is easily the best I’ve had!

Is there anything else you’d exchange your music for?

In the metaphysical sense, happiness. In the trade and barter sense, anything interesting. I’m all about the exchange of ideas through art.

So Chemikal Underground will release your upcoming album. Are they also going to reissue First and Last?

Yes! We will be reissuing First & Last as a deluxe heavy vinyl 12″ with free CD at the end of February. There is also a repackaged CD version. Both feature new artwork from Toby Paterson as well as the original cover by Maria Hubbert.

And you’ve already started on the collaborations that will form the follow-up? It’s going to be a mix of vocal and instrumental works?

Aye, it’s looking that way. I’ve finished writing vocal collaborations with Aidan Moffat, Emma Pollock and Hanna Tuulikki. There’s another one getting worked on currently with Alasdair Roberts and Stuart Braithwaite. The instrumental collaborations feature Stevie Jones, Shane Connolly, John Ferguson, Esperi, Rafe Fitzpatrick, Luke Sutherland and Michael John McCarthy, amongst others. I’ve also recorded five solo pieces. I’m not entirely sure what will end up on the finished album to be honest.

Is there anything in particular inspiring your new songs? Or is it just one step at a time?

This record has been about documenting the process of both reconnecting with old friends and making new ones. First & Last was primarily about how difficult it is for me to communicate outside of musical composition. I found myself unexpectedly single as I was preparing to make this next record and thought that writing music with my old and new friends would be the easiest way to connect with them.

On the Mogwai tour you’re going to find yourself in some pretty big and spectacular venues. Is it more intimidating playing to a couple of thousand strangers every night?

Weirdly not. I actually find the Will Play For Food house shows scarier. There’s something about the intimacy of tiny shows that is intrinsically more terrifying. Especially to someone like myself that has problems with intimacy.

At which point, I feel I should confess that Amsterdam is famous for audiences talking through support acts AND headline acts, so don’t take it personally.

Aye, I’ve spoken to Craig B (The Unwinding Hours / Aereogramme) about that. I’ve been trying to get him out doing acoustic shows with me, but to no avail. It doesn’t bother me too much to be honest. Especially on the support shows. I just try to focus on the people that are kind enough to give me their attention.

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