Biig Piig, aka Jessica Smyth, arrived at SWG3’s TV studio as part of her first headline tour, supporting her much-anticipated album 11.11.

The Cork-born singer was clearly excited to be in front of the legendary Glasgow audience, joking that she looked ill because she was “Glasgow deficient.” However, her energy was undeniable from the first second of the opener, “4am.” She pogoed her heart out, raced about the stage, and whipped her hair, demonstrating her genuine excitement to be there, even if her frenetic moves didn’t quite match the melancholic, end-of-the-night club vibes of the song.

“I know you don’t want to be alone, ’cause no one does,” she sang to the crowd, who responded with warmth and enthusiasm. The self-proclaimed “Master of Sad Bangers” recognised the love she felt from the sold-out audience.

Despite the recent launch of 11.11, the setlist was dominated by her decade-long catalogue of mixtapes, EPs, and assorted singles. This was a chance to showcase her extensive portfolio, much of which has been noted by Billie Eilish. However, the different influences and genres within her music made for an eclectic and varied, if slightly disjointed, live experience.

Biig Piig’s constant energy and instantly recognisable melodic voice provided the common thread through a show that included two distinct vibes: chilled-out, ethereal songs with trip-hop and acid-jazz influences, and energetic synth-led club tracks with drum’n’bass drops. The first half of the night featured more chilled songs like “Oh No,” “This is What They Meant,” “Don’t Turn Around,” and “I Keep Losing Sleep.”

Early highlights included “Roses and Gold” with its heavy bass and impressive saxophone riffs, and the bass-filled, Anglo-Iberian language “Perdida,” influenced by Piig’s formative years living in Marbella.

As the pace picked up, the energetic club-led second half of the performance better connected with Piig’s energy and the crowd. The trip-hop vibe of her 2020 single “Liahr” continued her frenetic on-stage presence, which was amplified on “Picking Up,” where the crowd was encouraged to let their rage out. After hopping the barrier and spending some time in the crowd, she looked delighted to connect with her Scottish fans. That genuine emotion was present in “Brighter Day,” dedicated to those no longer with us but here in spirit.

Her 2020 single “Sunny” had the crowd dancing and clapping along to the heavy bass parts, with the bassist, who also doubled as the impressive sax player, in his element. Electro-disco banger “Decimal,” the synths of ethereal “Favourite Girl,” and drum’n’bass-led “Switch” turned the TV studio into a club night before the strains of her most popular and recognisable song, “Feels Right,” provided an opportunity for a good sing-along.

The encore, “Kerosene” from her 2023 album Bubblegum, kept the energy up and rounded off the evening with a bit of audience participation that again delighted the Irish singer. Biig Piig was an excited puppy on stage, leaving the audience eagerly anticipating her next performance.

Images: John Younge

Words: Marie Hendry

By the time Heartworms stalk onto the stage at King Tut’s, the air is already thick with anticipation—possibly sweat, possibly dread. After all, Jojo Orme doesn’t deal in the pedestrian or the polite. She’s the kind of frontwoman who could have you spellbound with a whisper and then tear your head off with a wail before you’ve had time to blink. And tonight, that’s exactly what she does.

Fresh off the release of Glutton for Punishment—one of the year’s most ferocious debuts—Orme and her band take their positions with the quiet confidence of people who know they’re about to flatten the room.

They open the set with the album’s instrumental intro, a brief moment of eerie calm before Just To Ask a Dance kicks in, complete with perfectly synchronised moves. Who says style and substance can’t share a stage?

Heartworms operate on a knife’s edge between post-punk precision and industrial ferocity, with the band shifting seamlessly between controlled chaos and eerie serenity.

The dynamics are razor-sharp: one moment a whispered, almost ghostly vocal, the next an unhinged, full-throated howl that feels like it could shatter glass. Orme doesn’t just sing these songs—she delivers them, each lyric weighted like a weapon, each pause as tense as a held breath.

And then comes Mad Catch. The band drops into absolute silence, leaving the crowd stranded in a moment of stillness. At first, the murmur of bar chatter drifts through the venue, a reminder of the real world beyond this fever dream of a set. But soon, as if hypnotised, the room falls silent. Orme seizes the moment with some spoken word—an intense, almost theatrical display that sends a shiver through the assembled bodies before the trip-hop beats of Extraordinary Wings come crashing in.

By the time Warplane detonates, there’s no question that Heartworms are in complete control. The drum machine sets the pulse, the band drive it forward like a well-oiled war machine, and Orme commands the chaos with a cool, almost sinister authority.

