A bedroom
A bedroom

Castle View Bedroom

Why should I go now?

The Scottish capital is at its most glorious in late spring, bathed in light for 18 hours a day. The student population gives it extra life, and the big tourist crowds of high summer are not yet here. The Sheraton Grand is in a perfect location: many rooms have views to Edinburgh Castle, a forbidding looking edifice on a hilltop across the gardens from the hotel, and it’s at the end of Prince’s Street, the main drag.

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What’s the lowdown?

There are Sheratons and Sheratons, and LUX would like you to understand that this one is grand in both name and nature. It’s a relatively modern building with a light, airy restaurant and bar, casual chic in style and contemporary in feel. And the jewel in the crown is its spa facilities, unrivalled in urban Scotland: a huge indoor pool, and extensive rooftop vitality pool area.

A bronze tiled sauna space with white towels

Hammam at One Spa ©2018 Matthew Shaw

Too often, rooftop pools in cities are tiny things; in this case the vitality pool is vast, and has sweeping views for you to take in while breathing the clear air gurgling down from the nearby Highlands. There’s an indoor vitality pool also, in case the weather gets really bad, though the outdoor pool is well heated so we can’t see why we wouldn’t use it.

An outdoor rooftop pool with steam coming out of it

The outdoor hydropool at One Spa

Getting Horizontal

Our bedroom had big windows and a big view over to the Castle; to its left, people wandered up and down Prince’s Street Gardens; to its right, a sheer rock face more redolent of the Highlands than a city. There was an overarching sense of space and light, so much so that for one dinner we decided to dine in-room, enjoying a very long summertime twilight and some excellent quality, simple cuisine done well: a salmon salad and green vegetables, some local ale. Furnishings were soft and quite masculine.

Read more:Switzerland, our top pick for summer

A lounge with a window ceiling

The Club Lounge ©Matthew Shaw

Flipside

The hotel is modern, spacious and comfortable, although if you’re looking for a historic interior, you won’t find it here. We loved the efficiency and comfort, and there are plenty of historic buildings to visit in Edinburgh.

A living room with cream chairs and a blue sofa

The Grand Suite Living Room

Rates: From £321 average per night (approx. €380/$400)

Book your stay: marriott.com/hotels/sheraton-grand-hotel-and-spa-edinburgh

Darius Sanai

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Reading time: 2 min
Remote village of Glencoe in Scotland
Remote village of Glencoe in Scotland

Glencoe, Scotland. Image by Max Hermansson

Scotland was recently crowned the most beautiful country in the world; it conjures up images of wild northern mountain rises, plunging cliffs and bottomless lochs.  The combination of Scotland’s bustling cultural hubs with its raw, breath-taking landscapes makes it seem only natural that artists and poets would gravitate towards this northern haunt. Rhiannon Williams turns the spotlight on Scotland’s best poetry nights and slams, and speaks to The Loud Poets collective about the poet’s role in contemporary society.

In both Glasgow and Edinburgh today there is a veritable traffic jam of poetry nights, collectives and slams all fuelled by furious creation. These include the regular Illicit Ink showcases which like to focus upon ‘the sinister, the witty and the weird’, or collective Inky Fingers who run writers’ workshops as well as incredibly cool performance nights in Edinburgh at the popular Fringe venue Summerhall.

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Poets and the poetry community alike meet to learn from each other, share ideas, and of course laugh and enjoy themselves – Edinburgh is not the capital of comedy for nothing, and a lot of the poems performed will jump over into being stand-up sets too. This is the case with Neu! Reekie! which often set up at the quirky Monkey Barrel Comedy club.  Whilst, Growing Underground at the Forest Café in Edinburgh is as unique as it gets. The radical arts hub hosts monthly nights, serves organic hot food, and has a basement gallery and venue space which is as mouth-wateringly atmospheric as it sounds.

The Loud Poets collective performing in Scotland

Image by Perry Jonsson

Finally, there are the Loud Poets who, as with a lot of the poetry collectives, resist any concrete
definition. They’ve been together since 2014 and perform at Fringe shows, run club nights, create art  and music and now have a hub in Annexe Arts of Edinburgh. Popular in both Glasgow and Edinburgh, the appeal is in the idea of noise, empowerment to speak out and encouraging others to do the same.

Rhiannon Williams: What’s the best part about being in a collective?
Loud Poets: The best part about being in a collective is the ability to bounce ideas off of your fellow artists and brainstorm together. In Loud Poets we have not only writers and performers but also musicians and video artists, so any time someone wants to create new work, they can draw upon a range of talented folks for ideas and advice.

RW: How did the members of the Loud Poets meet? What is your creative process; do you ever write collaboratively for example?
LP: As a collective we’ve grown and evolved over time: what began as a small group of creative folks DIYing a monthly showcase has ballooned into a larger collective containing many different artists. One of Loud Poets’ aims has always been to foster a community around spoken word in Scotland, so we’ve always encouraged folks who are passionate about the art form to get involved in the collective. It’s hard to say there’s any one creative process – it varies for the different artists and it’s always changing!

