Easy Peelers, young upstarts cutting their teeth on the local scene, brought a frenetic energy that set the tone for the night. Their sound, still raw around the edges, showed promise—a band on the brink of something bigger.

Former Champ, featuring former Catholic Action members and the ethereal vocals of Poppy, offered a contrast with their twee and romantic songs, providing a brief, melodic reprieve before Clamm’s onslaught.

Walking into The Old Hairdressers in Glasgow, it’s impossible not to be reminded of the time I spent in Melbourne. Ten years ago, that city seemed ahead of its time, brimming with creative energy and a sense of urgency that felt like a seismic shift was always around the corner.

Now, as Melbourne noise rock trio Clamm storm the tiny stage in this intimate venue, I’m struck by how that sense of forward momentum has followed them across the world. The question on everyone’s lips is: why are so many good bands coming out of Melbourne?

Clamm seem to answer that with every crashing chord and guttural scream. The city’s music scene is a hotbed of talent, nurtured by vibrant local radio stations and a community that prizes raw authenticity. Clamm, with their unapologetic noise rock sound, are the latest torchbearers of this tradition, and tonight’s performance solidifies their place in the lineage of Melbourne’s underground legends.

They kick off with “Change,” a brutal, pulsating track that immediately grabs hold of the room. There’s no easing into the set—Clamm come at you like a freight train. The guitars are abrasive, the drums relentless, and Jack Summers‘ vocals are a primal howl, channeling frustration into a cathartic release. The song’s rhythmic churn reflects the city’s industrial heartbeat, a reminder of the grit and grime that fuel Melbourne’s music scene.

The momentum carries into “Enuf,” a track that feels like a manifesto against complacency. Its dissonant chords and pounding basslines challenge the listener to confront their own sense of inertia. Summers shouts, “How much is enough?”—a rhetorical question that lingers long after the song ends. There’s an urgency here that’s impossible to ignore.

By the time they hit “Define,” the crowd is fully engaged, bodies moving in synchronicity with the band’s ferocious energy. This track, with its jagged edges and shifting tempos, feels like a statement of purpose. Clamm aren’t just making noise; they’re dissecting it, bending it to their will, and turning it into something that feels both chaotic and controlled.

“Free” slows things down—if only slightly—with a sludgy, bass-heavy groove that envelops the room. It’s a brief respite before the barrage continues with “Something New,” a track that captures the band’s restless spirit. There’s a rawness to this song, a feeling that it could fall apart at any moment, but that’s precisely what makes it so thrilling. Clamm are walking a tightrope, and the tension is electrifying.

The second half of the set brings “Bit Much,” a blistering critique of modern life that hits like a punch to the gut. The song’s lyrics reflect the disillusionment of a generation, yet there’s a defiance in Summers’ delivery that suggests a refusal to give in. “Liar” follows, a venomous track that seethes with anger and frustration. The band’s intensity never wanes, each song building on the last, creating a wall of sound that feels impenetrable.

“Incomplete Us” stands out as a moment of introspection amidst the chaos. It’s here that Clamm reveal a different side, one that’s vulnerable and reflective. The lyrics speak to a longing for connection, for something more than the hollow promises of modernity. The song’s slower tempo and melodic undertones provide a brief glimpse of the band’s versatility, without sacrificing any of their raw power.

The set closes with “Disembodiment,” a sonic assault that leaves the audience reeling. It’s a fitting end to a night that’s been equal parts exhilarating and exhausting. As the last notes fade into the ether, there’s a sense that Clamm have left it all on the stage—nothing held back, nothing left unsaid.

Supporting acts Easy Peelers and Former Champ provided the perfect foil to Clamm’s intensity.

As I left The Old Hairdressers, the echoes of Melbourne’s vibrant music scene rang in my ears. It’s a city that’s always felt ahead of its time, and Clamm are proof that it’s still pushing boundaries, still demanding to be heard. If you’re wondering why so many good bands are coming out of Melbourne, look no further than nights like this—where raw talent meets unfiltered emotion, and the result is nothing short of transcendent.

Early in the set WITCH frontman Emanyeo “Jagari” Chanda invites the audience into his family – “tonight I am your cousin” – setting the tone of joyful, familial embracement that their music imbues. 

