arts – The NEN – North Edinburgh News

The Skinny to fold

SEPTEMBER ISSUE WILL BE THE LAST

After 20 years of independent cultural journalism and with a very heavy heart, we have to tell you that September’s edition of The Skinny is our final issue as Radge Media CIC, the company which publishes The Skinny as well as Fest and GNAW magazines, has ceased operations.

Firstly, we would like to extend our gratitude to everyone who has been involved with The Skinny over these two decades. The dedication, skill and care of every writer, editor, photographer, illustrator, proofreader, designer, salesperson and member of the team has made this magazine what it is. Thank you all for everything you’ve done to create an incredible legacy.

We have always drawn motivation from the energy and talent of Scotland’s creative community, even when the work has been hard and we have faced struggles, difficulties and real challenges. To Scotland’s artists, musicians, authors, theatremakers, actors, DJs, filmmakers, party-throwers and creatives, thank you all for sharing your work with us and for letting us share it with the world.

We are devastated that our work has come to such a sudden end. We have not been immune to the economic difficulties in the Scottish arts and despite our very best efforts, funding pressures across the sector, rising costs and the ongoing cost-of-living crisis have contributed to an increasingly challenging situation.

The Skinny is a key asset to Scottish cultural life, but it was produced by a small team with all the challenges that entails. We did the best we could with the resources at our disposal, and we can only apologise to our readers, colleagues and advertisers for making such a sudden exit, but we have been unable to find a way to continue the work at this time.

This may be the end for The Skinny, but it’s not the end of what we believe in: the power of independent journalism, the value of art and creativity, and the importance of print media.

The Skinny has offered something very important and valuable to Scotland’s cultural scene and none of us wanted or expected things to end this way. The closure of this business does nothing to change our belief in the need for a vibrant Scottish media that connects with our communities, and our faith in print as a vehicle to share new stories with audiences.

Finally, thank you to all of our readers, whether you have been here from the start or are seeing our work for the very first time. If you have ever picked up a copy in a bar or read it on the bus, pored over our reviews, found a new favourite night out in the listings, shared our work online or fired up our newsletter, we really do appreciate it.

Even in dark times, there is still a wealth of vibrant, creative and exciting art being created across Scotland, and dozens of scenes and movements worth championing. That drive and spirit has inspired and invigorated us at The Skinny so many times over the years – let’s all do what we can to help that continue.

Feel free to share this statement far and wide; we only ask that you attribute the words to ‘The Skinny’ and repeat what we’re saying in good faith. For any further media enquiries, please contact Peter on peter@theskinny.co.uk

Screen Scotland, the Fringe Society and partners advance plans for new event for Edinburgh in 2027

Màiri McAllan Cabinet Secretary for Education, Culture and Gaelic has announced that a new initiative for the global media and creative industries will be developed for Edinburgh’s August festivals.

The new initiative will build upon Edinburgh’s unique position as a global shop window for talent, content, and creative ideas, bringing together the city’s creative ecosystem with international media industries and audiences.

Thursday’s launch event was also attended by Baby Reindeer and Half Man creator and star Richard Gadd who spoke on the importance of Edinburgh during August, as a place for new talent discovery, for ambitious work, and to progress careers.

Initial development work towards the new event was funded by Screen Scotland and completed in early summer 2026.

This work was undertaken to consider, with fresh eyes, how Edinburgh’s August festivals partner to present a new offer to the global content industries, in response to the increasingly blurred boundaries between the different creative artforms and the way creative talent, IP and ideas move fluidly between them.

Independent consultant Rowan Woods has now been appointed to lead the next stage of development, which will again be funded by Screen Scotland and delivered through The Fringe Society.

Working with the Fringe Society, Screen Scotland and a broader advisory group, Woods will consult widely across the August festivals and with producing venues, broadcasters, platforms, content creators, publishers and other potential participants and audiences to establish the shape of the new initiative and how it can best support the connection of new talent and IP to content commissioners worldwide.

