Baby Queen AKA Arabella Latham is the South African songstress by way of London, whose appearances supporting the likes of Olivia Rodrigo and cameos on Netflix’sHeartsopper have garnered her a faithful yet niche following.
She’s currently in tour promoting her debut album out today, “Quarter Life Crisis” an album that begun its life in lockdown and is now, after three years in the making, being delivered into the eager hands of her fans.
Known for speaking up against the toxic nature of social media, FOMO, drug abuse and everyday struggles with mental health it’s easy to see why she’s a natural advocate for Gen Z and the societal pressures they face.
The stage in St. Luke’s is daubed in a twee pink bedroom scene – used in her promotional videos, cute kitch ornaments are strewn across her keyboard and there is an impressive lighting arrangement in place for this evenings show.
Starting with the anthemic ‘Quarter Life Crisis,’ setting the tone for a fun night of grunge inspired pop music. With nods towards Garbage, Hole and the lyrical essence of Lilly Allen.
‘Dream Girl’ followed, showcasing her versatile vocals and lyrical depth, establishing a strong connection with the audience.
The energy surged with ‘Buzzkill,’ a track that seen Letham playfully take photos with the audience.
As the set progressed, the crowd’s enthusiasm peaked with ‘Want Me,’ an infectious blend of pop sensibility and rebellious spirit.
At various points in the evening Arabella can be seen wielding a guitar, playing her keys but one thing that detracts is what seems to be the use of pre-recorded material.
Closing the night on a high note, ‘We Can Be Anything’ resonated through the venue, leaving an indelible mark.
Baxter Dury for the uninitiated is the uber chic proprietor of funk driven, disco led spoken word, punk music.
He’s been producing music for over twenty years, with a glittering back catalogue that has seen him make contributions to painfully cool compilation series Super Discount to collaborating with the likes of Fred Again.
It’s safe to say Baxter Dury has etched his own unique style onto the British music scene. He’s very much always marched (or Judo chopped if tonight’s performance is anything to go by) to the beat of his own drum for a while now and it has only brought him and his music from one strength to the next.
Born to Ian Dury of Blockheads fame in 1971 it’s clear to see where his unabashed stage presence comes from.
Tonight’s sold out show at the QMU in Glasgow was a mesmerizing journey through his eclectic discography, filled with wit and charm.
Dury sauntered onto the stage with that nonchalant demeanor that’s almost obnoxious but oh so cool. He didn’t give a damn about expectations, and neither did the swathes of bodies crammed into the venue.
It was like he raided a ’70s thrift shop for his wardrobe, and I’m not complaining – stacked gold necklaces and copious hip thrust? Yes, please.
Opening with “Leak at the Disco,” he immediately set the tone for a night of infectious grooves and storytelling.
Madeline Hart on keys provides beautiful soaring harmonies, whose whispering allure is the perfect contrast to Dury’s gravelly rasp. It’s the perfect overlay that dulls the sharp edge to Dury’s delivery,
“Isabel” followed, and it was a sultry slow burn, a haunting ballad that showcased the unique vocal style. The audience hung on every word, and Dury’s stage presence was undeniable.
“Slumlord” was a gritty journey into the underbelly of city life. Dury didn’t just sing it; he embodied it. You felt like you were in the alleys and backstreets he was describing.
The transition to “Happy Soup” was seamless, and the audience was treated to a captivating rendition of this fan-favorite track.
As we delved into “It’s a Pleasure,” the atmosphere shifted to one of bouncy joy, with the crowd singing along with every word.
“Cocain Man” was a highlight, with its infectious rhythm section provided by Shaun Patterson and witty lyricism. All delivered with Dury prowling and stomping around on stage like caged beast.
The performance of “Prince of Tears” was deeply emotive, tugging at the heartstrings of everyone in the venue.
The night concluded with “Shadow,” leaving a lingering sense of nostalgia and longing.
