As summer draws to a close, the unforgettable Summer Sessions returns to Edinburgh’s Royal Highland Showground, and it is back, bigger and better than ever. Set against the vibrant yet rustic backdrop of Ingliston, the venue have hosted countless iconic acts over the years, such as Kings of Leon, the Proclaimers, Fatboy Slim and the Killers. In 2018, the venue expanded it’s legacy by adding the Summer Sessions festival to its growing roster of standout events, cementing its reputation as a key player in Scotland’s live music scene.
This years Summer Sessions featured a killer lineup of musical heavy weights, with Geordie indie rock star Sam Fender kicking things off .His Friday show was completely sold out delivering an electrifying performance that provided a strong start to the festival. The momentum only building when rising pop powerhouse, Chappell Roan took the stage for two sold out shows on Tuesday and Wednesday.
Hailing from the Missouri, Roan started her musical journey on YouTube in 2014 under the name Kayleigh Rose, where she began to hone her unique sound. Though, she had been crafting her music for over a decade, it was the release of her debut album ‘The Rise and Fall of a Midwest Princess’ that she truly garnered widespread acclaim. This recognition has propelled Roan into the spotlight as one of the most ground-breaking stars of our time.
On the first night of her two-night run in Ingliston, fans flocked to the venue, donning sequins, pink cowboy hats, and feather boas, travelling from far and wide to witness the magical music and community created by Roan. However, before the icon herself graced the stage, fans attending night one were eager to catch the incredible support acts, including former Little Mix member, turned solo artist, JADE, alongside local drag performers, Miss Peaches, Rujazzle and Devine Tension. A unique choice for a pop act, but one that aligns perfectly with Roan’s sense of individuality and unwavering support of drag, trans, and LGBTQQIA communities.
Hosted by Dundee native Rujazzle, the opening slot of the night saw fans treated to an unforgettable performance of local drag, and they did not disappoint. Sashaying onto the stage, Rujazzle captivated the ground with a standup comedy routine that immediately set a lively and upbeat tone for the rest of the night. All three performers truly brought their unique flair to the stage, with Miss Peaches embracing new school drag through her lip syncing of iconic Beyoncé classics, while Devine Tension and Rujazzle showcased a more traditional, old school style of drag through their sharp comedic timing and distinctive mannerisms. A great opening to a great night.
Keeping spirits high was JADE, whose performance featured her newer, solo, iconic club anthems like ‘IT girl’ and ‘Angel of my Dreams’ mixed in with globally acclaimed Little Mix classics, such as ‘Wasabi’ and ‘Shout out to my Ex’, a treat for longtime fans of her musical journey.
JADE’s performance embodied themes of self expression, sexual liberation and the freedom that comes with authenticity. At one point during the show, she warmly declared the crowd a safe space where everyone was accepted “kinks and all”, highlighting the shared views of unity between her and Roan, making JADE a stellar choice of support act.
Shortly after JADE’s killer set, as if summoned by the crowd’s excitement, the star of the show, Chappel Roan burst onto the stage in a jester outfit that perfectly captured the fun, chaotic and inviting energy of the night ahead. Kicking off the jam packed set with ‘Super Graphic Ultra Modern Girl’, that immediately ignited the crowd into a frenzy of cheers, unapologetic self expression, amongst glitter, sequins and rhinestones. The song opens with a monotone, almost artificial, tongue and cheek voice, where hyper pop meets performance art aesthetic. From this cheeky opening, it was evident that the night’s purpose was to be a celebration, of queer joy, camp and theatricality, as well as emotional catharsis.
With every song the haunted castle style stage set decoration changed. Colourful neon lights pulsed to the beat of upbeat songs such as ‘HOT TO GO!’ and ‘Naked in Manhattan’, whilst more raw, ballad like songs such as ‘Casual’ and her newest release ‘Subway’ had fans basking in emotionality under the soft glow of the stage lights. Roan’s ability to effortlessly shift between chaotic humour and party aesthetics to deep emotional intimacy demonstrates the full dynamic spectrum of her artistry, and that she is a force to be reckoned with.
Often drawing from her roots of being a ‘Midwest Princess’, Roan’s music has now became a love letter to the LGBTQ+ community and all those seeking empowerment within their own authentic self expression. This is evident not only through her set and entire repertoire, but also when she connects with the audience in candid moments between songs. Roan expressed heartfelt admiration for the inclusive community of her fanbase; stating that when she was 14 she greatly needed “a space to dress up and wear drag makeup, [a place] where people weren’t afraid to dress hyper feminine or hyper masculine or neither or both”. She provided great comfort to the crowd, stating that “right now, who you are, where you are in your life, [you] are wanted here and [you are] cherished here”. Every detail within Roan’s show, from lyricism, costumes, set dressing and choreography was intentional and encapsulated this sentiment perfectly. Which demonstrated that her show went beyond being simply just a concert, but a communal release of fear and judgment, and, as she states ‘what pride feels like’
As the night drew to a close, it was evident that this cultural phenomenon (or ‘feminomenon’ ) had truly affected everyone in the audience. All of the artistry that took place upon that stage at Ingliston skilfully conveyed authenticity, vulnerability and fearlessness that would be remembered for a long while to come. This caused fans to leave with not just glitter in their hair, but rather with the knowingness that they had been seen and accepted by a community of people just like them.
Review by Rachel Bissett