The consultation will inform the shape and intent of the new initiative, including audience, dates, venues, programme and participants. This consultation phase is expected to conclude in early Spring 2027, with an initial pilot planned for August 2027.

The new initiative will build on the strong relationships that already exist between the screen industry and Edinburgh’s August Festivals, including the work of Screen Fringe, an ongoing collaboration between Screen Scotland and the Fringe Society, which supports hundreds of television and film executives to make the most of their time in the city each year.

Screen Fringe is expected to remain part of the August festivals offer to the global screen industry.

Separately, Screen Scotland has confirmed that it will establish the Lynda Myles Debate as a keynote element of the August festivals from 2027.

The debate will honour the contribution of Lynda Myles, formerly Director of the Edinburgh International Film Festival and co-creator of the Edinburgh TV Festival, and her long-standing belief in Edinburgh as a place for ambitious and rigorous debate about the future of the screen industries and wider media landscape.

The Scottish Government is providing funding support for the new event’s development via Screen Scotland, and more details will be announced in 2027.

Culture Secretary Màiri McAllan said: “We are so proud of Scotland’s screen sector and this exciting addition to the August festivals line-up will provide a new way to embrace the creativity and cultural innovation which makes our capital unique.

“As a global hotbed of emerging talent, where new voices are heard and fresh stories are told, Edinburgh will continue its world-leading offer for the television industry with the support of the Scottish Government – and will do so alongside our other Edinburgh festivals, showcasing brilliance across artforms.”

David Smith, Director of Screen Scotland said: “Edinburgh has a unique role to play in bringing together the people, ideas and creative work that will shape the future of the screen and wider creative industries.

“Every August, the city becomes a remarkable meeting place for talent from around the world, alongside audiences, producers, commissioners, artists and creative thinkers. We have an opportunity to build on that extraordinary concentration of talent and energy and create something new, ambitious and genuinely distinctive for the global industry.”

Tony Lankester, Chief Executive at the Edinburgh Festival Fringe Society said: “Edinburgh’s August festivals create an unparalleled environment for discovering new talent, ideas and creative work.

“We know there is a strong appetite from people working across the global screen and creative industries to connect with that ecosystem, and we are excited by the opportunity to explore what a new offer could look like, particularly in a rapidly evolving media landscape. The development of this initiative gives us a chance to think afresh about how Edinburgh can serve the sector in August and to create something compelling for the future.”

On the announcement of the Lynda Myles debate, Lynda Myles said: “I’m deeply touched and honoured to have the debate named after me.

“It’s exciting to see the importance of ideas and discussion being recognised in the plans for the new event, especially as this was the initial intention of the creation of the Edinburgh Television Festival in 1976.”

Collective Gala on Calton Hill

Collective Gala is a free family-friendly day of celebration with creative activities for all ages. Explore newly commissioned artworks and performance by Scottish artists, join behind-the-scenes tours, shop with local makers, and enjoy creative play sessions for children.

The day will culminate in a celebratory procession inspired by Gala traditions. Saturday, 5th of September, from 11 am to 4.30 pm. FREE ENTRY!

Where? At Collective Gallery on Calton Hill

Support for Scottish Traditional Music

Next steps announced for National Performing Company

A new National Performing Company will be set up to champion Scotland’s traditional music sector.

A public consultation has now been launched seeking views on how such a flagship organisation will raise the profile of Scottish folk music around the world.

Early feedback is being sought from the traditional music community and wider audiences to understand priorities for future support of the sector and what a national performing company might look like.

First Minister John Swinney held a reception for the trad music sector at Bute House this week and attended the Sound of Scotland folk music showcase at Edinburgh’s Queen’s Hall.

The Scottish Government has also launched an online survey to gather views and Culture Secretary Mairi McAllan will chair a roundtable with leaders in trad music.

