Since its inception in 2009, Stag & Dagger has been Glasgow’s crucible for emerging talent, offering a multi-venue platform that spans The Garage (main stage, G2 & attic), Nice N’ Sleazy, The Berkeley Suite, and the Renfield Centre. The 2025 edition was no exception, delivering a kaleidoscope of performances that, despite some technical hiccups, showcased the city’s vibrant music scene.

Fog Bandits – The Garage Attic

Glasgow’s own Fog Bandits, whom we fell in love with after a raucous night in The Hug and Pint in January delivered a set that was both sonically rich and politically charged. Their glam-infused rock, reminiscent of a glitter cannon exploding in a dive bar, was anchored by a drummer whose hair could rival any 80s rock icon. Addressing the venue owner’s controversial political remarks, they dedicated their track “Vile” to the venues owner who has become a big of a social pariah after making comments both in support of Trump and speaking out against the Trans community , they (like most of the bands playing this particular venue) made it very clear that they do not condone this behaviour and that all proceeds from this gig would be going to a Scottish Trans charity. Our stand out track of the set was “Toxic” and “Ready or Not”.

Sick Pay – The Attic

Sick Pay, a Glasgow-based band, brought their post-punk slacker rock to The Garage, weaving internet culture references into their lyrics like a meme-laden tapestry. Their standout track, “Girl on the Screen,” felt like a sonic middle finger to societal norms, blending gritty guitar riffs with sardonic vocals, all over a fun emo-adjacent sound.

Waverly – Nice N’ Sleazy

Emerging from Glasgow’s vibrant indie scene, Waverly took the stage at Nice N’ Sleazy with a performance that felt like a sonic tapestry woven from threads of shoegaze and dream pop. Their music enveloped the audience in a haze of reverb-drenched guitars and ethereal vocals, creating an atmosphere reminiscent of a foggy Scottish morning. Standout track “The Corner” the bands latest single resonated deeply, its melancholic melodies lingering like the aftertaste of a bittersweet memory. The band’s ability to blend introspective lyrics with lush soundscapes made their set a poignant highlight of the day.

Park Safely – G2

Park Safely, by far our new favourite emerging Glasgow artists (we’ve been rinsing their back catalogue of EP’s on Spotify ever since) an impressive duo from Glasgow, transported the audience to the grunge-soaked 90s with their performance in the G2 basement daubed in a swirling sea of violet light gave the band a melancholy air to music that is far from whimsical. Their track “Drowner” submerged listeners in a sea of distorted guitars and raw emotion, evoking the spirit of early Nirvana with more than a few Cobain-esque guitar sequences it’s easy to instantly love the layered sound they produce. Despite an early billing, their set was a highlight, proving that nostalgia, when done right, never goes out of style. 

The Easy Peelers – The Berkeley Suite

Bath-based The Easy Peelers delivered bittersweet jangly pop that felt like sipping lemonade on a melancholic summer day. Their sun-drenched guitars and pithy lyrics were somewhat overshadowed by The Berkeley Suite’s red lighting, which bathed the band in a hue that was more hellscape than stage ambiance. Despite the tricky shooting conditions the band played a frenetic set that is reminiscent of early Blink 182 with our favour track being; “Empty Bottle”

Polly – The Berkeley Suite

Following The Easy Peelers, Polly, a quarter from Glasgow, unleashed their noisy guitar pop with a fervor that was both chaotic and cathartic. Their performance was a whirlwind of distorted chords and impassioned vocals, leaving the audience both dazed and exhilarated. Our highlight track was, “Slump”

Saint Sappho – Nice N’ Sleazy

Glasgow’s Saint Sappho, a queer duo, delivered a DIY alternative rock set that was as raw as it was resonant. Their music, a fusion of 90s rock and melancholic vocals, felt like a diary entry set to a distorted guitar, deeply personal yet universally relatable. The band who are known to produce, mix and curate their own artwork have earned a decisively dedicated following in Glasgow and it’s clear to see why with a tight set like this interwoven with tracks old and new. The duo were supported in this set with the addition of two others playing guitar and bass which levelled up their overall sound. Our favour track was, “Two in the Room”

Silverbacks – Nice N’ Sleazy

Irish band Silverbacks showcased their art-rock prowess in the basement of Nice N’ Sleazy. Their intricate finger-picking and eclectic soundscapes captivated the audience, proving their growth since their previous Glasgow gig. Tracks like “Sellinh Shovels” shimmered with complexity, much like a kaleidoscope in musical form. But the nuances overtones of “Dunkirk” won us over. A band I expect to see on much bigger stages very soon.