 Formed fifty years ago in Zambia, WITCH became one of the leading figures of Zamrock, their fervent popularity embodied at one particular sold out show where fans took to removing parts of the roof to try get in.

The ensuing years of political and economic instability in late 70s Zambia however forced WITCH into curfew-dodging daytime shows, and eventual obscurity in the following decades. The last ten years have been good to WITCH though, reuniting for live performances in 2012, and releasing the warmly received Zango LP last year – their first in almost 40 years. 

 From the minute they set foot on the stage WITCH turn on the groove and have the audience moving. Their signature blend of traditional African rhythms with more psychedelic and rock sounds is one that clearly speaks to the audience, and before long many enthusiastic fans are down the front dancing and giving the band a run for their money.

A solo song from Jagari at one point in the set offers a moment of introspection (not to mention an opportunity to catch one’s breath), before the full band rejoin him and hurtle back into the music.

  At one point during the show Jagari offers a word of advice against holding grudges, proffering that our wrongdoers “know not what they do.” As one of the founding members of WITCH, it seems that Jagari holds no resentment for the circumstances that constricted the band’s success. The relentlessly celebratory atmosphere of the show comes as a sharp reflection of WITCH’s gratitude to be making music again, playing shows, and being embraced by audiences too young to remember them from the 70s.

 For their farewell tune WITCH invite support act Harvest Ong back to the stage, who come accompanied by a swathe of sweaty, jubilant fans on vocal and tambourine duties. By the end of the set Jagari’s earlier invitation to fans to join the WITCH family seems one wholly fulfilled, and one I defy anyone to turn down after watching such a show. 

Words: Elliot Hetherton

Pictures: Elliot Hetherton

Twenty years ago, “You’re a Woman, I’m a Machine” hit like a defibrillator to my teenage soul, jolting my seventeen-year-old self into a frenzy of bedroom dance parties. It was the soundtrack to my youthful rebellion, a ferocious blend of visceral beats and guttural guitar that made me question how just two guys could generate so much noise. Fast forward to the present, I found myself at the Galvanizers Yard, ready to relive that sonic chaos.

The stage setup was deceptively simple: a drum kit, a bass guitar rigged with enough pedals to give a centipede foot cramps, and a synth that looked like it had been pilfered from the future. I marveled at how such minimalism could produce the relentless wall of sound that had defined my adolescence. And then, there they were—Sebastien Grainger and Jesse F. Keeler, proving once again that less is more when you’ve got talent and testosterone to spare.

Grainger, the drummer-singer hybrid, deserves a gold medal in the hypothetical Olympics of energy expenditure. Watching him belt out lyrics while pounding the drums into submission was like witnessing a man wrestle an octopus. The sheer physicality of his performance left me once again in awe, and I wasn’t even the one exerting myself. If multitasking were a sport, this guy would be the Michael Phelps of punk.

From the first distorted note of “Turn It Out” to the final, crashing chord of “You’re a Woman, I’m a Machine,” the duo played the album in its entirety. It was like time-traveling back to 2004, with the added benefit of legal drinking age. The crowd—an eclectic mix of grizzled veterans of the early 2000s indie scene and fresh-faced recruits—roared with approval, moshing and dancing as if trying to shake off two decades of accumulated ennui.

The set didn’t end there. As the last echoes of the album’s title track faded, they launched into “Nomad,” a newer track that demonstrated their sound has evolved without losing its primal edge. “One + One” followed, its driving rhythm proving that DFA 1979 still knows how to get feet moving and heads banging. “Virgins” and “White Is Red” slowed things down—relatively speaking—allowing a momentary respite before the auditory assault resumed with “Modern Guy” and “Freeze Me.”

“Trainwreck 1979” was a highlight, the song’s infectious energy amplifying the crowd’s fervour to fever pitch. The air felt electric, the audience a living, breathing organism pulsating with the music. Then came the encore: “Right On, Frankenstein!” and “Dead Womb” delivered the final blows in a concert that felt like both a celebration of catharsis.

By the end of the night, my ears were ringing, my feet were sore, and my voice was hoarse from shouting along to every anthem. Death From Above 1979 reminded us all why they were—and still are—masters of their craft.