A National Performing Company for traditional music will be the sixth to be formed in Scotland, joining the National Theatre of Scotland, Scottish Opera, Scottish Ballet, the Royal Scottish National Orchestra and the Scottish Chamber Orchestra.

The First Minister said: “Traditional Scottish music has a unique, rich sound reflecting our history and regional diversity. It connects our past to our present and is loved across Scotland and around the world.

“That is why I pledged that in the first 100 days of this government we would make progress on forming a National Performing Company to protect the legacy of trad music and help it to thrive. Giving it the same platform to other performing arts will support established and emerging talents to grow.

“If you are a local performer, group or organisation from anywhere in Scotland, please let us know how this can work best for you, representing and supporting traditional music.”

According to a VisitScotland survey in 2024, almost four in five Scots (79%) said Scottish traditional music gave them a sense of cultural connection, while 88% believed it is important that it is preserved for future generations. Music businesses in Scotland reported a turnover of £27.4 million in 2023.

The consultation on a National Performing Company for Traditional Music is available to complete online.

Global delegation scouts Edinburgh festivals to take UK shows overseas

26 commissioners, producers and arts leaders from 13 countries will travel to Edinburgh to discover UK theatre and dance with the potential to reach audiences in their countries

26 leading international commissioners, producers and arts leaders will explore UK work at the Edinburgh Fringe and Edinburgh International festival.
The visit forms part of the British Council’s Edinburgh International Performing Arts Delegation.
More than four in five delegates from last year’s programme said they were likely to programme a UK production.

Organised by the British Council, the Edinburgh International Performing Arts Delegation (IPAD) will connect delegates directly with UK artists and performing companies.

Running from 19 to 26 August, the programme will give delegates access to performances across the festivals, alongside curated showcases, industry briefing and networking events.

Journalist Lyn Gardner, who briefed last year’s delegation, said UK companies can be disadvantaged in comparison to international counterparts who have more funding and time to develop their work.

Edinburgh IPAD helps address this imbalance by connecting UK artists and companies with international decision-makers, creating opportunities for new commissions, touring partnerships, re-stagings and other international collaborations.

Previous editions have already helped UK work reach audiences worldwide. Recent outcomes include a Japanese tour for Ramesh Meyyappan’s Love Beyond, performances of Emma Frankland’s No Apologies across the Western Balkans and in Brazil, and a Spanish-language production of Karis Kelly’s Consumed in Venezuela.

This year’s delegation includes representatives from Australia, China, Egypt, India, Ireland, Japan, Kazakhstan, Lebanon, the Philippines, South Korea, Spain, Ukraine and Venezuela.

Among them are three delegates from Ukraine, including Kyrylo Beskorovainyi, co-composer and writer of multi-award-winning musical, The Tiger Hunters.

A full list of the delegates and biographies can be found here.

The programme builds on the success of Edinburgh IPAD 2025, which in just six days saw 24 delegates from 15 countries make 448 new connections with UK artists, companies and industry professionals, and generate 124 expressions of interest in programming 27 UK productions internationally.

More than four in five delegates said they were likely or very likely to programme a UK show following their visit, and more than half also expressed an interest in restaging productions or directing translated versions, creating long-term routes for UK work to reach international audiences without the financial and environmental costs of touring an entire company.

Every delegate surveyed said the programme had strengthened their understanding of contemporary UK performing arts, created new opportunities to connect with UK artists and made them more likely to pursue future collaborations. Delegates’ confidence in working with UK partners increased by 45%, while their understanding of the current UK theatre landscape rose by 53%.

Seung Mee Kim of South Korean performing arts company ARTIGO described the programme as “the most productive time in Edinburgh I’ve ever had”, adding that it had helped her understand the arts scenes across all four UK nations and connect with the right people.