The diversity of creative practices in Loud Poets is, I think, one of the things that makes it work so well – if one person is stuck, another person can jump in with a different strategy to help. We do write collaboratively – we have several partner and group poems that we’ve performed as part of our Edinburgh Fringe shows. Those are challenging but also loads of fun to compose, since the process involves balancing different styles to create the piece that will work the best in live performance.

RW: Your work spans all kinds of medium, from physical performance to live music and visual arts. Where would you say the roots of the poetry lie for you?
LP: I think each member of LP would answer that question differently, which again I think is a good thing! We each draw upon different creative practices: for example, Kevin is a trained actor, Katie a trained dancer/choreographer, and Doug plays multiple instruments. As a collective we perceive performance poetry as a multi-medium art form to be experimented with, and we’ve had a lot of fun innovating at the edges of the genre.

RW: Which poets/artists/musicians are you excited about right now?
LP: It’s so hard to just pick a couple! One artist who LP has admired for a long time is the Leicester-based artist Jess Green, who not only writes and performs poems but also works with a live band and has recently penned a play! Jess often targets political inequalities through her sharp, beautifully realised poetry. We’ve recently fallen in love with Glasgow artist Sarah Grant, an incredibly talented film-maker who came along to LP last year and performed her first poem there to great success. Since then, she’s won two of our slams and graced our stages many times, as we can’t get enough of her often hilarious yet always powerful work.

Read next: Brisk walks and autumnal evenings at Coworth Park Hotel & Spa

RW: What do you do to prepare for the performance, just before going on stage? Any quirks or
particular thought processes to get into the zone?
LP: Again, this is different for everyone – we’ve tried doing team push-ups before shows but that
tradition didn’t last long… For some of us, it’s essential to run the poems either in our heads or out loud before performing, whereas for others they trust that the material is in there from prior
rehearsal. Some of us have physical warm-ups that we like to do so we can use our voices fully
onstage. Sometimes performing a certain poem, especially if it’s emotional and personal to the
performer, means taking an extra moment to mentally prepare before walking onstage. It really
varies!

RW: What kind of role has Scotland played in the content and inspiration of your writing?
LP: Again, this will really vary! Catherine Wilson and Katie Ailes have both written directly about Scotland, Catherine from her perspective of living here her whole life and Katie as an immigrant.
One thing that I’d say for everyone is that it’s great being in such a vibrant spoken word scene in
Scotland today. Spoken word across the UK is currently booming, so it’s a great time to engage in the art form. Scotland also has a cultural devotion to literature, especially live literary traditions, which makes it a fantastic environment for writers. We’re lucky to have resources like the Scottish Poetry Library, Scottish Storytelling Centre, Scottish Book Trust, and more organisations devoted to this art forms to support our work.

Scotland's poetry collective the Loud Poets performance night

Image by Perry Jonsson

RW: What would you say is one of the most difficult things about being a poet today?
LP: Unfortunately, I think a lot of the general public thinks poetry isn’t for them and so don’t engage with it: perhaps in school they were taught work that wasn’t relevant to them or had to analyse it past the point where that was any fun. To quote the brilliant Adrian Mitchell, ‘most people ignore most poetry because most poetry ignores most people.’ Not to knock other writers at all, but if our work looks entirely inwards or is so experimental or reference-heavy as to be inaccessible, it’s not going to engage most folks.

Our core mission has always been to make work which is accessible and interesting to everyone: poetry which is exciting, which touches on issues in contemporary life, which is performed in a way that makes you sit on the edge of your seat. Our favourite thing to hear is someone admitting that they were dragged to one of our shows, swearing poetry wasn’t their thing, only to actually really enjoy it – or, even better, to enjoy it so much that they themselves were inspired to write a poem. So we want to change the assumption that poetry is an ivory tower by making work that encourages everyone to speak out.

Rhiannon Williams: Glasgow or Edinburgh?
Loud Poets: Ah, don’t ask us that! We’ve run monthly showcases in both cities for nearly three years now, and we love them both. The spoken word cultures in each city have slightly different flavours, Glasgow’s being more influenced by the fantastic Scottish rap scene and often quicker-paced than Edinburgh’s, which tends to have lots of international students and thus a wide pool of influences. We love booking artists from one city to perform in the other, not just with Glasgow and Edinburgh but across Scotland, to try to expose each city to the great artists and styles from elsewhere in Scotland and the UK.

RW: Highland Loch or a North Sea cliff face?
LP: Well, they say poets are narcissists, so I suppose the loch so we can stare at our reflections like Narcissus until we die? How’s that for a poetic answer… On the other hand, standing on a bleak cliff face with our hair tangling in the brutal wind sounds equally poetic… Tough choice. We’re going to have to go with Greggs. Whether it’s taking place in a pub, a club, beneath a café, in the streets or on the air, some of the most exciting and diverse poetry in the world is being created in Scotland right now, so head up whenever you can, open your ears, dig in with every sense. It’s a blast!

loudpoets.com

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Reading time: 8 min
The Balmoral
Clyde Auditorium

Clyde Auditorium – Seating 3,000, it is also referred to as “The Armadillo” by Glaswegians

Edinburgh is Scotland’s capital, Glasgow is its biggest city. Ahead of this year’s vote on independence, RJ MALONE explores what each has to offer in terms of hospitality and soul

Glasgow, Scotland’s biggest city and Britain’s second city after London (at least, until the Scots decide whether or not they wish to remain part of Britain later this year), is often gifted with slightly backhanded epithets. “Gritty”, “real”, “friendly” and, worst of all, “down-to-earth”, for example, compared with Edinburgh, Scotland’s capital 40 miles down the M8 motorway, which is “beautiful”, “historic” or “traditional”.