Their ability to channel raw power and emotion through their minimalist setup is nothing short of alchemical. As I stumbled out of the venue, drenched in sweat and nostalgia, one thing was clear: you don’t need a full band to bring the house down. Sometimes, all it takes is two guys, a drum machine, and a whole lot of noise.

Words: Angela Canavan

Photos: Angela Canavan

Day 3 of TRNSMT and one final time Glasgow Green morphs into a sprawling playground for music lovers, transforming Scotland’s largest city into the ultimate summer hotspot.

This year’s TRNSMT Festival, held under a rare bout of unrelenting sunshine, did not disappoint. The event featured a lineup as eclectic as a record store discount bin, yet as thrilling as a rollercoaster ride through musical history.

From the moment Majesty Palm kicked off the festivities to Calvin Harris‘s electrifying finale, the festival aptly balanced the familiar with the cutting-edge.

Majesty Palm set the tone early, opening the festival with a set as refreshing as a morning mimosa. Their breezy melodies wafted over the crowd, a perfect antidote to the heat already baking the grounds. It was at this point The Goldne Bough instantly regretted wearing pink metallic jeans… a choice for cooler climes indeed. The band’s upbeat energy and infectious hooks had even the most stoic Scots tapping their toes. We loved tracks; “Split”, “Side Eye” and latest single , “The Longer I Hold You”.

Next up was Future Utopia, bringing a cerebral edge to the party. Their blend of experimental sounds and thought-provoking lyrics felt like a TED Talk you could dance to. The crowd might not have understood all the philosophical nuances, but they sure appreciated the vibe as they danced along in the early afternoon sun the River Stage became a playground of dancing bodies, think Khruangbin meets Confidence Man -if ConMan never went to a rave in Ibiza. Ultra cool, soulful synth laden tracks like; “Your Love”, “We Were, We Still Are” and “Children of the Internet” had our toes tapping away beneath the trees and colourful flags.

Alison Goldfrapp emerged looking resplendent in her multicolored feather jacket, defying the blistering heat with an aura of unflappable cool. Her performance was a dazzling spectacle, with a group of backing dancers emerging on stage one by one opening up the experience like the flower blossom visual background, it was a journey through all the fan favourites like; “Train”, “Oh La La La” and “Digging Deeper” showcased her synth-pop landscapes that had the audience in raptures. One could only marvel at her ability to stay fabulous while everyone else wilted under the sun.

Rachel Chinouriri‘s set was a soulful balm, her voice weaving effortlessly through the warm afternoon air. It was like receiving a long-distance call from a best friend, full of intimate confessions and heartfelt melodies. Tracks like “Never Need Me”, “The Hills” and “All I Ever Asked” cement her status as BFF girl next door. She held the crowd spellbound, each song a story that left you wanting more.

Blossom brought a jolt of energy with their slick indie-pop anthems. It was as if the Smiths had been resurrected with an added dose of sunshine and serotonin. Mid set they revealed what was to be a covered up ape statue sitting in Buddha stance. There’s great hair, coordinated vintages suits and definitely a lot posturing but we loved the bounce of tracks like: “Charlamange”, “Honey Sweet” and “Your Girlfriend”. The crowd responded in kind, a sea of bobbing heads and singing voices that echoed across Glasgow Green.

Nova Twins quickly became our favourite act of the day as they stormed the stage with a ferocity that made the ground tremble. Their genre-defying mix of punk, metal, and hip-hop was a sonic assault that left no eardrum unscathed. The duo’s raw power and charisma transformed the festival into a riotous celebration of rebellion and noise.

They may be pint sized hero’s by dear lord do the pack a punk punch? Bassist Georgia South apparently has zero interest in keeping her knees intact with multiple death drops and towards the end of the set several crowd surfing moments. They absolutely killed their set with standout tracks being; “Antagonist”, “Cleopatra” and “Choose Your Fighter” make moves and catch a show if they swing your way soon.

The Reytons swaggered onstage with the confidence of a band destined for bigger things. Their gritty anthems and no-nonsense attitude brought a refreshing dose of raw energy to the festival. The crowd, already buzzing, found a new gear, turning the field into a sea of raised fists and sing-alongs. Easy to chant chorus and songs exhausting the trials and tribulations of growing up on housing estates it’s clear to see why they had drawn a decent audience to the King Tut’s Stage.

