As I stumbled into the hazy world of Bdrmm, I couldn’t help but feel a sense of déjà vu. It was as if I had been transported back to the heyday of the psychedelic ’60s, where the air was thick with the scent of rebellion and the promise of a new era. But this was no time machine; this was the intoxicating sound of Bdrmm, a band that effortlessly channels the spirit of that era while carving out their own unique space in the dream pop scene.

Like a mad scientist, Bdrmm concocts a potent blend of shoegaze, post-punk, and indie rock, creating a sonic cocktail that is both familiar and refreshingly original. They are currently touring their second album “I Don’t Know” which is a journey through the depths of the subconscious, a kaleidoscopic trip that takes the listener on a rollercoaster ride of emotions.

Tonight’s set is split into to halves. The first half focuses solely on new material and the band play their new album in it’s entirety. The second is devoted to hits from their sophomore album.

From the opening bars of recent single “Pulling Stitches”, it becomes clear that Bdrmm is not here to play it safe. The swirling guitars and ethereal vocals transport you to a world where reality and fantasy intertwine, where the line between dreams and waking life blurs. It’s a disorienting experience, but one that is undeniably captivating.

But it’s not just the music that sets Bdrmm apart; it’s their fearless approach to songwriting. Tracks like “Gush” and “Happy” are unapologetically raw and vulnerable, laying bare the band’s innermost thoughts and fears. It’s a cathartic release, a sonic exorcism that leaves you both shaken and exhilarated.

And then there’s the live experience. Watching Bdrmm perform is like witnessing a religious ceremony, a ritualistic celebration of sound and energy. Frontman Ryan Smith is a force of nature, his frenetic stage presence and impassioned delivery drawing you into the heart of the music. It’s a performance that leaves you breathless, a testament to the band’s commitment to their craft.

But amidst the chaos and intensity, there is a sense of hope. Bdrmm’s music is not just a reflection of the darkness that lurks within us all; it’s a beacon of light, a reminder that even in our most vulnerable moments, there is beauty to be found. It’s a message that resonates deeply in these uncertain times, a reminder that we are not alone in our struggles.

In the end, Bdrmm are more than just a band; they are a revelation. Their music is a testament to the power of art to transcend boundaries and connect us on a primal level. It’s a reminder that sometimes, in order to find ourselves, we must first lose ourselves in the music. So, strap yourself in, my friends, and prepare for a wild ride. Bdrmm is here to take you on a journey you won’t soon forget.

Pictures: Angela Canavan @zombiefang

Words: Angela Canavan

Opening for tonight’s main act was the utterly mesmerising Friedberg a trans Berlin & London four price who are fresh off touring with Hot Chip.

We absolutely loved what they had to offer which was a glorious cacophony of Riot Grrrl energy that was infectious and highly east to dance to.

They remind me of ESG slow dancing at a high school disco with The Big Moon. We loved the tenuous amount of Cowbell on offer (can you ever have enough?) and festival ready anthems like; “Go Wild” and “Yeah”. Catch them when they next roll into town.

I’ve been fan girling hard for Placebo since I was about 15 the band have held the hand of many a millennial throughout their teen emo phase – one I’m not entirely sure I ever fully left.

I interviewed Jamie Hince of The Kills fame – back in the days when he was touring the No Wow album and we spend an extraordinary amount of time talking about our joint appreciation for Brian Molko.

Jamie explaining about the times they squatted in flats in London’s East End, building experimental music machines with found material. Me talking about how one day I too aspired to be a Nancy Boy…

From the moment the band took the stage, the energy in the room was electric. The crowd was a sea of black leather and eyeliner, all eagerly awaiting the arrival of their beloved rock icons.

As soon as the first notes of “Forever Chemicals” rang out, the audience erupted into a frenzy of sharp pointed Mohawks and experimental eyeliner.

Frontman Brian Molko strutted across the stage, his voice dripping with raw emotion as he belted out the lyrics. The band’s signature blend of grunge, punk, and glam rock was on full display, and it was clear that they were on top form.

The band had imposed a strict no phones policy which was much to the chagrin of many a fan, was it pretentious? Or were they as they admitted trying to simply protect the audiences connection with the band themselves?

At the end of the day I know I don’t like to watch a concert on an iPhone screen while a 6 foot dude in front of me films the entirety of the show with his torch on. So honestly? I think it was for the best.

