Opening proceedings tonight was Glasgow’s own diamond children Humour. We’ve been keeping an eye on this band for a few months now and this evening was our first foray into the enigmatic sound that Humour love to peddle. Dark, graveyard funk with plenty of distortion seems to be the order of the day. We loved the moody stomp on recent single ‘The Halfwit‘. Make moves and catch them ASAP.

Enigmatic and true to form Do Nothing at Glasgow’s iconic King Tut’s was nothing short of a post punk revelation. If music be the food of love, then Do Nothing served up a banquet of audacious soundscapes that left our hearts and ears ravenous for more.

I have to admit, when I heard the bands recent album ‘Snake Sideways’ it seemed to be a departure from the big energy of 2019’s ‘LeBron James’ a snarling juggernaut that firmly solidified the Nottingham band as ones to watch on the post punk scene. The bands recent long player still packs a distinctive punch but one that’s a bit more dreamscape and twee.

So tonight, then as the dimly lit stage came to life, the quartet erupted onto the scene with an energy that could rival a lightning storm over the Scottish Highlands, instantly dispelling any reservations I had, as the resounding bass notes rattled ever fibre in my being – or maybe I was too close to the speakers?

Frontman Chris Bailey, a veritable tornado of charisma, strutted onto the stage, his lanky frame dressed in an eccentric mishmash of besuited vintage threads that somehow coalesced into a fashion statement all its own.

The opening notes of ‘Gangs’ reverberated through the venue, and it was as if the ghost of post-punk had been summoned to inhabit the bodies of these young rock provocateurs. Bailey’s lyrics, dripping with wry social commentary and cynicism, cut through the air like a serrated knife through butter. His distinctive baritone delivered lines like “I’m so unimpressed with everything I’ve seen, so what does that make me?” with the conviction of a preacher delivering a sermon.

The rhythm section, consisting of bassist Charles Howarth and drummer Andrew Harrison, were the sturdy pillars upon which Do Nothing’s sky-scraping sound was built. They laid down a pulsating set that had the entire audience entranced, each thump of the bass and crack of the snare syncing with the collective heartbeat of the crowd.

Guitarist Kasper Sandstrøm’s fretwork was nothing short of spellbinding which is probably why he also plays with Divorce. His searing riffs and intricate melodies elevated songs like ‘Rolex‘ and ‘Sunshine State‘ to anthemic heights, prompting frenzied headbanging and wild cheers from the crowd.

In the intimate confines of King Tut’s, Do Nothing managed to create an atmosphere of electrifying intimacy. Between songs, Bailey engaged in witty banter with the audience, sharing anecdotes (like the time he was rubbing a gentleman’s arm on the ferry over from Dublin rather than petting his cute dog) and insights that made us feel like we were in on some esoteric joke that contrasted the societal disfunction around us.

As the set reached its climax with tracks like ‘Amoeba,’ and ‘Moving Target‘ the room crackled with an electric fervour that could have powered the city of Glasgow itself. Do Nothing’s performance was a heady cocktail of punk attitude, post-punk artistry, and a dash of irreverence that left us all feeling like we’d witnessed something truly special.

Unsurprisingly when ‘LeBron James‘ played as the penultimate track the room erupted into a toe tapping fist pumping pit of joy. With the final track being ‘Handshakes’ serving as a soothsaying lullaby with dreamy undertones, left the sold-out crowd emerging with wide eye and grinning.

If you ever have the chance to witness Do Nothing in the flesh, seize it without hesitation. They delivered a musical exorcism, expelling the mundane from our souls and leaving us exhilarated, transformed, and hungry for more.

Words: Angela Canavan

Shot by: Dale Harvey