Daydreamers offered a much-needed respite, their dreamy soundscapes a gentle embrace amid the day’s chaos. It was the kind of music that made you want to lie back on the grass and let your thoughts drift away, a perfect interlude before the evening’s crescendo.

English Teacher, with their sharp lyrics and post-punk grooves, were the surprise hit of the day. Their songs were like witty essays set to music, each one a clever dissection of modern life. The band’s tight performance and undeniable charm won over a legion of new fans. We loved the saccharine charm of , “The Worlds Biggest Paving Slab”, “R&B” and “Albatross” – they are playing at St.Lukes on the 18th of November we highly recommend you catch them.

Enter Shikari‘s set was a predictable chaotic blend of electronic mayhem and hardcore fury. Frontman Rou Reynolds commanded the stage like a deranged ringmaster, leading the crowd through a series of exhilarating twists and turns. Confetti canons poured down on the crowd and into our beers, there was a dig at making Calvin Harris hear them – but admirable he has “Big speakers and a ton of pyro”. They played all their hits including; “The Void Stares Back” and “Sorry You’re Not A Winner”.

Finally, as the sun dipped below the horizon, Calvin Harris took the stage. The hometown (well almost Dumfries isn’t that far we can claim his as our own) hero delivered a set that was part rave, part greatest hits show, and entirely electrifying. It appears ES where correct he did have gigantic speakers and an eyebrow singeing array of pyro… especially from the photo pitt.

Having amassed the biggest audience so far his beats were the pulse of the festival, each drop sending shockwaves through the ecstatic crowd. There was a moment half way through his set where he stopped to announce that Spain had scored a Goal against England in the World Cup Final – which was to the Spain flag dappled crowd much to everyone’s delight proving that you may hit the big time but you’ll always remember your roots.The lights, the energy, the sheer scale of it all – it was the an amusing way to close the show.

TRNSMT 2024 was a testament to the power of live music to unite, uplift, and, yes, even survive a Scottish heatwave.

Whether you came for the indie darlings, the punk provocateurs, or the dancefloor juggernauts, there was something for everyone. And as the last notes of Calvin Harris’s set echoed into the night infact all the way home to Dennistoun it was clear that TRNSMT was a triumph.

Words: Angela Canavan

Photos: Angela Canavan

As the sun dipped below the horizon, casting long shadows across Glasgow Green, the TRNSMT festival kicked into high gear, proving once again that music festivals are the ultimate social experiment in controlled chaos. The day’s lineup featured an eclectic mix of nostalgia, emerging talent, and the kind of genre-bending acts that leave you wondering what planet you’ve landed on. (Ahem GALLUS) Let’s dive in.

The Vaccines opened the day (for us and our tired selves after yesterday’s prolonged voyage home) with their brand of polished indie rock, providing the musical equivalent of a caffeine jolt.

Their set was tight, energetic, and familiar—like slipping into a well-worn leather jacket or in this case a custom, hand stiched music note, very tailored suit and vintage Pringle knits The Vaccines cut a fine figure indeed . The crowd, eager for a taste of something recognizable, lapped up every riff and chorus. It’s hard to fault them for sticking to their formula; after all, if it ain’t broke, don’t fix it. We loved the tracks; “If You Wanna” and “Post Break Up Sex”.

Next, we had local upstarts Plasticine a band whose sound is in no way as malleable as their name suggests. Their synth-heavy soundscapes were a bold departure from the straightforward rock of The Vaccines. It was like watching a science experiment unfold on stage, with unpredictable bursts of electronic noise and hypnotic rhythms. The band play a tight set crafted with shimmering pop undertones tinged with a healthy dollop of good old 90’s grunge. Think Hole having a cute tea party with PJ Harvey. Either way, they left an impression.