Edinburgh IPAD coincides with the Edinburgh Festival Fringe and Edinburgh International Festival, as well as three curated national showcases: Made in Scotland, Cymru Wales in Edinburgh and Spotlight on Theatre and Dance from Northern Ireland.

Together, these events give delegates direct access to the breadth of contemporary performance being created across the whole of the UK and enable international commissioners to discover, connect with and champion work for audiences around the world.

Neil Webb, British Council Director of Theatre and Dance, said: “The Edinburgh Festival Fringe and Edinburgh International Festival showcase some of the UK’s most exciting new performances.

“Edinburgh IPAD ensures their impact extends beyond August by connecting UK artists with international commissioners, creating lasting opportunities for their work to reach audiences around the world.”

PICTURE: Emma Frankland’s “No Apologies” was performed in Brazil and across the Western Balkans following connections made through previous IPAD programmes. Photo: Matt Crockett

Sanne Dijkstra-Downie MSP: The Fringe is a chance to celebrate the very best of Edinburgh

As Edinburgh prepares to welcome visitors from across the globe for the start of the Edinburgh Festival Fringe, Sanne Dijkstra-Downie MSP has welcomed the return of the world’s largest arts festival and highlighted the pride it brings to the capital.

Every August, Edinburgh comes alive. Our streets are filled with music, theatre and comedy while local cafés, pubs and shops welcome thousands of extra customers and people come to experience the city at its very best. The Fringe is not only a major boost for the local economy but a celebration of the creativity, diversity and community spirit that make Edinburgh such a special place.

However, this year the Fringe begins after a difficult few weeks for the city. The fire on Princes Street is continuing to affect our public transport and ongoing discussion around policing in the city centre reminding us that Edinburgh also faces real challenges.

Commenting, Sanne Dijkstra-Downie MSP said: “The Fringe is one of the things that makes Edinburgh unlike anywhere else. There’s a real buzz about the city as performers arrive, venues open their doors and our streets fill with people looking to discover something new.

“It’s been a tough few weeks, though. The fire on Princes Street has been an ongoing issue for businesses and locals alike as transport continues to be disrupted. This is why I pushed the Scottish Government to provide emergency support.

“I’m really pleased we’ve now secured a £5 million recovery fund to help Edinburgh get back on its feet. That support matters, but so does making sure people feel safe when they’re out enjoying the city.

“The ongoing rise in petty crimes and anti-social behaviour have left residents concerned. These concerns need to be taken seriously because the Fringe should be something everyone can enjoy with confidence and in safety.

“The Fringe reminds us why so many people fall in love with Edinburgh.

“Let’s make sure we give visitors a warm welcome while continuing to back the businesses, workers and communities that make this city such a brilliant place to live all year round.”

Dunard Centre welcomes The Duke of Kent for landmark first royal visit

Dunard Centre welcomed The Duke of Kent as its first royal visitor last week
The visit celebrated Dunard Centre’s artistic partnership with Wigmore Hall
Royal Conservatoire of Scotland musicians offered a glimpse of the venue’s future programme
The visit followed a major milestone in the venue’s construction programme

The Dunard Centre, Edinburgh’s first new concert hall in over 100 years, welcomed its first royal visitor, The Duke of Kent, to its St Andrew Square site last week.

The Duke, who is the Patron of Wigmore Hall, enjoyed live music and heard more about the vision for the world-class venue, following the announcement of Wigmore Hall’s new artistic partnership with the Dunard Centre earlier this year.

The visit began with a short performance by two students at the Royal Conservatoire of Scotland, piper and whistle player Hamish Martindale and guitarist Anja Maclennan, giving a glimpse of the venue’s future multi-genre programme.

His Royal Highness also met representatives from some of the Dunard Centre’s key partners, including Edinburgh International Festival, Scottish Chamber Orchestra and the Royal Bank of Scotland, alongside Wigmore Hall Director John Gilhooly.