A Baxter Dury show is never going to be your typical polished, cookie-cutter show. But if that’s the kind of thing that floats your boat we suggest you move swiftly along.
The swaggering poet of Ladbroke Grove has other things planned for you.
After leaving the scene with what it felt like a coming of age album “The Ceiling” and dropping a jewel like “Untitled” mid-journey circa 2021, which completely helped to redefine and replace the old for the new sound, Jaws came back with a much more progressive and oneiric sound with their last EP “If It Wasn’t For My Friends, Things Would Be Different”
As soon as we heard Jaws would be rolling into town to promote their newest EP our interest was piqued. As the band stepped on to the King Tut’s stage the revel of sound began with lots of pedal interactions, powerful drums and dreamy yet heartbroken vocals.
Jaws play their new EP in it’s entirety, the sound is a byproduct of a post pandemic world in which, if anything we became a lot more introspective and emotional but far more socially anxious and detached.
Their live performanceis proof of a well choreographed and rehearsed gig and the Glaswegian fan base, as the dedicated and fervent crowd they are, were able to sing most of their songs like a choir.
Absolute bangers like “Stay In” and “Sweat” got the masses moving but we were also gifted with “Be Kind“, a song for the soft hearted and the true romantics that truly immersed the private and cozy stage at King Tuts into a trance that almost tricked us into believing we were at a secret acoustic show.
Having been added to the press list for this show super late… 15 minutes before stage time, we had arrived into the subterranean basement of Stereo slightly bedraggled and on edge.
Leaving behind our friends casually sipping the golden nectar (whiskey) at Bon Accord to grab our shooting equipment and get to the venue we felt plunged into a parallel universe of purple hues and pretty glockenspiel sounds.
Despite some initial sound issues, (which seen Hendrik Weber talk nonchalantly about how music is a vibration that connects us all together – how fitting) Stereo played host to a night of electronic enchantment with Pantha Du Prince at the helm. In this intimate setting, tonight’s performance proved to be nothing short of an electronica alchemist, transforming sound into pure magic.
The night began I have to admit uncomfortably early considering the genre which would be more suited to a club night at The Berkeley Suite and to be honest the room began to fill up closer to 9pm. I feel the scheduling was a bit of considering the calibre of the performance.
As the crowd sauntered in the venue was filled with a subtle, almost ethereal hum, reverberating through the venue’s walls. Stereo’s eclectic crowd, a diverse mix of devoted fans and intrigued newcomers, leaned in, ready to embark on an auditory adventure. Pantha Du Prince, shrouded in an aura of mystique, stood before an array of synthesizers and electronic gadgets, poised to cast his sonic kaleidoscopic spell.
From the very first note of “Mother Drum” it was clear that this was an immersive journey into the depths of electronic soundscapes. Pantha Du Prince’s intricate melodies, punctuated by mesmerizing beats, enveloped the audience like a warm embrace.
The visual aspect of the performance was equally beguiling. An intricate dance of lights, shadows, and projections painted a vivid tapestry that mirrored the music’s ebb and flow. It was as if the visuals were choreographed to the notes, creating a mesmerizing fusion of sensory experiences.
Our twinkling favourite “Bohemian Forrest with its violin and marimba, seamlessly intertwined with minimal techno textures, infusing the music with an unmistakable human touch. This delicate balance showcased his artistic prowess, blurring the line between man and machine.
The zenith of the performance arrived with a crescendo of energy and emotion that came in the form of “Lay in a Shimmer” that left the crowd in awe. Pantha Du Prince’s connection with the audience was palpable, as if we were all participants in a shared ritual. Even if the night ended early doors.
St Luke’s provided an intimate setting for what feels like a bit of a homecoming performance by Wheatus, that allowed fans to get up close and personal with the band, creating a unique atmosphere of nostalgia and excitement. The energy in the room was palpable, and the band fed off it, giving a performance that will be remembered by stalwart fans for years to come.