Although the band are currently touring in celebration of ‘Sleeping with Ghosts’ turning 20 years old the band didn’t play many tracks from this album.

In fact they also didn’t play many of their much loved hits such as; “Every Me, Every You” or “The Bitter End” and admittedly much to my utter dismay “Nancy Boy” instead the opted for a set littered with gems from a range of their extensive back catalogue.

One of the highlights of the night was the performance of “Bionic” which had the entire crowd singing along at the top of their lungs.

Molko’s vocals were haunting and powerful, and the band’s tight musicianship was on full display.

Placebo also played a number of deep cuts and lesser-known tracks, which only served to further showcase their versatility and talent. “Song to Say Goodbye” was a particular standout, with its driving bassline and Molko’s snarling vocals.

Throughout the night, the band’s energy never waned. Molko and bassist Stefan Olsdal were constantly in motion, jumping and thrashing around the stage with abandon.

Drummer Steve Forrest held down the rhythm with precision and power, and the entire band seemed to be feeding off the energy of the crowd.

“Slave to the Wage” – a personal favourite and “The Bitter End” received a tremendous roar from the crowd.

As the night drew to a end Placebo came back with a short en core with a rousing cover rendition of “Shout” which was prefaced by shout out to all our Trans and Non-binary friends there was some chat about having a choice about who exactly you get fucked by – which was alluding to Molko’s support for Scottish Independence (he is 50% Scottish after all – so we may as well claim him as one of our own),leaving the audience begging for more.

They closed the set with their beautiful cover of Kate Bush’s “Running Up That Hill” which the audience loved.

It was a truly unforgettable performance, and one that has cemented Placebo’s status as one of the most iconic rock bands of our time and not only the dreamy hero’s of our teenage years…

Words & Photos: Angela Canavan

Hot 8 Brass Band are a New Orleans institution. The band have been entertaining audiences with their unique blend of jazz, funk, and hip-hop for over two decades. Their music is a celebration of the rich musical heritage of New Orleans, and their live performances are a testament to their incredible talent and energy.

The band who have lost several members of the original line up to gun violence are currently on tour to commemorate the passing of founding member Bennie Pete, who passed away to covid related health complications.

Daubed “The Bossman Tour” the band open the set with an original New Orleans Death March, explaining to the audience that the culture is to celebrate life not forget it.

Tonight’s performance will certainly leave a marked impression on the minds of those present.

One of the most impressive things about the Hot 8 Brass Band is their ability to seamlessly blend different genres of music.

Their music is a fusion of traditional New Orleans jazz, funk, and hip-hop, and they are able to switch between these styles with ease.

Their live performances are a high-energy affair, with the band members dancing and interacting with the crowd, creating a party atmosphere that is impossible to resist.

Each member of the ensemble is a master of their instrument, and they work together to create a sound that is both tight and dynamic.

The brass section is particularly impressive, with the trumpets and trombones playing off each other in a way that is both intricate and powerful.

One of the highlights of a Hot 8 Brass Band performance is their rendition of Joy Divisions “Love Will Tear Us Apart” which is impossible not to dance to.

The band rattle through an impeccable set covering Snoop Dog’s “Who Am I” mixed with Luniz, “I Got Five On It”.

There is a special rendition of and I kid you not “Happy Birthday” after all the law of averages would indicated at has to be at least one persons special day in the audience.

Low and behold a couple are invited to the front of the stage who have just been married that morning and are now at the gig celebrating – after all we are here to celebrate life in all of its complex intracies.

“Sexual Healing” by Marvin Gaye, is dedicated to the journey they have begun together.

The band’s version of the song is a funky, brass-heavy interpretation that is both fun and soulful. The crowd always goes wild when they play this song, and it’s easy to see why.

Hot 8 Brass Band a force to be reckoned with. Their music is a celebration of the rich musical heritage of New Orleans, and their live performances are a testament to their incredible talent and energy. If you have the chance to see them perform, don’t miss it.