Jo Buckley, Chief Executive of the Dunard Centre, said: “It’s not every day you get the honour of welcoming a royal visitor to site, and it was a particular pleasure to welcome The Duke of Kent to the Dunard Centre, marking the start of our new partnership with London’s Wigmore Hall.

“Together, we took a moment to reflect on our mutual commitment to world-class programming and to the warm welcome afforded to our audiences by the intimacy of our design.

“His Royal Highness is a huge music lover, and it was a joy to see him tapping his foot to traditional jigs performed by two students from the Royal Conservatoire of Scotland – just a small taste of the breadth and calibre of music that will be heard on our stage in years to come.”

The high-profile visit comes shortly after the project celebrated a major construction milestone, with piling works concluding in June and excavation of the 10-metre-deep, two-storey basement now underway.

Designed by David Chipperfield Architects with Reiach and Hall Architects, the Dunard Centre will be the first concert hall in the UK to be designed by world-leading Japanese firm Nagata Acoustics.

Supported by Royal Bank of Scotland, and located behind its Head Office building at No. 36 St Andrew Square, the ‘Hall for All’ will be a vibrant hub for all kinds of musical performance, events, learning and community activities, as well as the new permanent home of the Scottish Chamber, and a new venue for the Edinburgh International Festival.

The collaboration between the Dunard Centre and London’s Wigmore Hall, announced in March this year, was one of a series of unprecedented academic and artistic partnerships to be launched by the globally-renowned Wigmore Hall in celebration of its 125^th anniversary.

The collaboration will see Wigmore Hall Director John Gilhooly leading the Dunard Centre’s new artistic advisory committee, as well as a range of shared programming and commissioning initiatives.

A lifelong supporter of the arts and a passionate music fan, The Duke has been Patron of Wigmore Hall for 10 years, regularly attending concerts at the venue.

In October 2025, at a recital marking his 90th birthday celebrations, His Royal Highness was presented with the Wigmore Medal by mezzo-soprano Dame Janet Baker in recognition of the contribution to the hall’s musical life.

Glowing Tribute to KT Tunstall!

Music Venue transformed by The National Lottery as Part of Everywhere At Once Festival

The National Lottery has transformed Carnegie Hall with a striking projection of Katie Tunstall’s iconic song lyrics – Suddenly I See – onto the side of the building where she performed early in her career, celebrating hometown pride as many venues face closure due to growing financial pressures.
This projection joins a nationwide activation that marks the launch of Everywhere At Once, shining a spotlight on the vital role independent venues play in nurturing emerging talent and shaping local cultural identity.
National Lottery players have been the biggest supporters of grassroots music, with over £1 billion raised for music related projects.
Full listings and ticket details for Everywhere at Once can be found here: www.everywherefest.com

Lyrics from KT Tunstall’s anthem ‘Suddenly I See’ were illuminated onto Carnegie Hall in Fife, close to where she grew up, and recipient of £77,000 in funding from The National Lottery. Members of the public were stopped in their tracks upon seeing the iconic song lyrics projected onto this iconic music venue to mark the Everywhere At Once festival.

Taking place on what would have been the Glastonbury Festival weekend of June 26 to 28, 2026, more than 400 grassroots music venues will stage hundreds of live music events under the banner of Everywhere At Once, making it the UK’s biggest festival.

The initiative, brought to life by a partnership between Music Venue Trust and The National Lottery, will create a national moment to celebrate the grassroots music ecosystem.

More than £1 billion has been raised for music related projects across the UK, helping support venues, festivals, emerging artists and community organisations – all made possible because of National Lottery players. This funding continues to play a vital role in protecting grassroots venues at a time when many face increasing financial pressure despite their enormous cultural importance.

Additional projections across the UK, include lyrics lighting up venues including 229 in London where Tinie Tempah performed the night his breakout single ‘Pass Out’ went to number 1 in the charts; Worcester’s The Marrs Bar, an early-stage venue for Becky Hill; and Empire Music Hall in Belfast where The Divine Comedy performed in their early days.