Admittedly – a few eyebrows were raised when I mentioned to my friends that I was going to see Wheatus, a band that shot to fame soundtracking a ‘That film’ that really hasn’t aged well. A band whose music will unfortunately follow you around for the rest of your years with ‘Teenage Dirtbag’ being played at every wedding, Christmas and milestone birthday celebration known to man.
But this is a contentious issue I have with people who snub bands who write music that is comical. Can a band be satirical and still be good? For me the answer is a thousand times yes. In fact, if not more so. Why can’t music be tongue in cheek and still functionally sound?
Wheatus put on an electrifying performance that brought back the spirit of the early 2000s with a modern twist. The band, led by the charismatic Brendan B. Brown, delivered a high-energy show that had the crowd on their feet from start to finish.
This is a band that are proudly flipping the bird to pretence within music. “This is your night, you make the rules, fuck bands that have a set-list. Bands shouldn’t be allowed to make a set list. What do you want us to play Glasgow” And just like that Brown, establishes the tone for the evening. The audience are 100% in charge of what will be played, when and how.
From the moment they opened with “Hump & Dump” the audience was transported back in time to the days of scruffy hair, flannel shirts, and carefree youth. Brown’s vocals were as powerful as ever, and his interaction with the audience created an intimate connection that made the night feel like a reunion with old friends.
With Brown being the only remaining founding member of the band it appears that he has hand picked a group of individuals each with their own merit. Matthew Milligan is an accomplished bass player that lays down a funk-based backbone to their overall sound. For me percussion has always been the driving force behind the signature sound of Wheatus. Purveyor of all things snare and kick drum realeted, comes from new recruit KC Marotta – anyone that has 9+ cymbals and high hats in the mix means serious business.
With tracks like “BMX Bandits”, “Truffles” and “American in Amsterdam” the audience are treated to an eclectic mixture of the bands back catalogue. Although it’s been a hot minute since they have toured, the band’s musicianship was on full display, with tight guitar riffs and infectious melodies that had everyone singing along. The setlist was a mix of their classic hits and newer tracks, showcasing their evolution as a band while staying true to their roots.
After the audience have called out almost two hours of hand-picked favourites the set reaches its crescendo with – you guessed it; “Teenage Dirtbag”. As you can imagine the sold out crowd are singing along with great gusto. There is even an acapella moment thrown in while Brown happily watches the audience sing the chorus back to him while collecting a small stuffed animal a fan in the front row, who has brought in as a tribute.
With a set this strong and a performance that sparks so much joy and frivolity for the audience, I say to the naysayers, if this isn’t what music is about, unifying a collective and offering escapism through playfulness, then what is?
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.
I remember it as if it was yesterday, driving through town with my cousin listening to the music that the “older kids” were listening to and thinking to myself, this is so cool.
To say that discovering Geese took me back to my childhood circa the Y2K it’s an understatement, in fact, it took me back to my first bonfire after the homecoming win as a sophomore, as I remember, it wasn’t a cool party and I wasn’t a cool kid but I had something nobody else did, I had the mixtape that I had stolen from my cousins car and it was fire.
That is exactly the feeling I got the first time I listened to Geese, I had the feeling of discovering something new and exciting that I wanted to share with everyone.
Geese’s last album “3D Country” brings back that same nostalgia and mixes it with a great sense of decadent future era, from experimental rock to mature and intricate lyrics that resonate with a vast range of generations.
Truth be told, they attract the most diverse and eager crowd with their energetic and performative show that takes you right back to the 60’s or was it the 90’s, maybe?
As they passed through the city of Glasgow promoting the aforementioned release on their latest tour, we had the chance to meet with one of the band’s members in the coziness of King Tut’s backstage.
We were welcomed by Cameron Winter (vocalist) and what we thought was going to be a monotone interrogation soon turned into a rather philosophical and yet pleasant conversation between 3 people that had just met and had a thing or two to talk about.