The night ends with Smugglers Adventure, a spectral, subdued closer that lingers in the air like the last breath of a ghost.

With the haunting lyric, “I don’t have a chance to ask for a dance from you. I’m so shy, it pains me to ask you to save me too”

It’s a moment of eerie beauty—a final, knowing whisper before the band disappears into the night.

Words: Fran Tamburini & Angela Canavan

Images: Rose McEnroe

Motopia

Despite the early start time, local heroes Motopia performed a blistering set in front of a keen and animated audience that had clearly made the effort to get there early. A musical mix of early Banshees, Au Pairs, The Doors, and possibly even Television, Mairead leads from the front—singing and dancing to great effect as the boys provide a sonic vision that is both varied and dynamic.

There are moments that almost enter guitar-hero territory, but the mix and variation just work. This is as refreshing as it is authentic, as modern as it is retro. Infectious songs and good stagecraft are often hard to beat.

Mairead clearly has a genuine love of performing, and that is infectious. At times, she reminds me of Ari Up—a celebration of music and life, a vision of pure joy and exuberance. Proving it’s not what you do, it’s the way that you do it.

PAIGE KENNEDY

What a set!

Electronic wizardry and a Telecaster guitar merged to such magnificent effect. What more could you ever need?

This mesmerising artist is utterly captivating.

Prince-like guitar riffs layered over ’80s-inspired keyboard and drums that bring to mind Scritti Politti, Thomas Dolby, and Yello!

With an assured delivery of songs that explore the pitfalls and traps of everyday life. What Does Your Girlfriend Think and Lingerie Model are immediate highlights. The experience of buying lingerie in M&S is comically tragic, and the depiction of the mundane reminds me of Chris Difford’s lyrics—different, yes, but with a similar sense of the artist as the character relaying the story.

The dancing, the banter, the stage presence—Paige is a truly engaging artist, as funny and upbeat as they are serious and considered. At one point, they ask if anyone in the venue has a girlfriend and seem genuinely confused when the crowd appears to be entirely single. It was the day after Valentine’s—maybe that’s why, or maybe it just got lost in translation.

It’s with good reason that the NME 100 has highlighted Paige as one to watch in 2025.

The set was short—maybe only half an hour—but every minute was a highlight. For now, Paige’s music is available on the usual digital platforms, and you really should investigate it further. It is with utter certainty that more great things are to come. Watch this space.

SHE DREW THE GUN

Tonight marks the release of Louisa Roach’s, aka She Drew The Gun, fantastic new album, Howl.

Bittersweet, streetwise lyrics and melodies mingle with pulsating keyboards, soaring guitars, and a pounding rhythm section to create a musical landscape that overwhelms and engulfs a packed Room 2.

An incendiary and entrancing performer, Louisa has the ability to conjure incredible visions with words that trip effortlessly from her Merseyside tongue. So many words… so many considered words—it’s remarkable that they can be remembered so flawlessly and delivered to such great effect. Between songs, I’m at times reminded of John Cooper Clarke, both in content and delivery—deadpan-penned bullets to the heart and senses. Thought-provoking, intelligent, relevant.

The five-piece live band creates a perfect platform from which to launch an 18-song set that dips and dives in feel and sound. Zig-zagging between retro and at times analogue electronica, to hip-hop, to psyched-out and mutated lounge-lizard toe-tapping, reminiscent of Karen O, Sharon Van Etten, and maybe Annie Clark. It’s a sound that’s hard to pin down but easy to appreciate. More than anything, the lyrics are inventive and hard-hitting, reflecting on the challenges of everyday human existence—the political, the social, and the personal.

This is a smouldering performance that peaks with an incredible version of Something for the Pain, but it’s Panopticon, the final encore, that really is the cherry on the cake—somewhere between S’Express, Propaganda, and The Beloved. A blistering set of so many jewels.

She Drew The Gun are easy to love.

Words: Nick Tammer

Images: Chris Hogge

Tonight’s set was short… almost frustratingly so… six songs in 30 minutes, but my oh my, what a beautiful 30 minutes it was.

It is Valentine’s night, and the Mono stage is bathed in blue light. Keeley collect themselves, form a Celtic-esque huddle, and then deliver a red-hot set, mainly of new songs that make the prospect of a third album so exciting. The yet-to-be-recorded songs are more direct and pure new wave than the more textural, dream pop, shoegaze vibe that you may be more familiar with. But it’s early days, and I cannot wait to hear how the finished articles will sound.