Words: Angela Canavan

Photos: Angela Canavan

Fan Favourites:

“I lived the drumming, outside of New Orleans it’s the best jazz we’ve seen, great energy” Shirley Linton

“We thought they were The Cool 3, not the Hot 8 – but we are glad we caught them” Jan Maxton

“Infectious music, rhythmic made you want to dance, we never stopped all night” Avin Newton

“Wanted to see them for five years, so glad I got the opportunity tonight. Ever since I seen the film, “When the Levees Broke” they’ve been on my list. They’re class “ Felix Cairns

The Beths have brought with them to tonight’s packed out Garage a slice of Kiwi summer sun, their music perfectly encapsulates the upswing on the mercury levels Glasgow is currently experiencing.

After all the four-piece indie rock band from New Zealand, have brought with them a 20 foot inflatable fish.

Known for their catchy hooks, energetic performances, and clever lyrics. Their debut album, “Future Me Hates Me,” released in 2018, was met with critical acclaim and established them as one of the most exciting new bands in the indie rock scene.

The set opens with the title track, “Future Me Hates Me,” a fast-paced, guitar-driven anthem that sets the tone for the rest of the evening. Lead singer and guitarist Elizabeth Stokes’ vocals are both powerful and vulnerable, as she sings about the anxiety of falling in love. The song’s infectious chorus is sure to get stuck in your head for days.

Other standout tracks of the evening include “Little Death,” a bittersweet ballad about the end of a relationship, and “Jump Rope Gazers,” a catchy tune about the struggle to find happiness in a world that can feel overwhelming. They finish with “Expert in a Dying Field” which receives a substantial cheer from the audience with its twee nuances. The band’s tight musicianship and clever songwriting are on full display throughout the evening, making the show a joy to listen to from start to finish.

With plenty of fun audience banter thrown in for good measure (about the many different Scottish words for baby) the band are delightfully affable with the audience – like an old friend who is in town for the evening.

Overall, The Beths’, ate a band on the rise and tonight showcases the band’s talent and potential. With their infectious melodies, clever lyrics, and energetic performances, The Beths are definitely a band to catch this summer.

Words: Angela Canavan

Pictures: Angela Canavan

Black Country, New Road or BCNR to their friends have been making waves since the release of their first debut LP, ‘For the First Time’ which was released back in February 2021, just as the world started re-emerging post pandemic. The album was lauded as ground breaking with its genre defiant experimentation.

The band consists of six London based multi-instrumentalists, for whom the road to notoriety has not exactly been plain sailing. The band lost their former front man Isaac Wood, just shortly after last years ‘Ants from Up There’, was released to much critical acclaim, thus forcing the band to evolve into what it is today – a group of good buddies who have honed their artistry to a T, a band that have stepped away from the usual front person hierarchy and have stepped rather comfortably into turn taking lead vocals and a swapping in and out of instruments that leads an almost theatrical aspect to their performance.

The band play exceptionally well, they play with a sincere modesty that belies their years. They play to a sold-out audience that receives the group on stage with rapturous applause and chants, phones held aloft littering the Fruitmarket with glowing lights. From the opening bars of ‘Up Song’ the group emanates an almost cinematic quality to their unique sound that blends post-punk, jazz and spoken word.

They play a gorgeous set with each song embodying its own unique character, lyrics that create musical landscapes with wit, humour and kitsch social commentary. It’s easy to see comparisons of BCNR being a modern-day Talking Heads. But we also love tracks like ‘Turbines/Pigs’ with pianist and dual accordionist (yup) May Kershaw singing in a devastating beautiful baritone that is hauntingly folky in a similar tone as Joanna Newsome.

Tyler Hyde on bass oozes draconian heartbreak on ‘I Won’t Always Love You’ a glittering ballad of loss, her vocal range a honeyed, expressive and raw with a Bonnie Tyler rasp to it (stripped of course of the hi-NRG disco) there are obvious comparisons to Kate Bush too.

We loved watching Lewis Evans flit between triumphant bouts of saxophone playing and highly spirited fluting. His vocal category leaning more towards that of the spoken word on tracks like ‘The Place Where He Stuck the Knife’.

The band ask for the house lights to be lifted several times much to the amusement of the mainly Gen Z crowd. With no encore forthcoming the band warn the crowd that of the imminent end of the set before playing; ‘Dancers’ which ends the evening on a high note.

With more certainly to come for this constantly evolving, eclectic brethren we pray that the sea’s have settled for BCNR, and they can get back to providing us with the visceral, orchestral experience that leaves the mob smiling as the emerge on to the rain soaked streets of The Merchant City.

