Adam Stafford

+ Coping Mechanism + Pefkin

The Hug and Pint, Glasgow, GB

Entry Requirements: 18+

The Acid Bothy

Adam Stafford returns in 2019 fresh from the critically acclaimed compositional album Fire Behind the Curtain (2018). This time he has hunkered down in his tiny studio with a newly acquired Synthesizer and laid down improv Synth jams over one week in a psychedelic sweatstorm.

The result is The Acid Bothy: a no-frills, no-bullshit hypnogogic slayer in the swirling light; a bad-trip brainmelch vomitorium spewing bubbling Synth lines that warp and contort in the shifting haze.

Fitting for an LP that was recorded live onto Mono cassette, Adam is issuing The Acid Bothy on Fruit Salad (bi-red/yellow) cassette tape limited to 50 copies.

Of the album Adam has stated: "The Acid Bothy is a mysterious stone tent where one goes to unlock the enigma behind the rabid children of Väämensha."

Praise for Adam Stafford a Fire Behind the Curtain:

“Adam Stafford’s new album is a rich and haunting record of intelligence, beauty, depth and darkness – it’s a monumental piece of work.” - 5/5 The Skinny

“An absolute triumph of an album.” - Nemone, Electric Ladyland BBC 6 Music

“It’s an incredible feat from a composer pushing all sorts of boundaries and ultimately, an uplifting and rewarding piece of work.” The Crack

“These atmospheric vignettes will conjure up their own imagery, and soundtrack the films in your own head.” - 4.5/5 Is This Music?

“His music touches upon the likes of Steve Reich, Ingram Marshall and Meredith Monk… this LP is frenetic, mystical, discordant and yet melodic at moments.” 9.2/10 The Fountain

Line Up

Adam Stafford's solo albums include the experimental works "Awnings" (2009), "Miniature Porcelain Horse Emporium" (2010), a mini covers Lp "Music in The Mirabel" (2010) and the Paul Savage-Produced "Build a Harbour Immediately" (2011) which are all available to download via

His latest LP "Imaginary Walls Collapse" was released by Song, by Toad and Kingfisher Bluez (N. America) in July 2013 and was nominated for a Scottish Album of the Year Award in May 2014.

Stafford is known for his intense and energetic live performances which incorporate soul-pop, post-punk and a capela experimentalism to dizzying effect.

Recent praise for Stafford:

“This is a quietly bold album, it’s unique brew of singular creativity and deference to traditional sounds unearths an all too rare air of finess” – 8/10, The Line of Best-Fit

“Adam Stafford is back and he might just have surpassed his own standards…A quite remarkable record, one which is both highly complex and ultimately welcoming” – Clash

“For all of the mind-puzzling intricacies of Stafford’s approach it’s his ability to write simple and wonderfully rich pop-songs that shines the brightest, and it’s those very basic and fundamental charms that make Imaginary Walls Collapse such a rewarding listen, and one of the years finest records” – Goldflakepaint

“Stafford still remains relatively unknown outside of Scotland, this could be the album that quickly changes that” – 4/5, The Skinny

“Stafford creates a masterpiece of composition via pedals, loops and effects, conjuring harmonised guitars and voices from a swirling mist of sound” – The Herald on Sunday

“All loop-building, axe-fuelled sonic (mis)shapes and vivid narratives… Imaginary Walls Collapse is tooled up in all sorts of deviant ways: it’s less acoustic; more propelled by electronics and the sounds of human harmony and dissonance” – 4/5, Album-of-the-fortnight, The List

“Contributions are chopped, looped and sampled to serve the artist’s twisted vision” 5/5, The Arts Desk

“Imaginary Walls Collapse is clever, tuneful and wildly inventive” – The Tidal Wave of Indifference

“Layered guitars swimming in reverb and forming the base for a challenging yet tuneful collection. This is intelligently crafted soundscape meets highly accessible pop music with a few twists, in turns confident and robust and then heart-breakingly fragile” – Drunken Werewolf

“Walls is a focused, concentrated record that distils Stafford’s sound and style into an eccentric concoction” – Dauphin Mag

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