People feel a strong sense of pride and connection to artists from their local area, with hometown success stories becoming an important source of identity and celebration across the UK.

Music has long played a central role in shaping this cultural pride, including the connection of Katie Tunstall to Carnegie Hall in Fife. Grassroots venues are at the heart of these stories, providing essential spaces where emerging talent can develop while bringing communities together through shared live music experiences.

The projections capture this spirit, transforming the venues that helped launch careers into glowing symbols of local pride.

Alastair Ruxton, Chief Impact Office at Allwyn, operator of The National Lottery, said: “Across the UK, people feel a strong sense of connection to artists from their local area, with hometown success stories becoming an important source of identity and celebration.

“Grassroots venues are at the heart of these stories, providing essential spaces where emerging talent can develop while bringing communities together through shared live music experiences.

“These projections capture that spirit, they celebrate not just iconic artists and lyrics, but the grassroots venues and local communities that supported them from the very beginning. Because of National Lottery players, more than £1 billion has been raised for music related projects across the UK, helping these vital venues continue to nurture the next generation of talent.”

Everywhere At Once will take place across hundreds of venues nationwide, with more than 2,000 artists performing across a diverse range of genres.

As one of the biggest supporters of grassroots music, The National Lottery is helping power this unprecedented weekend championing independent venues, supporting emerging talent, and shining a light on the foundations of the UK music scene.

PICTURES: Sandy Young

Audiences up at this year’s Tradfest

A CELEBRATION OF THE PAST, THE PRESENT & THE FUTURE OF TRAD IN EDINBURGH

Multi-award winning Scottish folk band Session A9 closed this year’s Edinburgh Tradfest with a standout live performance, and multiple encores at the Traverse Theatre on Monday 11 May.

The festival ran from (1-11 May) and included 11 days of live music, talks, workshops, folk film screenings and storytelling, thanks to continued support from Creative Scotland and the William Grant Foundation.

This year’s programme of over 60 events, was a tremendous success, with organisers enjoying:

● A 9% increase in ticket sales to music events at the Traverse Theatre.

● Multiple sell-outs including award-winning Connemara singing sensations Séamus and Caoimhe, Kim Carnie, Eilidh Shaw and Ian Carr, The Onlies, Deiseil: Dancing in Time, Nexus Project, Dick Gaughan in conversation and Session A9.

● Standing ovations for multiple performers including: Rajasthani folk trio SAZ; and Ukrainian folk musician and live-looping artist GANNA.

● Free pop up performances from Astro Bloc at Edinburgh Airport, SAZ at the Aroma Restaurant and Bar in Broxburn, and Dauntless at Nobles Bar in Leith.

● An increase in audiences aged under 26 thanks to the festival’s £9 ticket offer for younger audiences. Under 35s up from 21% to 25%

● A more international audience than ever before with 21% of the audience from outside the UK, whilst still being popular in the local area – 73% from Scotland (55% from Edinburgh).

This year’s music commission A’Chiad Litir, (The First Letter) also received 5-star reviews.The piece, inspired by the life of sixteenth-century lesbian love poet Marie Maitland, touched on questions of language, identity and the notion of queerness and was created and performed by renowned singer songwriter and composer Josie Duncan.

Joining Josie was a stellar line-up of musicians including; Charlotte Printer (bass and vocals), Chloë Bryce (fiddle), Eilidh Rogers (percussion), Jenny Clifford (guitar) and Ashley Douglas (spoken word) who read one of Marie Maitland’s poems addressed to another woman she loved.

Other stand-out highlights from this year included trad powerhouse RURA and newcomers Astro Bloc who played to a lively crowd on opening night at Potterrow; The Complete Recordings of Hezekiah Procter – a live vaudeville act, featuring old-time music performed on fiddles, banjos and sousaphone; Isla Ratcliff’s Scottish trad reinterpretation of Vivaldi’s The Four Seasons; and award-winning folk singer Fiona Hunter taming toddlers with her interactive music session for under 5s and above.