This is by no means the first time that Keeley have played in Glasgow, and tonight sees them at their most confident. Keeley Moss (vocals/guitar) commands the stage, whilst Luke (bass) and Andrew (drums) provide a rhythmic backbone from which to soar. Having toured with the likes of Terrorvision, Miki Berenyi Trio, and Desperate Journalist, this dynamic and forward-forging ethic sees Keeley gather a continually growing fanbase that will only get bigger and bigger. Tonight sees Luke wearing a My Bloody Valentine ‘Loveless’ T-shirt. Genius!

Keeley are fantastic tonight, but it is all over in the blink of an eye. In retrospect, it may be good to leave people wanting more. Can’t wait!

It should be said that all of the songs written are specifically about Inga Maria Hauser, a young German woman whose murder in Northern Ireland remains unsolved. This tragic event is covered with such respect and passion that I urge you to listen to the songs in greater depth, as well as checking out the documentary Inga Maria Hauser: Who Killed Her? Murder in the Badlands.

The Boo Radleys come from a part of the world that has undoubtedly had more than its fair share of incredible songwriters, and tonight we are presented with wonderful moments from the albums Wake Up! and C’mon Kids. Crafting some of the 1990s’ most memorable and enduring songs, The Boos thankfully reformed in 2020/21, and the now five-piece band seem genuinely happy and excited to be playing in Glasgow. The ever-smiling Sice banters with a hugely receptive audience that is eager to lap up each moment. Many of us here have seen The Boos before… maybe decades ago or maybe more recently at Hug and Pint. The 17-or-so song set is so refreshingly delivered that even well-known anthems such as Wake Up Boo! sound revived and current… almost new.

It is now strange to think that C’mon Kids was regarded as an almost self-sabotaging exercise by critics of the time and that the band were somehow trying to alienate their fanbase. The test of time has proved that the band were right all along and their doubters wrong. The songs are elegantly crafted and timeless. Some fan-favourite tracks may have been missing from tonight’s set, but to no ill effect—the quality of songs played and the verve with which they are delivered make the well over one-hour set a joy to behold.

The fact that it is Valentine’s Day hasn’t gone unnoticed, and there are comical exchanges regarding partners that may have been dragged to the gig… willingly or unwillingly.

No one seems to know, and I completely forgot to mention that just over the river from Mono at the Blessed St John Duns Scotus RC Church, there is a casket on display in the entrance, and within that casket, there are relics attributed to Corpus Valentini Martyris—St Valentine. Synergy.

I’m glad that The Boo Radleys are back. Pure 1990s pop at its shimmering best in the 21st century.

Words: NICK TAMMER

Images: Chris Hogge

Never strongly embraced in Italy, my birthplace, Cage the Elephant—a Kentucky band that moved to London at the end of the 2000s—led a sold-out show at the O2 Academy in Glasgow on 13th February 2025. The performance took me back to my 20s, when I would listen to a randomly picked selection of indie rock bands, smugly sharing them with my small group of followers on Facebook.

So, I was feeling quite nostalgic.

The band was supported by two opening acts: Girls Tones, an American high-rock duo that stole my heart, and the caffeinated hard rock of Sunflower Bean.

For those who were still caught up in the allegations against him and his well-documented struggles with mental health, the Neon Pill Tour, promoting their latest album, presented a reborn Matt Shultz. Dressed in a sweater I had always dreamed of owning, classic Maison Margiela boots, and sober yet effortlessly cool gold jewellery, he exuded confidence.

As soon as the lights went out, Shultz leapt onto the stage, immediately illuminated by a perfectly placed spotlight. Backed by his loyal brother Brad and a solid band, he ignited the cheering pit with standout tracks from previous albums, such as Cry Baby and Too Late to Say Goodbye.

The first song from the new album to make an appearance was Good Time, infused with hip-hop influences. It was quickly followed by Neon Pill, which reaffirmed the band’s signature sound. But if the crowd expected a typical promotional tour, they were mistaken—myself included. Only three new songs were played throughout the night, the last of which was Rainbow, a track clearly inspired by reggae.

Sticking to the night’s nostalgic theme, Cage the Elephant delivered a mixed setlist of past hits, creating a show that felt like pure fan service. The crowd jumped, sang, and momentarily forgot their everyday worries, reliving the energy of their youth. Songs such as Halo and Ain’t No Rest for the Wicked built up to a climactic finish with Sabretooth Tiger.

Yet, as the venue erupted in chants for an encore, the band returned, treating the audience to four more songs, including their unforgettable Cigarette Daydreams and Come a Little Closer, which closed the night on a high.

