one4review | On 13, Mar 2025

The Countess of Fife, Voodoo Ballroom, Edinburgh – 23rd Feb 2025
⭐️⭐️⭐️⭐️ (Four Stars)

A striking fusion of brooding light and dark, steeped in country and Americana influences.
Scotland’s answer to Lone Justice.

The Countess of Fife are a band that defy easy categorization. Led by The Rezillos’ Fay Fife, they weave together country, raw storytelling, and a rebellious spirit with a distinct Scottish lilt. Fay is in great company, backed by some of Scotland’s finest musicians—Willy Molleson (Peatbog Faeries) on drums, Al Gare (Imelda May) on double bass, Brian McFie (The Big Dish) on guitar, and Kirsten Adamson (Dean Owens) on guitar and vocals.

Tonight, at the acoustically and visually striking Voodoo Ballroom—set up with cabaret tables for a more intimate atmosphere—the band makes a low-key entrance to an eager audience, setting the mood immediately with “Humans Are a Bad Breed.” This track drips with Nick Cave-esque angst and the poetic, haunting delivery of Patti Smith—a cathartic antidote to a world gone mad. Fay’s commanding presence and rich vocals make it clear—this will be a performance to remember.

Next up is “Trapped”, a compelling mix of Patsy Cline’s classic country heartache and the melodic charm of Ronnie Blakely. Then comes the first song of the night from their new EP, “Hard Woman to Love”, a country track infused with Scottish undertones, adding texture and a sense of place to the set. That theme continues into “Sweet Beneath the Wishing Tree”, a nostalgic, rootsy reflection on growing up in Fife, steeped in the region’s pagan heritage. With echoes of Lone Justice, it radiates a warm, twangy authenticity.

“Big Sister Little Sister” follows—a bluesy call for sisterly wisdom with a Bonnie Raitt-style groove—before “Call Me the Witch” brings more pagan realism, its layered vocals, particularly between Fay and Kirsten Adamson, creating a hypnotic energy. The first set closes with “Angel in My Pocket”, where Fay unleashes her inner Ronnie Spector, delivering a mesmerizing, full-hearted performance.

After a well-earned break, the band returns with “Wandering Star”, kicking off the second set with bold energy. Its synth flourishes add a touch of Rock Lobster-era B-52s, giving it an unexpected, infectious edge.

“Let This Night Be Over” follows—a slow-burning love story brimming with emotion. Then comes a true highlight of the night, “Where the River Meets the Sea.” While many artists paint vivid pictures with broad strokes, Fay goes a step further—she colours them in, bringing emotional depth and nuance to every lyric.

The energy surges with “Take Me to the Grave,” a gospel-infused Pete Seeger-style stomper pulsing with raw urgency. Kirsten Adamson’s Lindi Ortega-esque harmonies elevate the song, adding to its call-and-response fervour.

From here, things only heat up. “Don’t Dress Me Up” roars in with a rebellious spirit, a nod to Fay’s punk roots. “Goodbye Motorbike Guy” carries an anthemic, Born to Run-esque quality—perhaps inspired by the speedway in Cowdenbeath? “Second Fiddle” is pure rock ‘n’ roll meets country swagger, with Fay channeling full punk-Dolly Parton mode, brimming with attitude and charm.

Then comes the emotional peak of the night—”Worn Out and Unloved,” a song soaked in the melancholic ache of Billie Holiday and the raw vulnerability of Tammy Wynette.

For the encore, the band delivers “Live Again”, a powerhouse vocal performance echoing the soul of Maggie Bell. They close the night with “Cutie Doll,” a barnstorming hoedown that brings the house down.

The Countess of Fife aren’t just good—they’re a devastating live band. Wit, charm, piss and vinegar, and top-tier musicianship fuel their performance. Their influences are vast, and at the start of this review, I called them hard to pin down. Maybe it’s time for a new genre: Fifeshirecania.

Something is stirring over the Lomond Hills. Listen, follow—your life will be better for it.
****
Reviewed by Steve H