Further afield, the hugely successful Folk Film Gathering supported by Screen Scotland, drew in the crowds with its popular programme of Scottish and international films, many accompanied by live scores or introductory talks.

In particular, the launch of Faodail | Found Outer Hebrides Film Archive website which featured live music from acclaimed accordionist and composer Pàdruig Morrison with fiddler and Gaelic singer Claire Frances MacNeil; the world premiere of a new documentary exploring the life and work of tradition bearer Jimmy Hutchison; Celtic Utopia which celebrates Ireland’s current folk renaissance and features many bold, funny, and politically outspoken young Irish folk musicians including Lankum and The Mary Wallopers; the UK premiere of Italian documentary Canone Effimero which showcases the raw energy and some of the vibrant folk traditions of Italy; and a curated selection of early, rarely-seen silent films by Scottish legendary film maker Bill Douglas.

Over at the Scottish Storytelling Centre, crowds gathered on Living Heritage Discovery Day to hear Ireland’s folklore aficionado Michael Fortune talk about Intangible Cultural Heritage and tradition-bearing.

Plus, throughout the festival, the Centre’s popular ‘What is…’ series of talks explaining what makes traditional dance, music,crafts, Gaelic, and Scots, truly traditional, drew audiences from all over, keen to hear from the experts about what makes each artform unique.

Lauren Paterson, Head of Programming at the Scottish Storytelling Centre said: “During the year of the Scottish Storytelling Centre’s 20th birthday, it’s been a joy to welcome audiences, performers and tradition-bearers alike to celebrate the richness, liveliness and variety of Scotland’s living heritage as part of Edinburgh Tradfest.

“From hands-on Come and Try sessions and workshops to explorations of traditional culture and identity through conversation and performance, it’s been inspiring to see so many people engaging with traditions and making connections with their own experience.”

Douglas Robertson and Jane-Ann Purdy, co-producers of Edinburgh Tradfest said: “We are delighted and encouraged with how Edinburgh Tradfest went this year. To have audiences up by 9% is a real achievement especially in tough economic times.

“We are also extremely happy to see the numbers rising amongst the younger age groups. One of the many highlights for 2026 was the move into other areas of the city with some entertaining (and free) pop up performances.

“We hit Broxburn, Turnhouse and Leith this year, and are already planning to pop up in some other unusual locations for 2027.”

Edinburgh Tradfest will return from 30 April to 10 May 2027.

www.edinburghtradfest.com

Tim Minchin backs new Gilded Balloon fund to support next generation of Fringe artists

SHOW SUPPORT FUND LAUNCHED

Gilded Balloon today announces the launch of its Show Support Fund, a new initiative designed to help artists overcome the growing financial barriers of bringing work to the Edinburgh Festival Fringe.

Delivered by Gilded Balloon Futures Ltd, the organisation’s registered charity, the fund marks a significant step in expanding Gilded Balloon’s long-standing commitment to artist development. Gilded Balloon Futures was originally established following the Cowgate fire and relaunched at the end of 2025 as part of Gilded Balloon’s 40th anniversary, with a renewed focus on supporting artists and sustaining the future of the Fringe.

At its core, the Show Support Fund will raise commercial, public and charitable donations to directly support artists in Gilded Balloon’s annual Fringe programme. With the cost of participating in the Fringe continuing to rise, the fund aims to ensure that more artists, particularly those with distinct voices and limited financial means, can bring their work to Edinburgh.

The fund is designed to be flexible and collaborative, allowing donors to support the kinds of artists and projects they are most passionate about, while Gilded Balloon identifies productions that would most benefit from additional backing. Funding may contribute to a wide range of artist’s needs, including marketing, rehearsal space, creative support, travel, accommodation and wellbeing.

