Tyla Classical Dogs At Bannermans Live Review

TYLA PLAYS CLASSICAL DOGS AND 

MORE COCKTAILS & DOG TALES

Bannerman’s, Edinburgh

21 August 2026

Live review (and album review)

I’ve seen some sights at gigs over the years and am not often surprised, but I think I can genuinely say this was the first time I’ve seen a member of the BBC Scottish Symphony Orchestra, wearing not just Black Tie, but White Tie and tails, take to the stage in Bannerman’s and accompany Tyla, playing Dogs D’Amour love songs from the gutter on the viola. But, it’s Edinburgh, the Festival is on and we’re here to see two sets from Tyla tonight (including from his new ‘Classical Dogs’ album), so why not? 

Before I go any further with this review, I should probably be honest and declare an interest, a bias or even a  prejudice. I’m not a fan of classical music and don’t have anything against it, but I normally can't stand (okay, hate) when rock musicians feel the need to do a classical album. I was completely honest and told Tyla this when he sent through some rough demos a couple of years ago for me to listen to when he was working on what was to become ‘Classical Dogs’. I explained to him, as I am to you just now, that it really frustrates me and what I do have a problem with is when rock musicians, usually later in their career, feel the need to show that their music is good enough to be played in another style – often classical – almost as a form of validation against what some others might have us believe is a higher musical art form. The reason I have a problem with this is that I don’t believe that classical music is a higher art form or any better or worse than any other genre of music, because that is what it is – just another musical genre like jazz, blues or rock music. It was a popular music form of the day which has lasted, but there are some who elevate this to an elite form of music sitting above other genres. It’s not and it doesn’t. But, some rock bands have also been guilty of perpetuating this view by making so much out of deciding to record classical versions of their work. Why don’t they realise the worth of their own music and that it doesn’t need to be played classically to prove its value to anyone? 

Personally, I blame Deep Purple …

Or more precisely, I blame Deep Purple’s ‘Concerto for Group and Orchestra’ which started this trend in 1969, with other rock bands during the seventies deciding that they also needed to “do” classical and which contributed to a lot of seventies rock becoming quite bloated, over-blown and grandiose, and to which punk provided a much-needed antidote. To be clear, I like a lot of seventies rock, but am also honest enough to recognise that a lot of it also became self-indulgent, pompous and musical change was needed.

When I said this to Tyla at the time, he just took it in his stride, laughed and said “You should put that in your review!” And two years later, I am.

SET 1: 'CLASSICAL DOGS'

So, back to the gig. After a forced closure for a number of months, due to water problems in the area, it was great to see Bannerman’s re-opening for live music at a time when other music venues around the country have sadly been closing down. The gig room has been refurbished and the familiar and distinctive brick arched ceiling is no more, having been covered in black material which presumably helps with the soundproofing.

As Bannerman’s is also an official Venue for the Edinburgh Fringe, with shows later in the evening, Tyla took to the stage early, shortly after eight, for the first of two sets which he would be performing tonight. 

Joining him on stage for the first set, to perform songs from Tyls’s latest album, ‘Classical Dogs’, was Rik Evans, a professional viola player with the BBC Scottish Symphony Orchestra – a self-confessed fan of the Dogs D’Amour who had first met Tyla years before at one of his gigs when Tyla was touring with The Wildhearts, chanced his luck and ended up jamming on mandolin with Tyla to a number of his songs before the gig; they then re-connected at a gig in Bannerman’s in 2017 and during COVID-19, leading to his adding strings to some of Tyla’s output prior to their deciding to record a full album of Dogs’ material together.   

From the start it was clear this set was going to be very different to anything which we’d heard before from either Tyla or in Bannerman’s; and also a set of contrasting styles - visually (with Tyla clothed in his normal distinctive style, and Rik in White Tie and tails) and musically (with Tyla’s lived-in and loosely sung vocals and familiar acoustic guitar, and the purity, clarity of sound and precision created by Rik’s viola). 