ILI took the stage next, delivering a set that was both soothing and soporific. Their mellow tunes and cutesy pop overtones offer a fun segue. If there was an award for bed dressed ILI would 100% be bestowed with this honour. She’s wearing a Cher from Clueless purple plaid two piece that is lined with Parma Violet feather cuffs. Her stage presence is effervescent and she seems genuinely happy to be performing, she beckons the audience closer to the stage to preview her latest single, “Gelato” which is much to the crowds pleasure. We also lived tracks, “It’s Giving” and “2 Cool 2 Be Sombody”.

Enter Dylan John Thomas next on the main stage a hometown troubadour with a penchant for heartfelt ballads. His performance was like a warm hug—comforting, sincere and familiar. His genuine passion shone through, a nice palate cleanser, if you will. The crowd was densely packed out for his set, backed by talented groups of musicians he made his way through a ramshackle set studded with hits like, “Jenna”, “Feel the Fire”, “Yesterday’s Gone” and “Fever” it’s easy to see why him and his band are headlining the Hydro in December.

Then came the curveball: Rick Astley. The man, the meme, the legend. Rick rolled (see what I did there) out onto the stage and had everyone eating out of his hand. His set was pure nostalgia, and I’m not ashamed to admit I sang along to “Never Gonna Give You Up” with the rest of the crowd. He’s still got the chops and the charisma, proving that sometimes, memes do age well. And you know what? He absolutely killed it. His voice is still velvety smooth, and his stage presence is as charming as ever. He asked the audience, “How many of you had to take through your Granny’s records to figure out who I am?” Showcasing that boyish charm that we all love and know him for. The crowd, initially caught off guard, quickly surrendered to the good times with tracks like; “Cry for Help”, “Take Me in Your Arms” and “Together Forever” whipping the crowd up into a delightful frenzy. By the time “Never Gonna Give You Up” rolled around, it was a full-blown sing-along. Irony be damned—Rick’s still got it.

Vistas followed, bringing a dose of high-octane pop-rock. Their songs are built for festival stages—big, anthemic, and irresistibly catchy. It’s the kind of music that makes you want to jump up and down, which the crowd did with gusto. We loved tracks like; “Stranger”, Follow You Down” and “Retrospext”

The Courteeners were next, oozing with Mancunian swagger. Their set was a masterclass in indie rock bravado, with Liam Fray’s lyrics painting vivid pictures of urban life and late-night escapades. It’s music that’s both gritty and grandiose, and the crowd lapped it up like it was their lifeblood. They’re seasoned pros at this festival game, and it showed. Standout tracks included; “Are You in Love with a Notion?”, “Bide Your Time” and “Not Nineteen Forever”.

Finally, we closed the festival in the best way possible hot tailing it over to watch hometown darlings Gallus. If there was a moment when the festival reached its zenith, it was during their set.

These local heroes delivered a performance that was raw, energetic, and absolutely electrifying. From the opening riffs of “Eye to Eye” the band delivered a snarling beast of set littered with gems like, “Wash Your Wounds”, “Penicillin” and “Marmalade”.

Frontman Barry Dolan is giving Marvel baddie energy – Dr. Octavius to be exact with each note a pained well of emotion. Their punk-infused sound hit like a shot of adrenaline straight to the heart. The crowd went wild, feeding off the band’s frenetic energy. Gallus didn’t just play music; they ignited a firestorm. With much mosh pit energy and the singer playing a good portion of the set from inside the belly of the crowd even on someone’s shoulders at one point the energy was maelstrom of impulsivity.

They closed the set with “Fruitflies” which involved multiple friends being hauled over the barrier and on stage – the best kind of chaos. By far the stars of the day, they left no doubt that they’re a force to be reckoned with. A pity we didn’t realise they were playing an after part set at beloved McChuills afterwards.

And so, as the final notes echoed across the festival grounds and the crowd began their weary pilgrimage home, one thing was clear: TRNSMT had once again delivered a day of unforgettable performances, quirky surprises, and enough musical whiplash to last until… well tomorrow.

Words: Daniella Latina & Angela Canavan

Pictures: Angela Canavan

Having been awoken at 5am with the demand of getting an intolerably early Ferry back to Glasgow from the Outer Hebrides was in and of itself a challenge.

That coupled with scorching temperatures, an increasing strain of tennis elbow from all the driving and a badly timed train strike meant for us at The Golden Bough, entry to the festival on Friday was only manageable close to 5pm.