Alongside the Show Support Fund, Gilded Balloon Futures will also support the So You Think You’re Funny? Artist Development Programme, helping to cover the costs of the competition and providing vital opportunities for emerging comedians. This includes financial assistance for travel and accommodation for selected performers, removing one of the biggest barriers to accessing the fringe.

In its inaugural year, the Show Support Fund has been kickstarted by a generous contribution from globally acclaimed comedian, writer and composer Tim Minchin alongside his wife Sarah Minchin, their donation will support five shows selected by Gilded Balloon Artistic Directors Karen Koren and Katy Koren, focusing on solo performers with bold voices and sharing personal stories across comedy and theatre.

Tim Minchin who first found major success at Gilded Balloon at the Edinburgh Fringe in 2005 has particular interest in supporting artists who have struggled with mental health issues who may require additional support to make the Fringe achievable with their work.

In 2026, a total of £10,000 has been raised for the Show Support Fund which will be split between five supported artists as follows:

● Jamie Kilstein: Can’t Tie Knots

● Madeleine Brettingham: Legend

● Lois-Amber Toole: SLAY

● Alan Jay: Hell Hath No Humour Like A Gayboy Scorned

● Kathleen Hughes: Twig

These productions represent a mix of emerging and established voices, each facing unique challenges in bringing their work to the Fringe, from international travel costs to personal circumstances and the realities of early-career development.

Support from the fund will directly impact these artists’ ability to present their work, whether through financial relief, creative resources, or practical adjustments that make participation possible.

Karen and Katy Koren, Artistic Directors of the Gilded Balloon said: ““For over 40 years, Gilded Balloon has been a home for artists at every stage of their careers, from first-timers to global stars. But the reality now is that the financial barriers to getting to the Fringe are higher than ever.

“We are delighted to finally launch this fund which has been a long time coming and is about protecting what makes the Fringe special, taking risks on new voices and giving artists the chance to be seen – something we’ve always prioritised at Gilded Balloon. We want to work with supporters who believe in that mission and help us keep those doors open.

“Every year we meet extraordinary artists with urgent, exciting work who simply can’t afford to bring their work to the Fringe. The Show Support Fund and the So You Think You’re Funny? Artist Development programme – both delivered by Gilded Balloon Futures – allow us to raise funds for where it matters most.

“Whether that’s helping artists to cover travel or accommodation costs, giving artists proper time and space to develop their work, or supporting their wellbeing during what can be an incredibly intense month.

“It’s practical, targeted support that can genuinely change the trajectory of someone’s career and we are eternally grateful to our pal, Tim Minchin, for being the first to support the Show Support Fund.”

Tim Minchin said: “Late one night in March, 21 years ago, a furiously passionate woman with a strong Scottish accent called me up and demanded I go to the Gilded Balloon.

“I didn’t know what the fuck a Gilded Balloon was, and I was deeply cautious, because I’d spent ten years grafting away, and didn’t really believe in big breaks. But a big break is exactly what that phone call was.

“Karen Koren – and now her daughter Katy – have remained loyal friends and passionate supporters for two decades, and it’s a huge privilege to be able to support them a bit as they head into their 41st Fringe.”

A CALL TO THE INDUSTRY

Gilded Balloon hopes that the Minchins’ contribution will inspire others, particularly alumni, industry partners and Fringe supporters, to invest in the next generation of performers.

As one of the Fringe’s longest-running venues, Gilded Balloon has played a pivotal role in launching the careers of countless comedians and theatre-makers. The Show Support Fund represents a new chapter in that legacy, ensuring that talent, not financial means, remains the driving force behind who gets to take part.

By contributing to the fund, supporters will play a direct role in shaping the future of the Fringe, enabling more artists to take risks, share their stories, and reach new audiences on one of the world’s most important cultural stages.

For more details and how to contribute visit:

https://gildedballoon.co.uk/contact/support-us/