First up was the normally boisterous fan favourite “Drunk Like Me”. Musically preluded by Rik’s additional viola arrangement, the unmistakable melody of the song slowly and sinuously emerged followed by Tyla’s vocal. Having heard the song so many times over the years, I thought I’d heard all of the versions of how this could sound (solo, duo, full band, electric, acoustic), but this was like nothing I’d heard before. While Tyla played along gently on guitar, my musical senses were almost entirely focused on two things – the strength of the melody which underpins the song (which when played on viola sounded beautiful, mournful and joyful) and Tyla’s lyrics which were elevated to front and centre in the absence of his vocals’ usual musical accompaniment, delivering an altogether rawer, more melancholic, vulnerable and introspective version of the song which we thought we knew. 

Still processing what we’d just heard, Rik’s viola gently led Tyla’s vocal into “Empty World’ which took the already emotional original with which we’re so familiar to another emotional level; sung 36 years after it was first recorded, and with Tyla’s voice conveying all that life has had to offer and be experienced since then, the song sounded incredibly personal and almost self-confessional – once again, leaving no place to hide on stage and stripping the song back to its very basics of melody and lyrics. 

And, continuing a theme, “Scared of Dyin'” had us before it had barely even started. What we were listening to was just unexpectedly beautiful.

Becoming more playful and lifting the musical tempo and mood of the gig, Rik played a few bars from Vivaldi’s ‘Four Seasons’, seamlessly gliding into the song which started my love affair with the Dogs’ music so many years ago, “I Think It’s Love Again”. You may not expect this to work, but it did and only served to reinforce how timeless Tyla’s melodies and songwriting are and that it sounded perfectly normal to play these very different pieces of music from different centuries, but both classics in different ways together.   

As the set progressed, the level of Rik’s involvement in this project also became clearer -  in composing the musical arrangements both captured on the album and played live which led into, linked, complemented and enhanced the original songs; always respecting the original songs and offering interpretations which were different to those we had heard before, but without going as far as radically re-imagining them in a way that completely changed them as some other artists have made the mistake of doing when revisiting older material. Asked by Tyla, later in the gig, how many hours he had put into this, Rik admitted to over 1000 hours (for which Tyla joked that meant he’d paid him a pound an hour for his time!). This album had become a labour of love for Rik who had not only tracked and arranged all of the songs, but had also created arrangements for a quartet and personally played the viola, cello and the part of two violins on the album. The very different musical styles, approaches and disciplines weren’t without their creative stresses and challenges, as readers of Tyla’s most recent book, also entitled ‘More Cocktails & Dog Tales’, will be aware with Tyla volunteering he has always found it difficult to sing in time to a track. Whereas, Rik tracked out all of the songs in line with his stricter approach to music, and the music feels a bit more rigid than the looser style which we’re used to with Tyla. However, on stage the mutual respect between Tyla and Rik couldn’t be clearer with Tyla beaming like a proud Dad when Rik did his thing.   

As the set progressed, “Billy Two Rivers”, a stunning version of “More Uncharted Heights of Disgrace”, “How Come It Never Rains”, “I Don’t Love Anyone” and “Heroine” followed, with Rik changing from viola to violin as his weapon of choice and with a tribute to Bonnie Tyler thrown in with a chorus of “It’s a Heartache” along the way. 

And for what is essentially a gig room in a pub, the sound quality in Bannerman’s was superb and without the usual talking within the room which can plague gigs – what we were hearing had our undivided attention. Granted, the noise from the main bar did intrude during the second set as the level of alcohol consumed and time both progressed, but the first set got the respect it so deserved. 

This was no normal night of musical entertainment. As a gig and live music experience – unexpectedly good and absolutely compelling. 

‘CLASSICAL DOGS’: THE ALBUM

At 10 songs and 42 minutes, the album features Tyla's and Rik's takes on - "How Come It Never Rains", "I Don't Love Anyone", "Drunk Like Me", "Empty World", "Heroine", "I Think It's Love Again", "Powder Dry", "Scared of Dyin'", "More Uncharted Heights of Disgrace" and "Billy Two Rivers". The album comes complete with extensive liner notes from Rik and Tyla and a nice small booklet containing the sheet music for each song on the album. Having covered much of the detail of the songs in my review of the gig, I'll try to avoid repetition here. 