A fan of Glasgow, Cameron told us that this is one of his favorite European spots due to the kind nature of its habitants and the old timey feeling of the city.
When we asked about the biggest difference between the scene back home in New York and the scene in Europe, he mentioned that his hometown feels rather cold when it comes to emerging musical influences and experimental sounds and that is a rather harsh environment for a new band to thrive in, New York’s constant rising cost of living leaves the young ones without a place to plug their instruments and forces many to come up with alternative ways of making a living.
Luckily enough the band was signed by Partisan Records in 2020 and since then had an increasing number of followers around the world that will most likely contribute to their growth while they experiment with their own sound and explore the boundaries of living at the edge of society as emergent and self-educated artists.
Describing Leonard Cohen’s later works as hilarious, Winter disclosed a few of his recent musical obsessions such as, Patti Smith, Norah Jones, Miles Davis and Hank Wood and the hammerheads which have been keeping him company lately as Geese moves from city to city showing up for their sell-out shows across the old continent.
Before we said goodbye to Cameron and headed downstairs for what proved to be a memorable and intimate show, we left him with a note of hopeful excitement for the future as we expect to keep on coming to watch the band live in their favorite city, at their favorite venue.
I found one of this generation’s gold nuggets in one of their last album songs “I See Myself” undoubtedly their piéce de résistance to date and with this I would like to welcome you to the Geese era.
The Walkmen graced the stage at SWG3 in Glasgow after a very lengthy, very notable absence from creating and recording music together much to the chagrin of stalwart fans like myself.
You see this band holds a very special place in my heart. Their music still features pretty much on every playlist or back in the day – CD mix that I ever made.
Their back catalogue has a song for every occasion. There was a time in my life when and if “The Rat” came on at the indie disco or after party people would be looking for me to appear and dance about like a malfunctioning robot wailing the words at the top of my lungs.
I’ve seen the band perform countless times – once in full Halloween costume at Stereo mid 2000’s so tonight in every sense feels like a warm welcome back for the quintet hailing from Harlem (by way of Washington DC)
The crowd was a sea of eager faces, a congregation gathered to worship at the altar of raw musical prowess. And my friends, worship we did.
From the very first note, it was evident that this wasn’t going to be just another gig. No, this was a sonic pilgrimage, a journey into the heart of what makes music pulse through our veins.
Hamilton Leithauser‘s voice, a force of nature in its own right, soared and dipped, carving out melodies that etched themselves into the very marrow of our bones. It still amazes me how his vocal range can scale back and drop dramatically.
From a pained angry wail to a soothing lullaby with every note ringing crystal clear.
As the band delved into their repertoire, the audience was treated to a symphony of emotions. The opening track of, “They’re Winning” followed by “Wake Up” started the show on a high note.
However from the very first opening chords of “Little House of Savages” the crowd were bobbing along and lapping up every bar.
After a short reprieve Hamilton announces, “It’s time to rock” before “The Rat” unleashed a maelstrom of unbridled joy that held us in its bittersweet embrace. Each chord progression was a revelation, each drumbeat a heartbeat that resonated with every soul in that room.
Peter Bauer’s mastery of vintage keys added a layer of intrigue to the mix, his fingers dancing across the ivory like a sorcerer conjuring spells. The guitars of Paul Maroon and Walter Martin wove a sonic tapestry that was equal parts gritty and ethereal, a testament to the duality of their musicianship.
But to be honest it’s always been about the rhythm section for me, Matt Barrick‘s drums served as a primal heartbeat, a steady pulse that anchored the melodic whirlwind around it. Every snare hit, every kick drum thud was a punctuation mark in the story The Walkmen were weaving.
“Donde Esta La Playa” and “Canadian Girl” are brimming with ethereal energy while “Angela Surf City” – a personal favourite soared with post punk vigour.
The show ends with a brief encore consisting of, “Inpatient Talent Show” and the first track the band ever recorded, “We’ve Been Had” with its guttural snarl the whole room singing along in chorus.