I rather like spending time in Glasgow. It doesn’t have the visual drama of Edinburgh’s Castle as viewed from Prince’s Street, or the tourist-postcard dream come true of the Royal Mile. But it does have plenty of striking architecture around its university, West End and central areas, a fizzing cultural program, and some fantastic, and well-priced, restaurants if you like seafood, simply rendered.

To experience the city properly, you either need to stay in a place where you can escape from its very real harshness – no creative cultural program can obliterate the bands of rain sweeping on crystal clear air from the Atlantic, whatever the month – or revel in it.

The first of these is the Hotel du Vin, One Devonshire Gardens. Fans of the boutique town hotel group will be familiar with its cleverly designed, gourmand-friendly, contemporary-cosy properties around the UK; but this is another level altogether. The group’s only effectively five-star outpost (only the vagaries of staircase connections between the grand townhouses that comprise the hotel rob it of an official five-star rating), it is on the edge of the city’s restaurant-and-bar-packed West End. Step inside and you shut the wind, rain and streetscape out, both visually and physically.

Hotel Du Vin

Hotel du Vin – The iconic hotel is known for both its service and style

It’s all about a series of grand drawing rooms, created with a very contemporary blend of pared-back chic and ornate swank. My bedroom, facing an internal courtyard, was all about swoothing swathes of drape and fabric, and a bedroom that felt like you had been whisked into a 19th-century boudoir (but with no mustiness or dustiness; everything was perfectly up-to-date). The best part of the stay, though, was an evening spent in the bar: this was another ornate drawing room, with sofas and chaises longues and coffee tables, with a bar along one side. The lighting, so often the killer in bars in drawing rooms (there’s usually too much of it and you expect your maiden aunt to drop in for tea and biscuits, not very seductive), was just dark enough. The array of single-malt Scotches would have kept a whiskiphile going for weeks; the wine list was peppered with interesting red Burgundies and new-wave new-world points; I enjoyed some local Scottish craft beer, while picking at a very pleasant board of charcuterie.

Glasgow’s heyday was at the height of the industrial revolution, when it was a port, centre of commerce and ideas, and shipbuilding centre: a sort of 19th century version of contemporary Shanghai. Its more recent reinvention involves some interesting architecture also, and a way to both see and experience it is at another of my favoured hotels in the city, the Crowne Plaza Glasgow. This sits in the middle of a new cultural and conference area, a former industrial zone across the curiously quiet Clyde river (the great shipyards were further downstream, where the waterway is mightier) from the BBC’s new Scottish headquarters, and next to a mini-Sydney Opera House known as the Clyde Auditoriam, designed by awardwinning architect Sir Norman Foster. At night, the area has a kind of Twilight Zone beauty about it, and I enjoyed sitting in the silent efficiency of my corner suite, which had a double outlook, drinking a Schiehallion beer, looking out across the river and over to the outline of the Southern uplands beyond, feeling like we are on the edge of Europe. The bar, downstairs, is pretty lively too, in a very Glasgow way.

Edinburgh has a much more formal way about it, and a far more formal beauty. I prefer the cheerful gruffness of a semicomprehensible Glaswegian taxi driver to the clipped and chipped service of an Edinburgh driver, but that’s personal. And if you are going to see Edinburgh, there is one place to see it from: its grandest hotel, the Balmoral, which sits directly adjacent to Waverley Station, diagonally facing the Castle, and at one end of Prince’s Street. Prince’s Street itself is a shopping boulevard flanked by unremarkable retail in grand stone buildings on one side, but the gardens on the other side, dropping into a dip, and then rising up to the great rock hill on which the Castle is perched, give the impression of being on the edge of the sea, the Castle a fortress rising beyond.

The Balmoral

View From The Balmoral with views of the Edinburgh Castle by night

My room had a view of all this, and an enormous amount of space besides, a mark of this grand edifice of a hotel. A small measure of Highland Park 12-year-old whisky with a single cube of ice made from Highland Spring water (why put chlorinated tap water in your whisky, in the form of a melting ice cube?) enhanced the view.

The public areas of the Balmoral are a tourist attraction in themselves; the domed Palm Court a place where locals and tourists congregate for afternoon tea, Ritz-style (be sure to book in advance) and no doubt talk of places where palm trees don’t need central heating in order to grow properly. More my style was the spa, where a chatty therapist gave me a very effective scrub and massage, amid generously proportioned surroundings.

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Reading time: 5 min