Words: Angela Canavan

Pictures: Angela Canavan

Smashed glass, abandoned chips, cheese and donner meat cartons and punters so inebriated both eyes don’t seem to be working in tandem is the usual order of business for the bottom half of Sauchiehall Street.

Yet every year on the first of the May bank holidays and usually after an Old Firm match… Sauchiehall Street is a hive of activity when bands from every corner of the world descend for the annual Stag & Dagger festival.

The line-up is varied ever year, with a robust roster of acts Stag & Dagger promises to tickle the taste buds of even the loftiest of music connoisseur. The one thing you can absolutely bank on is your probably going to stumble across your new favourite band to obsess over for the year ahead.

Squatting in some of our cities most beloved dive bars and basement venues, you’ll find yourself rubbing shoulders with bands who have played the festival not only that day but in years gone by too as it often attracts a return crowd.

The most troublesome thing about the muti-venue festival is planning your day so you can drop in and out of each venue to catch everyone you want to see… an impossible task unless you have a Tardis in your pocket.

We tried our best at The Golden Bough to make it along to see everyone we possibly could. I think we managed to catch a decent quantity of fresh meat, but so we don’t have you reading a mini dissertation here is a quick run through of what we seen and liked.

We started things of well and truly with a bang. Youth Sector graced the stage of Nice N’ Sleazy early in the afternoon and considering they were the first band of the day we absolutely loved their frenetic, energiser bunny set. 

Think uber stylised Franz Ferdinand meets David Byrne. We loved their matching wide stitch suits and 70’s mustard disco collar shirts. Special shout out goes to Nick Smith on synth, his dancing behind the synth gets everyone moving. For it being early on the basement is mobbed and everyone is wriggling along. Stand out track ‘Number One Best Seller’.

Nottingham newcomers Divorce, play perfect fuzz rock melodies with a twee pop overture. The Attic bar is busy – even although no alcohol is being served until 6pm. There’s some very cute banter back and forth between diminutive Tiger Choen-Towell (vocals, bass), which instantly disarms the audience.

This is a band who are clearly at ease not only with each other but with the music that they play. The tracks that have a spoken word element to them remind us of Hobo Johnson and other tracks lean more into Indigo Girls but with slabs of pop synths. We loved a new track they played (a video for which has just been recorded in Epsom) but we failed to catch the name, so our second favourite was ‘Services’.

Jeffrey Lewis & the Voltage are our first Trans-Atlantic artist of the festival. Hailing from NYC Jeffrey Lewis and his rag-tag companions have set up camp – quite literally, in new venue and church hall St. Andrews West. Jeffrey and various members of the band stick around after the show to watch every artist that plays after them and to talk away nonchalantly to fans old and new who come to purchase the multitude of band merch and curios that have been hand crafted by the man himself.

We came home with an incredibly beautiful hand drawn ‘Fuff’ comic and had to pull ourselves away from spending the last of our beer money on his hand dyed stitch on patches. Jeffrey has been making music in various guises on and off for the best part of 20 years. His obvious wit is inscribed in his often anti-hero lyrics and his music is somewhat genre defying. There are elements of post-punk, psychedelia and folk infused with his garage rockabilly guitar riffs.

The show is interlaced with hand illustrated Power Point slide show presentations, one detailing the true story of Sitting Bear a Native American hero who stood up to the injustices of colonisation and another which proffered a brief history of punk in New York through the 60’s and 70’s.

The latter was highly comical and involved the whole band singing short snippets of iconic tracks such as; The Count 5’s “Psychotic Reaction” and The Velvet Underground, “I’m Waiting for The Man”. We particularly enjoyed violist Mallory Fueur’s harmonica playing on this track.

‘The Singing Tree’ was a particularly beautiful song, particularly worth checking out of you, like us, are a die-hard fan of Daniel Johnson and Sonic Youth.

We then hot tailed it back down the street to Broadcast, to catch London based quartet, Talk Show and oh boy do they slap HARD. Think Keith Flint, meets The Rapture who then happen to get into a tussle with IDLES while Iggy Pop watches on somewhere in the vicinity with a bemused grin on his face.