Water Machine – Nice N’ Sleazy

Glasgow’s Water Machine were next on the Nice N’ Sleazy lineup with their experimental soundscapes. Their blend of synths and loops created a mesmerizing atmosphere, leaving the audience in awe. Their performance was akin to a sonic lava lamp, constantly shifting and entrancing. The band look like they are best friends and brought with them a bunch of party hats that they enthusiastically handed out to the audience members as they “wanted to bring the party” and a party the certainly brought. With sublime pop overtones and angular cow bell of “Stilettos” the band had the packed out basement dancing along with each track delivered with bubblegum perfection.

Vundabar – The Garage Main Stage

Boston’s Vundabar electrified The Garage’s main stage with their infectious blend of indie rock and post-punk energy. Their performance was a whirlwind of angular guitar riffs, punchy rhythms, and charismatic stage presence that had the crowd moving from the first chord. Tracks like “Ash in the Sun” and “Alien Blues” showcased their knack for crafting catchy hooks layered over complex arrangements, much like a well-constructed labyrinth that invites exploration. The band’s dynamic interplay and palpable chemistry turned their set into a communal celebration of sound, leaving the audience buzzing with exhilaration.

Grandmas House – Renfield Centre

Bristol-based Grandmas House faced significant sound issues at the Renfield Centre, with feedback and distortion marring their set. However, the band turned adversity into advantage, weaponizing the distortion to amplify their post-punk grunge sound. Their commanding stage presence, gruelling vocal delivery sets them apart from their peers. We adore the gutteral wail of, “Body” with its brooding stomp of a bassline, infact Zoë Zinsmeister (bass) looks just like Catwoman as she makes her transformation in Batman Returns, to a total badass with multiple hair flips this set was unforgettable.

Big Special – The Garage Main Stage

Big Special, a duo from the Midlands, brought raw energy to The Garage’s main stage. Frontman Joe Hicklin’s manic stage presence, combined with the band’s heavy guitars and pounding drums, created a powerful performance. Part spoken word part manic steer preacher giving a sermons directly from the mosh pitt Big Special are hard to forget. Infact, TGB fell in love with them recently when they supported John Grant at the Barrowland and tonight it’s evident that they have more than cut their teeth with their relentless touring schedule delivering a fast paced sight that is incredibly tight. The audience, donning party hats handed out earlier by Water Machine embraced every moment. We loved tracks like, “Black Country Gothic” with its duel vocal stylings and the dancy stomp of “Desperate Breakfast”

Martha May and the Mondays – The Garage Attic

Martha May and the Mondays delivered a high-octane set in The Garage’s attic. Their unique blend of saxophone, violin, and distorted bass, coupled with Martha’s commanding presence, made for a standout performance. Their cover of Electric 6’s “Gay Bar” served as a bold statement against the venue’s owner. At one point, Martha scaled a speaker to usher “all the men” to the front, culminating in an expert stage dive that blurred the lines between performer and audience. The set was laceratingly tight. We loved “SPIT!” and the theatrical delivery of “Touch Me” get yourself down to a show soon as you won’t be disappointed.

Babymorocco – Renfield Centre

Babymorocco, the alter ego of Clayton Pettet, closed the festival at the Renfield Centre. Despite the venue’s ongoing sound issues, his performance, characterized by synths, loop machines, and provocative dance moves, brought early 90s disco and rave energy to the forefront. His stage antics, including hat-snatching and stripping to boxers, ensured a memorable finale. We loved the gleeful “BigCityBoys”

Stag & Dagger 2025 reaffirmed its status as a vital platform for emerging talent. While sound issues at venues like the Renfield Centre were a drawback, the festival’s commitment to showcasing diverse acts across multiple venues remains commendable. As always, the festival served as a launchpad for bands poised to make significant strides in the music industry.

Words: Angela Canavan @zombiefang_

Pictures: Angela Canavan @zombiefang_ & Natalie Vanderpool