The Renfrew Ferry is, as its name suggests, a ship. Not one that goes anywhere thank goodness, but a former vessel which used to cross the River Clyde in Glasgow with people and vehicles. It is now permanently moored, still on the Clyde, in the centre of the city and is used as a concert venue. The audience stand on the former car deck where a stage has been set up at one end and the upper deck provides a balcony view for those who want to look down on events. The high ceiling, intricate ironwork and lots of glass make for an interesting location and in early May as the sun goes down the last rays shine the length of the River Clyde and illuminate the interior as the concert-goers congregate. James Grant, former lead singer and songwriter with 80s popsters turned 90s serious, darker musicians Love and Money, has just released his first solo album and has come here for an acoustic set in his home town. The new album, "Sawdust in my veins", has carried on where Love and Money got to at the end of their existence, but has a more intense, personal sound. 'All her Saturdays' kicks off proceedings with Grant's voice sending shivers down the spines of those assembled. The acoustic setting also shows off his mastery of the guitar, a talent he has always had but was not always as obvious in a group setting. Grant is not completely alone, however, as he is joined by various musical collaborators during the evening. Providing keyboard and accordion accompaniment is Donald Shaw, producer of the album, and his wife, Karen Mathieson, adds dreamy backing vocals. Donald and Karen are also members of the group Capercaillie which has its roots in traditional music and seem an unlikely bedfellow for Grant's moody homages to misery. The meeting of styles came about when Grant contributed some songs to Karen Mathieson's solo album, "The Dreaming Sea", including one she sang this evening which Grant had written about his daughter, 'Evangeline'. Also on stage some of the time is Ewen Vernal (ex-Deacon Blue) on double bass providing a rich alternative to the usual electric sound and highly appropriate for the mood of the evening. For a couple of songs there were cellos too, notably for 'Walk the last mile', where the Ferry was filled with the haunting sound of one of Grant's finest songwriting efforts. A similar version was recorded and released on the 'Pray the dawn' single from the album. This latter song was also one of the highlights with Grant's rich tones sounding better than ever. Last but by no means least among the bunch of hired hands for the evening was Fraser Spiers, whose blues harmonica fitted the style and sound of the performance perfectly. The object of the evening was to showcase the new album and the grim sounding, as acknowledged by Grant in a moment or two of self-mockery, 'I can't stop bleeding' and 'If you love me leave me alone' were received in quiet awe by the audience. The same cannot be said for one of the bar staff who thought that this would be a good time to collect empty beer bottles! We were also treated to 'No chicane' and 'Sawdust in my veins', and it was explained that this title had come from an old movie where Charlton Heston was paying tribute to an old clown who had just died. In amongst the new stuff, old Love and Money favourites like 'Waiting for Angeline' provided memories of the old days for those fans who have stuck with Grant over the years. Somewhat fittingly one of the last songs was 'The Last Ship on the River' from Love and Money's final album "Littledeath", a tribute to the loss of the shipbuilding industry from the Clyde and the hardship that brought to the local economy. Here, on of the last ships, the subject matter may not be cheery but the people weren't miserable. The first encore brought the Love and Money classics 'Winter' and 'Whisky Dream' providing a reminder of the great quality which was never translated into sales. Oh well, such is life. At least we can still enjoy the live experience and it would have been a sad loss had Grant decided to throw in the towel. Someone requested 'Rosemary' and what started as a few impromptu bars extended into most of the song, as easy as a,b,c. Time to go home, but the audience won't let Grant leave without another encore and we get the title track of the album once again to send us on our way. The way of the world as a jobbing solo artist means it is unlikely that a world tour will follow the release of the album so if you get the chance to catch him live don't miss it. Highly recommended.