After such a nostalgic show, I can only wish the band the best for the rest of the tour and hope they receive the same incredible response they found in Glasgow. Personally, I can’t wait to see them again soon.

Article: Marco Cornell

It must be a great thing to be born from the same ring of fire as the likes of Hank Williams, Patsy Cline, Lone Justice, and X.

Formed more than a decade ago, this fiercely independent DIY four-piece comes together to present their own personal brand of heart-wrenching storytelling to a Rum Shack crowd full of rockabilly attitude mixed with Americana swagger.

A crystal-clear voice that evokes eras past and a Gretsch guitar chiming to create a soundscape that feels both familiar and yet from somewhere far away. But don’t be fooled—Jenny Don’t and The Spurs are cowpunk through and through. Resplendent in their Western-influenced, self-embellished wardrobe, this Portland-based four-piece is instantly lovable and a joy to behold. Evolving from their punk roots, they have crafted a sound uniquely their own, and their latest album, produced by Colin Hegna of The Brian Jonestown Massacre, sees them reaching new sonic heights.

An instrumental introduction of Sidewinder launches the band into a beautifully curated set filled with dazzling moments. Their joy in playing live is obvious for all to see, with Jenny smiling throughout, engaging with the audience, and at times almost line dancing to the beat.

New tracks Unlucky Love, Flying High, and the latest album’s title track, Broken Hearted Blue, glimmer between older songs. The classic Your Cheatin’ Heart is covered, as is Black Cadillac, a long-lost and incredibly rare track by Jenny’s cousin, Sonny Wallace. The set ends with a ballistic cover of “Walking in my Grave” by Portland’s prolific DIY cult heroes, Dead Moon.

You’ll never be able to see Dead Moon or The Gun Club play live… but you can see Jenny Don’t and The Spurs. Don’t miss them. Don’t.

This is cowpunk hardcore. This is not nostalgia—this is now and should not be missed.

Words: CECH

Images: Chris Hogge

It’s a rare thing for a man who’s spent most of his life teetering between rock-and-roll brilliance and total self-destruction to still be standing, let alone swaggering. But Peter Perrett, the louche lounge lizard of post-punk, is a different breed. He’s always been the sound of regret wrapped in a sneer, a poet of the permanently disappointed, a man who writes love songs like they’re ransom notes. And if you thought that, at 72, he might have lost his bite—think again.

At his latest show, Perrett sauntered onto the stage looking every inch the 70’s rock star suitably disheveled, clad in a baggy T shirt and shades clamped to his eyeballs. The crowd amassed also a reflection the bygone decadent dandy standing somewhere between a Dickensian pickpocket and a veteran war criminal, the audiences had suitably attired themselves for tonight’s performance. The band—tight, sharp, with his sons Jamie (who opened tonight’s show) and Peter Jr. ensuring the family business is still booming—locked in, and off we went on another ride through Perrett’s tangled mind.

Opening with “Dignity”, he delivered every line like a man who’s lost and found it more times than he can count. His voice, somehow both crumbling and imperious, filled the room with the authority of a fallen emperor reminiscing about his glory days—and making you feel guilty for not having lived through them.

And then there was “Sweet Endeavour” – a song that sounds like the morning after a lost weekend, where the memories are vague but the consequences are crystal clear. The guitars swooned, Perrett sighed, and somewhere in the crowd, a woman with too much eyeliner and too many bad choices in her past clutched her drink a little tighter.

But Perrett, being Perrett, couldn’t resist throwing a hand grenade into the reverie. Enter “Secret Taliban Wife”, a song that proves he still delights in making his audience simultaneously smirk and squirm. Delivered with the deadpan humor of a man who’s seen it all, it’s both a piss-take and a love letter—probably to the same person.

The show’s climax? “War Plan Red/Heavenly Day” a two-part suite that veered between menace and euphoria. Perrette, now stood triumphant, waving his arms like a rock-and-roll messiah who’s just remembered where he left his stash. And then, of course, there was “Another Girl, Another Planet”—still untouchable, still one of the greatest love songs ever written for someone you don’t really love at all.

Ending on “Beast”, Perrett gave one final sneer, one last guitar-driven gut punch. The band walked off, but he lingered, looking out at us with the gaze of a man who’s survived too much to ever be sentimental. “See you later,” he said, like a threat or a promise…

Article: Angela Canavan

The weekend was really only ever about tonight.