I left carrying a bundle of merch a deep cut of “Bows & Arrows” that the band have self pressed because FU big labels, laden with bonus tracks and an oversized T – like I said The Walkmen will always hold a special place in my heart.
The band have always flirted with extreme notoriety but instead have kept themselves firmly entrenched in the underground indie scene. But with performances like this it can only herald in a new dawn for The Walkmen at the beginning of their second journey towards greatness.
I think it was fair to say on Day 3 we were surviving and defiantly NOT THRIVING. With bruised shins purpling under the muggy Glasgweigian sun today we had a schedule jam packed trying to see as many performances as possible.
With each band leaving their own stamp (or stomp) on Glasgow Green, let’s dive into the captivating performances that defined this extraordinary day of music.
Kicking off proceedings was Glasgows own scene darlings, Lucia & the Best Boys, whose brooding blend of indie rock roused the early afternoon crowd. Lucia Fairfull‘s ethereal vocals, combined with the band’s atmospheric soundscapes, conjured a sense of moody synth pop that enveloped the audience. We loved their set opener and current single, “So Sweet I Could Die”
We then literally raced back to the Main Stage to catch, Pale Waves launching on stage with their beautiful shimmering pop melodies and daydream lyricism.
Heather Baron-Gracie’s powerful vocals soared above the infectious synth-driven arrangements, capturing hearts and minds with their anthemic hits. The crowd surrendered to the irresistible allure of tracks like “There’s a Honey” and “Television Romance,” creating an atmosphere brimming with pure joy.
The intensity escalated with the arrival of Dream Wife, a band known for their fierce stage presence and punk-infused anthems. Rakel Mjöll, Alice Go, and Bella Podpadec exuded an infectious energy that ignited the audience, encouraging a whirlwind of movement and liberation.
It’s no secret that we LOVE Dream Wife here at The Golden Bough and todays performance only served to solidify our glowing love for this powerhouse of Riot Grrl energy.
Embodying the spirit of rebellion in every bar serving sultry fashion siren looks and empowering messages, Dream Wife put on an unforgettable performance, empowering us all to embrace our individuality and challenge societal norms. There was too many songs in this set that we adored but a special shout out goes to their current single, “Don’t Date a Musician”.
Bob Vylan became our most adored set of the weekend. Unleashing an unapologetically confrontational set, provoking thought and sparking conversations with their politically charged punk rock. We can honestly admit we were not prepared for this riot or a set.
Their raw, uncompromising energy resonated with the crowd, highlighting the power of music as a tool for social commentary and activism. Bobbii Vylan’s impassioned delivery and incisive lyrics left no room for complacency, offering a visceral experience that demanded attention and introspection. All good songs deserve to be delivered with a cricket bat so notable mention has to go to, “Lynch Your Leaders”.
Promising upstarts from Glasgow, Uninvited took to the River Stage in front of an audience that was 70% made up of other artists from Glasgow and Edinburgh.
It’s good to see the home crowd turning up for the locals. Uninvited bring a fun sense of play to their scuzzy garage guitar rock. Despite some technical problems the set resounded well around the Forrest’s knoll much to the audiences delight. We loved, “Friends With Mascara”.
As the night sky unfolded, Royal Blood unleashed their explosive rock ‘n’ roll assault, instantly electrifying the crowd. Mike Kerr’s hair metal basslines and Ben Thatcher‘s thunderous drumming reverberated through the air, creating a seismic force that engulfed Glasgow Green. The duo’s relentless energy and electrifying presence transformed their performance into a triumphant celebration of rock’s power to captivate and unify. We loved, “Loose Change”
Finally, The 1975 took the stage, effortlessly blending art-pop sensibilities, infectious hooks, and socially conscious or contentious lyrics. Matt Healy‘s is a social hand grenade, love him or loathe him his erratic stage presence and the band’s dazzling visuals elevated their performance to a realm of pure spectacle. The audience surrendered to the euphoric waves of hits like “Love It If We Made It” and “Somebody Else,” embracing The 1975’s ability to both entertain and provoke seems to be what they do best.