The music is everything we generally love; impassioned, anarchic, off-kilter, sardonic and multifaceted instrumentation that makes you want to move. We love pint sized hero Harrison Swann’s cheeky grin when delivering lyrics that are part guttural snarl part Mancunian Maxi-Jazz. But it’s the spectacle of his impassioned semi-demonic dancing that really enlivens the show.

Of course, all of this would mean absolutely nothing if the music itself didn’t hold up. Thrashing out incredible, high tempo drum riffs is Chloe MacGregor who plays outstandingly well with a constant grin on her face and bassist George Sullivan and guitarist Tom Holmes, barely seem to stop for breath.

Not for the feint of heart Talk Show are producing loud, post-punk darkwave danceable classics. They look like they’ve wandered out of an illegal rave and right into our hearts.

I wasn’t surprised to hear later that night, when the inevitable discussion was tabled about who our favourite act of the day had been, that their latest EP has been produced by Joe Goddard and Al Doyle of Hot Chip fame, further fanning the flames of our latest obsession. We reached out to the band for our favourite track ID but it’s so embryonic it doesn’t have a working title at the moment – all we know is that it’s a beast of a tune, so we will give a special doff of the cap to, ‘Leather’.

We literally managed to catch five minutes or so of Skinny Pelembe at G2 – think TV on the Radio meets Anthony and the Johnsons and Sad Boys Club (Wheezer meets Wheatus) in The Attic unfortunately not enough to do the set justice.

Alice Glass was the only artist we had seen in The Garage. This was our first time hearing her play live any of her solo music since her departure from the much coveted (for us anyway) Crystal Castles. Serving e-girl goth but with dark techno, glitchy beats Alice Glass’s new material isn’t too far removed from her former fame and glory but there is definably something missing.

She still has the tenacity and captivating stage presence she was famous for. Bounding from one end of the stage to the other, grinning wildly and high kicking her way through a very loud set with notabele tracks being “Legend” and “Forgiveness”. Ultimately it was material from the Crystal Castles back catalogue which was received with much aplomb.

Lebanon Hanover brings with them not only one of the largest crowds of the evening but a beautifully orchestrated set full of morbid romanticism. Larissa Iceglass and William Maybelline are an iconic duo who strike an imposing image on stage with their own brand of sultry darkwave, nostalgic 80’s inspired goth rock.

For fans of Bauhaus and Joy Division, Lebanon Hanover are not to be missed. Admittedly it took the bands first few songs to play through before they seemed warmed up and at ease with the crowd, but by the time ‘Gallowdance’ was played the room was dancing about quite spectacularly.

In fact, frontman Maybelline’s dancing was reminiscent of Future Islands, Sam T Herring we believe he could give him a good run for his money. We loved “Du Scrollest” with its Devo inspired synth and ‘Totally Tot” with its manic energy. We will be sure to catch Lebanon Hanover should the roll into town again.

Black Lips brought the St. Andrew’s stage to a close with their own whiskey soaked, knee-slapping barn dance cavalcade. Chaotic, high tempo rockabilly with a good old dollop of swing thrown in for good measure Black Lips have the church hall toe tapping and jiving throughout the set. We’ve never been to an American 50’s style prom dance – but something tells me this is about as close as we will ever get.

The music contrasts between garage rock reminiscent of The Growlers and madcap, raucous glistening punk. The lyrics are sang loud and clear with a snarl and unrivalled vibrancy. It’s hard to tear your eyes away from the spectacle of the performance – but we can’t help but look on at the crowed dancing away with wild abandon. The kind of performance that demands every single member of the audience are having a good time.

We loved, ‘O, Katrina!’ which reminds us of The Count 5 and couldn’t help but sing along to ‘Bad Kids’

We now make it on to the part of the evening that comprises of bands solely from Glasgow. We manage to catch, Her Picture at Nice N’ Sleazy. The band have recently rebranded themselves from Fauna, but it appears to be most of the original line up gracing the stage this evening. Judging from the packed-out basement it appears that the band have also caught the attention of the Stag crowd.

Anny Tahaney on lead vocals is a force to be reconned with, her cute pop pixie demeanour belies little of her true 90’s grunge prowess. Her husky vocal range touches on PJ Harvey meets Catatonia, while Cat Reid on bass gives the music the undertones of Elastica.