But with our camera charged and ready to go here is what we thought about Day 1 at TRNSMT.

The Last Dinner Party whose rise within mainstream media has been nothing short of meteoric, a band with recent controversial headlines who seem like they have something to prove, but do so in a manner that seems effortless and almost, this performance seems like second nature – possibly due to their extensive tour schedule.

This evening they bounded on stage, all smiles in the sunshine and rubber stamped that they are indeed a force to be reckoned with. Their performance was an intoxicating mix of raw energy and polished artistry. Leading with “Burn,” the band’s dynamic presence immediately captured the crowd’s attention. “Feminine Urge” followed, its powerful lyrics resonating with the audience, while “Sinner” showcased their ability to blend dark, brooding tones with infectious melodies. As they wrapped up with “Nothing Matters,” it was clear that this band is on the cusp of something extraordinary, leaving the crowd eager for more.

Next up on the main stage was the Queen of grunge herself, Garbage, fronted by the indomitable Shirley Manson. The band delivered a masterclass in alt-rock, with Manson’s unmistakable voice and commanding stage presence leading the charge.

As the band were welcomed on stage by a full marching pipe band, Manson looked absolutely resplendent doused in burning red tartan that seemed to catch fire in the setting evening sun.

The set was packed with high-energy tracks like “Cherry Lips,” setting a vibrant tone for their performance. In between songs, Manson took a moment to comment on all the pink cowboy hats present in the audience which reflected many of them must have been at the recent Taylor Swift concert. When this was met with a mixed response she declared her appreciation that “Taylor’s taking the music industry and making it her bitch,” a sentiment that was met with roaring approval from the crowd.

“Only Happy When It Rains” followed, its melancholic yet anthemic vibes making its mark deeply with the audience. The nostalgic “Stupid Girl” and the infamous “Think I’m Paranoid” kept the momentum going, proving that Garbage’s hits are as potent as ever. The band’s synergy and Manson’s fierce charisma made for a set that was both nostalgic and refreshingly relevant.

As the sun began to set, Liam Gallagher took to the main stage, drawing the largest crowd of the day. The anticipation was palpable, and Gallagher did not disappoint. Opening with “Married with Children,” he immediately transported the audience back to the heyday of Oasis. The anthemic “Supersonic” had the crowd singing along word for word, while “Half the World Away” offered a moment of reflective camaraderie.

The highlight of the night, for us, was undoubtedly “Slide Away,” delivered with such passion that it felt like a personal call to war for everyone in the audience that continues to hold, “Definitely Maybe” close to their bosom even after all this time.

Gallagher’s setlist was a well-curated mix of tracks from “Definitely Maybe” and other Oasis classics, satisfying the crowd’s hunger for nostalgia. His swagger and vocal prowess reminded everyone why he remains a prominent force in rock music, regardless of how much you love or loathe him.

Deliriously sleepy but filled with an abundance of joy off we went into the night to rest ahead of Saturdays busy schedule.

Photos: Angela Canavan

Words: Daniela Latina & Angela Canavan

CSS bring a revitalising reunion tour to Drygate brewery tonight in Glasgow, a fitting venue for this party crew as they brew up the brilliance of Brazil and sweet sounds of everything that indie sleeze has to offer.

With fast guitar licks, a grunge attitude and synth dance tunes, CSS have got us covered for a good time.

Sassy lead singer Lovefoxxx is not one to disappoint, engaging as much dancing as singing and keeping the energy at an all time high as the crowd chant “CSS sucks” following the first few notes of the “CSS suxxx”.

The heat is turned up throughout the night as electricity travels through the stage and onto the crowd when Lovefoxxx outlandishly throws herself into the hands of the sweaty audience for a crowd surfing session.

Something I was not expecting, but it only proves the ecstatic live energy and unpredictability of this band.

“City grrrl” is the epitome of rebellion and an iconic piece of dance music expressing the spirit of young female adult hood.

The night ends with a high spirited venga boys walk off outro “We Like to Party” a perfect ending to a party that we did not want to end. A slight feeling of sorrow lingers around the back of my mind knowing that the band will most likely not be touring again.