Given my feelings about rock bands “doing” classical, I had deliberately not listened to ‘Classical Dogs’ after it was released a few weeks before. While the album could be streamed, the actual distribution had been beset with delivery problems, with a named courier failing to deliver to Tyla’s mansion six times while he sat outside waiting, with him only taking delivery of vinyl and CDs the day before the gig. When I had listened to the original demos, I think at that time it was just Tyla singing, playing acoustic and with Rik playing viola. The music did sound quite haunting and atmospheric, but I was still a little nervous about what the final product may sound like. 

Would I say that I love the album and classical music? No, but the gig (which was just one song, “Powder Dry’, short of the full album) did challenge my perceptions (and, okay, prejudices) about what a musical collaboration between a rock and classical musician could sound like - if approached equitably, through mutual respect, in a way that really understands the original source music and is respectful of this without dominating and imposing a classical ideal or trying to do a ‘classical light’. Despite my initial cynicism or reservations about rock and classical crossovers this album isn’t about seeking validation (or being influenced by Deep Purple). Instead, it feels like an organic or natural exploration in sound between musicians from different genres who get the music.  And this is what it’s all about – the songs, the melody and the lyrics – without which this wouldn’t have been possible. And in doing so, this has only reaffirmed the quality of Tyla’s songwriting. 

If I was unfamiliar with the back story and just played the album casually, I’m not sure how I would have reacted. Just listening in the background with other interruptions wouldn’t have served it justice. Hearing it in a live setting absolutely did, as did sitting back on Sunday morning with a mug of coffee, playing the album loud and just letting the album wash over me while listening to the detail in it. Musically, this is seriously good. Buit you need to immerse yourself in it, don’t just dabble otherwise you won’t experience the full effect.

I’m sure there will be a few readers out there who never really gave the Dogs’ music a chance and wrote them off as a trashy band, as their reputation for excess in the rock press preceded them. But more’s the pity, as they will have missed out on what those who know the Dogs’ music have understood for a long time – strip back their former image and you’ll find some of the most memorable and best written songs in rock music which will last you a lifetime. It’s this quality which has enabled this album to even be conceived. 

Go get yourselves some culture.

SET 2: MORE COCKTAILS & DOG TALES

Of course, Friday night’s gig wasn’t just about ‘Classical Dogs’. To use a football analogy, it was a game of two halves and a second full set of Tyla’s ‘More Cocktails and Dog Tales’ mix of acoustic songs, stories and banter was also promised.

After only a very short break for liquid refreshments, Tyla was joined on stage by Jamie Turnbull (also playing acoustic guitar). Having established himself as the producer of Tyla’s last few albums (solo and Tyla’s Dogs D’amour), Jamie has also proven himself to be an excellent guitar player, playing on Tyla’s last solo album, 'Gilding the Lily', and more recently also playing live with Tyla’s Dogs D’amour and some of Tyla’s solo gigs. 

Recognising that the clock was ticking and they had a fixed finishing time, the balance of the second set was more towards songs than stories, although we obviously still got a few (it wouldn’t be a Tyla gig without them). And the songs, also including a couple of great acoustic guitar solos from Jamie, flowed like wine - “Last Bandit”, “Firework Girl”, “111”, a rousing (is it ever anything else?) “I Don’t Want You To Go”, “Don’t Ever Stop Loving Me” (dedicated to Tyla’s wife, Jane, who was in the audience  and a song which is quickly developing into one of his most emotional songs played live), “Gypsy Blood”, “Trail of Tears”, “Bullet Proof Poet” and “Satellite Kid”. If there is a more romantic drunken sing out loud couple of lines than “You, you’re the best thing in my life; Come on, you, oh won’t you be my wife”  I’ve yet to hear them.

Go on, get out and enjoy live music. With music this good, it would be criminal not to.

‘Classical Dogs’ is released on King Outlaw Records, can be ordered directly from Tyla at www.tylasarttavern.com and is available on the usual digital platforms.

GMcA