I think it was fair to say on Day 3 we were surviving and defiantly NOT THRIVING. With bruised shins purpling under the muggy Glasgweigian sun today we had a schedule jam packed trying to see as many performances as possible.
With each band leaving their own stamp (or stomp) on Glasgow Green, let’s dive into the captivating performances that defined this extraordinary day of music.
Kicking off proceedings was Glasgows own scene darlings, Lucia & the Best Boys, whose brooding blend of indie rock roused the early afternoon crowd. Lucia Fairfull‘s ethereal vocals, combined with the band’s atmospheric soundscapes, conjured a sense of moody synth pop that enveloped the audience. We loved their set opener and current single, “So Sweet I Could Die”
We then literally raced back to the Main Stage to catch, Pale Waves launching on stage with their beautiful shimmering pop melodies and daydream lyricism.
Heather Baron-Gracie’s powerful vocals soared above the infectious synth-driven arrangements, capturing hearts and minds with their anthemic hits. The crowd surrendered to the irresistible allure of tracks like “There’s a Honey” and “Television Romance,” creating an atmosphere brimming with pure joy.
The intensity escalated with the arrival of Dream Wife, a band known for their fierce stage presence and punk-infused anthems. Rakel Mjöll, Alice Go, and Bella Podpadec exuded an infectious energy that ignited the audience, encouraging a whirlwind of movement and liberation.
It’s no secret that we LOVE Dream Wife here at The Golden Bough and todays performance only served to solidify our glowing love for this powerhouse of Riot Grrl energy.
Embodying the spirit of rebellion in every bar serving sultry fashion siren looks and empowering messages, Dream Wife put on an unforgettable performance, empowering us all to embrace our individuality and challenge societal norms. There was too many songs in this set that we adored but a special shout out goes to their current single, “Don’t Date a Musician”.
Bob Vylan became our most adored set of the weekend. Unleashing an unapologetically confrontational set, provoking thought and sparking conversations with their politically charged punk rock. We can honestly admit we were not prepared for this riot or a set.
Their raw, uncompromising energy resonated with the crowd, highlighting the power of music as a tool for social commentary and activism. Bobbii Vylan’s impassioned delivery and incisive lyrics left no room for complacency, offering a visceral experience that demanded attention and introspection. All good songs deserve to be delivered with a cricket bat so notable mention has to go to, “Lynch Your Leaders”.
Promising upstarts from Glasgow, Uninvited took to the River Stage in front of an audience that was 70% made up of other artists from Glasgow and Edinburgh.
It’s good to see the home crowd turning up for the locals. Uninvited bring a fun sense of play to their scuzzy garage guitar rock. Despite some technical problems the set resounded well around the Forrest’s knoll much to the audiences delight. We loved, “Friends With Mascara”.
As the night sky unfolded, Royal Blood unleashed their explosive rock ‘n’ roll assault, instantly electrifying the crowd. Mike Kerr’s hair metal basslines and Ben Thatcher‘s thunderous drumming reverberated through the air, creating a seismic force that engulfed Glasgow Green. The duo’s relentless energy and electrifying presence transformed their performance into a triumphant celebration of rock’s power to captivate and unify. We loved, “Loose Change”
Finally, The 1975 took the stage, effortlessly blending art-pop sensibilities, infectious hooks, and socially conscious or contentious lyrics. Matt Healy‘s is a social hand grenade, love him or loathe him his erratic stage presence and the band’s dazzling visuals elevated their performance to a realm of pure spectacle. The audience surrendered to the euphoric waves of hits like “Love It If We Made It” and “Somebody Else,” embracing The 1975’s ability to both entertain and provoke seems to be what they do best.
The Golden Bough 