Words: Rose McEnroe @rosemcenroe_

Pictures: Elliot Hetherton: @elliothetherton

The message that Motherwell multi-genre rockers The LaFontaines were playing a gig on a Sunday afternoon in Inflata Nation was a surprise. The LaFontaines have been steadily building a reputation over the last 10 years for impressive live shows. Since their previous UK tour headlined at the 02 Academy Glasgow a soft play in Kinning Park seemed like a strange choice to start the next one. In a video lead vocalist Kerr described the struggles of balancing his new job of being a dad and his old job of playing live music gave them the idea of doing a show in a kid’s venue for the parents with childcare built in.

I took it as a sign to make it up to my certified swifty daughters who were too young to attend the megastar playing the same evening in Edinburgh, after excitedly playing them a few tracks they were nonplussed about the music but excited by the prospect of an inflatable playpark so it was a go.

On arrival, it was clear this was not going to be a smooth operation, confused looking parents looked around as the stage was being set up in the cupcake corner. As “Let it Go” blasted over the PA I wondered what type of practical joke was about to commence, however, the PA died down and the band got straight into “Since You Made a Move”. The sound is surprisingly impressive and the music sounds every bit as good as a regular venue. Lead vocalist Kerr Okan tries to convince everyone to shuffle forward but absolutely nobody obliges leaving him to have to foray into the crowd to avoid standing awkwardly next to the strawberry trampoline.

“I feel like I am at Butlins” exclaims Kerr as he sits down after 2 songs addressing the elephant in the room (there are actually a few elephants painted around this room), it is undoubtedly an awkward atmosphere, but a happy and bemused one, everyone has grins on their faces but don’t know quite what they should be doing instead of sitting sipping blackcurrant juice watching high energy hip hop rock. “A” is for “Alpha” is the kid-tailored introduction for their 2019 hit, Kerr manages to convince one of the youngsters who brought their own pretend guitar to get up on a seat and play to the crowd with the intensity of an 8-year-old Ian Curtis. The staff let Kerr get on the trampolines as the band goes through their hits and I expect I am not the only parent who has to fight the urge to mosh out on a bouncy castle. The kids are excited that something is happening but they can’t tell quite what it is and the attempt to herd them into a conga line during one song utterly fails.

The set is great live and it’s easy to think about how much fun this would be at a regular venue, I don’t believe any other bands have upcoming plans to play Inflata Nation but I am not sure many others could manage to overcome the surreal situation, Kerr is running around high fiving all the kids and the band gives off a warm and friendly vibe. After the songs are done they chat and take photos with all the families.

That evening while we were making our dinner the kids asked “Daddy, can we make a rock band?” I don’t think I will be able to write anything nicer in a review ever again. The LaFontaines 4th album “Business as Usual” is out on the 14th of June with an upcoming tour of more traditional venues like The Barrowlands in September if soft play is not your thing.

Words & Pictures: Dale Harvey

Los Angeles beloved fuzz-rock duo Deap Vally bid a raucous farewell to Glasgow at King Tuts, and what a send-off it was. Amidst a sea of pink perms, be-fringed cowboy shirts, and spangled boots, Lindsey Troy and Julie Edwards delivered a blistering set that was part The White Stripes, part Karen O, and all unforgettable.

Kicking things off with “End of the World,” Troy confessed that the music video was filmed right here in Glasgow. Their love for the city shone through, reminiscing about summers spent with their kids in Kelvingrove Park. The local connection had the crowd swooning and set the tone for an evening that felt both intimate and electric.

“Walk of Shame” followed, a gritty anthem that had everyone bouncing, and it became clear that Deap Vally weren’t just saying goodbye—they were making sure we’d never forget them. “Gonna Make My Own Money” and “Your Love” came next, each song dripping with raw, bluesy energy. It’s this blend of garage rock swagger and punk spirit that makes Deap Vally such a force.

There are many thanks to be made Troy’s mum has flown across the Atlantic with a small child in tow to allow this tour to happen. There are plenty of Mum Rock jokes to be made, gratitude is extended to everyone from fans documenting the tour to the friend running the merch stall. The gig truly has a DIY feel to it.

“Lies” and “Raw Material” saw the duo hitting their stride, the latter’s heavy riffs reverberating through the historic venue. But it was “Six Feet Under” that truly brought the house down, a sonic onslaught that had fans losing their minds.

