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Written by Ella Hickson
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 When the doors for Kate Nash's 'hot gig' at Edinburgh's Corn Exchange opened at 7.30 a wave of high-pitched, kitsch-clad teens gushed toward the central hall. Even though I out-aged the majority of the crowd by a clear five years I couldn't avoid the infectious female comradeship. The crowd was ready, ready to absorb Nash's 'chavtronica', ready to be carried by our hero through the tribulations of relationships, allied in sassy attitude against men that just don't understand.
By 9.40, when Nash actually deigned to croak a note - I was more than ready to join forces with those who slam Nash for being a no-talent moaner. During a month when Edinburgh is full of exquisitely talented and punctual acts that perform for ticket prices lower than Nash's you can't help but begrudge a forty-five minute technical set-up between Nash and her unutterably awful warm-up act, The Cribs.
The disgruntlement felt about the technical set-up was only exacerbated when, even after all that prep, microphones were wobbly, guitars were unconnected to amps and the levels ensured that little but the drums could be heard. If only Nash's cheeky persona and endearing Londonite tones had saved the situation, if only. Nash was at the end of a gruelling tour, she'd caught a bug in Leeds; songs were crackly, croaky and barely audible and the already stilted set was constantly hampered by scurrying technicians trying to resolve the situation.
Having nursed a quiet adoration of Nash during many a session of hairbrush solos and bedroom strutting, this fan left disappointed. Nash and the embarrassingly bad support act, The Cribs, achieved the exact opposite of the rest of the festival – they were high on ego and low on talent.
- Kate Nash
- Corn Exchange
- 25th August
- 19:30
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