A Jill Lorean gig always fills my heart with joy, and as I ventured to the cold and wet Southside for tonight’s sold-out show, I was excited at the prospect of finally hearing the new album live.

Songs of love, despair, hope, and the everyday allow you to connect to the music in a way that feels immediate and deeply understood. It’s actually hard for me to put into words how hard-hitting and emotionally uplifting tonight’s performance was. How can a trio fill time and space with such energy and raw emotion that the whole effect is truly overwhelming? Maybe it’s because there’s so much going on in the world right now—most of it unsettling and difficult to explain. Maybe tonight’s songs, and their delivery, are a direct reaction to that.

A virtuoso voice, power chords, and an incredible rhythm section delivered their message like a silver bullet. If you’ve ever seen or heard Patti Smith spew Babelogue or sing the last half of Gloria, you’ll know what I mean. The set was a beautiful fusion of new and old, coming together to great effect. The songs are stunning, and the live setting enhances every aspect of them.

This is the best I’ve seen Jill Lorean—powerful, yet relaxed and playful.

The theme of absorbing the now, of taking charge of your own destiny, of changing seemingly impossible scenarios… That was Jill Lorean tonight. Tell me, what film does that remind you of?

The clue is in the name.

Tonight’s hometown gig was sublime.

Jill Lorean are Jill O’Sullivan, Andy Monaghan, and Peter Kelly.

Words: CECH

Images: Chris Hogge

The Glad Cafe is always a fun place to be, and the addition of Haydn Park Patterson, aka Last Boy, as support for Jill Lorean was a lovely surprise. Haydn is best known as a founder and lead member of Glasgow’s new wave, post-punk, synth heroes Ninth Wave. Despite following their socials and buying their vinyl, I had never been in the right place at the right time to see them play live. What joy!

Tonight’s solo performance was both surprising and mesmerising.

A Tascam multi-track cassette player provided a heavy backdrop of sound and drone, to which affected guitar and evocative vocals were added. Haunting harmonies and Celtic DNA combined to deliver music that transports you elsewhere.

Over too soon and effortlessly beautiful—take any opportunity you get to see and listen to Last Boy.

Words :CECH

Photos: Chris Hogge

“Je Voudrais Good Time” indeed!

I’ve never seen a gig quite like this one. Us Glaswegians (and one solo Canadian?) have been counting down the days. It’s a Sunday night at McChuills, and finally, the moment has arrived—a night of indie/electronic/cowbell/synth/Britpop sounds, humorous commentary, and PE shorts.

The stage appears more spacious than usual, as the band puts their trust in an almighty drum machine—undoubtedly to make room for all the galloping that takes place up there. A terrific tactic for enhanced performing! “BIG IN THE SUBURBS” is a huge hit, with the lead guitarist catapulting himself into the audience—something he seems to make a habit of. The band carries a sense of urgency, both sonically and physically, making them an exhilarating watch.

Although they’re relatively new—having released their first single, “ME AND YOUR MATES,” in May 2022—WELLY performs as if they’ve been touring for over a decade. This Brighton bunch is like gold dust in today’s musical world—think Sports Team meets Blur, with a hint of the ’80s.

The lead singer of Welly frequently chats with the audience between songs.

“Who took a gap year, then?” he asks.

“Me!” an audience member eagerly replies.

“Where did you go?”

“To college!”

“No, no, a gap year… as in a break from education.”

“Yeah, I took a gap year before university to go to college.”

Laughter erupts before they launch into “SOAK UP THE CULTURE,” a track dedicated to exploring time spent away from home—in the nicest way possible. This electrifying song boasts a repetitive chorus, making it brilliantly memorable and easy to sing along to.

A handful of my favorite Welly lyrics and songs:

• “My pockets must have holes ‘cause I don’t know where it all goes” – from “SHOPPING”

• “Don’t spend a lifetime looking for heaven when you can find it on the A27” – from “BIG IN THE SUBURBS”

• “Unpack your morals for Jack Kerouac’s novels” & “Posing for exposure on holiday in Cambodia” – both from “SOAK UP THE CULTURE”

Beyond their fantastic music, I have to highlight Welly’s authentic lyrical approach and their ability to create such a playful, uplifting atmosphere. It’s clear they’re just being themselves, and that authenticity shines through.

There’s no doubt this band is on an upward trajectory—they’re bound to skyrocket. Get a ticket to see them now while you still can, because they are going to be massive.

Their debut studio album drops at the end of March, and you can find upcoming tour dates here:

https://worldwidewelly.com

Article: Rose McEnroe