In true rock and roll fashion, the second half of the set was a marathon of eight songs—so forget calling it an encore. “Ain’t Fair” and “Grunge Bond” kept the momentum going, with stage diving and crowd surfing becoming the new norm. It was chaos, but the kind you never want to end.

By the time they got to “Smile More,” King Tuts felt like it might burst at the seams. And when Solon Bixler of the support band joined them for “It’s My World” and “Perfuction,” the energy reached a fever pitch. The night ended on a high with “Royal Jelly,” leaving everyone in the room drenched in sweat and high on rock ‘n’ roll euphoria.

Deap Vally’s farewell tour might be the end of an era, but last night at King Tuts, they proved they’ll never be forgotten. If you missed it, you missed history—but at least we’ve got the memories, and oh, what memories they are.

Richard Hawley’s live performance at Glasgow Barrowlands was a masterclass in musical and emotional dexterity, evocatively capturing the intricate layers of his discography while paying homage to past and present influences. The evening’s setlist served as a poignant journey through Hawley’s oeuvre, providing both long-time fans and new listeners with a profound live music experience.

Agreeing to go to this show when one is feeling slightly out of alignment with the concept of romantic love – seems borderline sadistic. Hawley is renowned for penning more than his fair share of romantic ditties. Infact, the this evenings set is littered with shimmering odes exulting the joy of finding true love. Ever the glutton for punishment off I went camera and pen in hand.

The show began with “She Brings the Sunlight,” immediately immersing the audience in Hawley’s rich, reverb-laden soundscapes. The track’s expansive feel set a high bar for the evening, showcasing Hawley’s unparalleled ability to blend his distinctive baritone with lush instrumentation. Following this, “Two for His Heels” brought a shift in tempo and mood, its bluesy undertones and intricate guitar work highlighting Hawley’s versatility as both a vocalist and guitarist.

“Prism in Jeans” continued the journey with its dreamy, nostalgic melody, creating an intimate atmosphere that enveloped the Barrowlands. This was swiftly followed by “Open Up Your Door,” a fan favourite (this fan to be precise) that elicited an immediate, heartfelt response from the audience. As couples new and old sidled together to sway in synchronicity together. Hawley’s delivery was both powerful and tender, his voice resonating with a depth of feeling that only comes from years of lived experience.

As the set progressed, the haunting “Just Like the Rain” and the anthemic “Tonight the Streets Are Ours” showcased Hawley’s ability to craft songs that are both deeply personal and universally relatable. Each note seemed to reverberate with a sense of place and memory, drawing the audience deeper into his world.

“Coles Corner,” a highlight of the evening, was performed with a poignant sensitivity that left the crowd mesmerized. The song’s reflective nature served as a perfect prelude to “Heavy Rain,” a track dedicated to Steve MacKay of Pulp. Hawley’s introduction—“I wrote this song for my brother Steve Mackay of Pulp. We knew each other since school and he sadly left us last year. I hate that word ‘processed,’ but this is how I got the feelings out”—was a heartfelt tribute that underscored the emotional weight of the performance. The dedication added a layer of solemnity and respect, resonating deeply with the audience.

“Don’t Stare at the Sun” and “Heart of Oak” continued to build on this emotional crescendo, with Hawley’s commanding presence ensuring every lyric and chord struck home. The 2000 strong capacity audience stood in almost perfect silence for “People”, the crowd’s rapt attention was palpable, a testament to Hawley’s ability to captivate and hold an audience through sheer musical prowess.

This was followed by “I’m Looking for Someone to Find Me” and finally when Hawley introduced “The Ocean” with a hint of sarcasm—“We don’t play this one often anymore”—it was a moment of light-heartedness that contrasted beautifully with the song’s introspective lyrics. The audience’s silent reverence during the performance was telling; the Barrowlands stood in awe, hanging on every note. A fitting finale that encapsulated the evening’s themes of love, loss, and longing. The song’s sweeping orchestration and Hawley’s evocative delivery left the audience in a reflective state, a perfect end to a night of beautiful music even for the brokenhearted…

Words: Angela Canavan

Pictures: Angela Canavan