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  1. The Busker promises three cities, two years, one chance. Yes, the cities bit is correct, and I’ll take Liam Murray Bell’s word for it that it takes place over two years – although it is difficult to gauge the passage of time – but “one chance” is a bit misleading. We open the book to find Robert Dillon, homeless on the streets of Brighton, having pawned his guitar to buy a bit of food and some drugs to help him sleep. Since Robert – or Rab – is a busker, this seems to reflect some pretty short term thinking. Rab seems to be a stereotypical Glaswegian junkie, having incoherent arguments with his incoherent homeless buddy Sage. Certainly, Rab is at rock bottom. So it challenges pre-conceptions to discover that Rab is an articulate man from a middle class part of Glasgow who recently signed a recording contract and had an album released. The novel layers back in time, first to London where Rab is living the high life, raiding the mini-bar in his swanky hotel room, being ferried about the place by record company limousines, and looking forward to a life of fame and wealth. And then it is layered further back to Hyndland, Glasgow, where Rab’s friends are looking at universities as Rab is making preparations to head down to London for the big time. He is full of hopes and expectations; perhaps his girlfriend Maddie might come to join him; they could buy a house and once the royalties start to pour in, Maddie’s English uni tuition fees wouldn’t be a drop in the bucket… Obviously, we know that Rab’s music career is not going to end well; part of the intrigue in the novel is seeing how such a low ebb can be reached from such promising beginnings. The journey gives a searing portrayal of the music industry which seems so cut-throat and unsentimental that it’s a wonder anyone would ever consider joining it. Everyone seems to be in hock to someone else – those who seems to be screwing over the artists are being screwed over themselves. There is also a good deal of cynicism about celebrity endorsement of grass-roots movements. Rab is encouraged to involve himself with the Occupy movement, pretending to be sincere, pretending to live in a tent, pretending to be in touch with the streets. The irony, of course, is that this is exactly the future that is waiting for Rab. One of the strengths of the book is the development of Rab as a character. He may not have been much chop as a rock star, he may take some poor decisions and sometimes seems callous, but he does have an innate optimism that is hard to dislike. He doesn’t want charity; he doesn’t want to admit defeat; and he seems to still have hope that he’ll be able to pull himself up. In each of the three sections, he is counterpointed by more pessimistic characters – Sage in Brighton, Price the record mogul in London, and Maddie, the girlfriend in Glasgow. Rab is never deterred by the fact that the voices of pessimism often seem to be right; and the reader cheers for him. Does he get there in the end? Perhaps. ****0
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