We loved the whole set but stand out tracks included “My Way” the opening of which reminds us of New Order’s track ‘Crystal” and heavier “The Nature of it” the band are due to play the St. Lukes All Dayer on June 3^rd be sure to check them out.

Penultimate act of the evening (for us) was the saccharine sweet angel that is Kleo. Armed with a drum machine and large synth Kleo gives a rapid performance with all the magnetism of someone destined for a bigger stage that that at Broadcast.

Flexing plenty of android muscle with some empowering back bends, there is plenty of choreographed dancing in between hair flicks and high kicks. Skirting between dance and electronica the music is a non-stop party.

We love ‘TWDN’ with its super catchy chorus and trap loops, we couldn’t help but dance away to, ‘INM’ which has a heavier industrial sound that perfectly encapsulates Kleo’s sweet pop overtones. We can see these tracks going down well on any dancefloor.

Every year the promotors at Stag & Dagger do something devilishly clever – they seem to reserve the most lauded band, the band that seems to be on the tip of everyone’s lips and gives them the latest set time possible – thusly ensuring the crowed remain drinking till the wee small hours of the morning.

Last year it was Wife Guys of Reddit, this year its Lloyds House. Ambling on stage around 1:30am, the band traipse on stage sporting fishnet tights and silk dresses that granny would be proud to wear, there’s more than a touch of rouge going on too.

There’s a fun introduction by way of a good morning chant that reminds us of childhood trips to Butlins. We love the exhibition, and we are very much here for it. The band will burrow their way into your hearts hard and fast.

With impish, gleeful glances between one another Lloyds House put on a shimmering set that shows just how tight they have become. Mastering the tools of their trade they playfully skirt between nostalgic low-fi pop of “That’s When I Sold Myself” to the grungier “Grouch” with chord progressions that remind us a little of Silversun Pickups.

There is a tonne of new tracks scattered throughout the set which seems to lean the band into more 80’s synth territory that makes us excited to see what they do next. Ultimately, it’s their latest single and our current object to daydream about, ‘Heather’ that gets the most jubilant response instigating a mini mosh pit and quite rightly so. It’s a beautiful, twinkling synth driven stomp. With the satirical high-pitched singing offsetting the chunky bass we adore how much of a chantable singalong the chorus is.

And with that, moshing away merrily to the beautiful pop mutation that is Lloyds House we bring this year’s festival to an end.

Make moves and mosey on over to your streaming service and indulge us in giving all the artists mentioned a wee whirl. We are confident, like us you will adore each one.

Photos: Angela Canavan

Words: Angela Canavan   

It’s no big secret that we spent our summer sipping White Claw on Yatesville Lake , absolutely rinsing Dehd’s back catalogue in the HOT summer. However we also had a wee stopover in Chicago – one of the coolest cities we’ve ever visited. It certainly gives NYC a run for its money, quirky theatres, beaches galore, beautiful parks with plenty of summer live music for free to boot. What we did miss out on was the city’s own music scene…

We hoped to catch Dehd on their home turf, but they were elsewhere in the USA touring. The local scene during summer with everyone out of town playing festivals literally consisted on David Grey and a few emo bands. We missed out, it would seem.

So… when we noticed that Dehd were rolling into our much loved Barrowland Ballroom, supporting Dry Cleaning we made a note of getting down early to catch their set and by the looks of things so did the rest of Glasgow.

We haven’t seen the ballroom packed out this much since last February when Jenny Beth supported IDLES…

Not one for easing into the set opening track was the punchy ‘Bad Love’ a recent single, from the bands 4^th LP, ‘Blue Skies’ an album we would later take home that evening… fan grilling hard. This track is one of our favourite tracks on the album, it’s exactly what Dehd do best. Low-Fi, grungy remorseful love ballads.

Lead singer and bassist Emily Kempf, has a unique, guttural wail that is reminiscent of Brody Dalle but oozes uber thrift punk meets saccharine sweet look of Alabama from True Romance and we are 100% here for it.

Next up is hit single ‘Loner’ which was the track that made us fall in love with this band last year. Soaring guitar riffs, bluesy drums and a dynamic vocal range that leans towards some sort of punk yodelling. It’s ticking all of our boxes. There’s a lot of energy on stage while this song is being played.

This is followed by ‘Nobody’ from 2020’s, ‘Flowers of Destruction’ and back to ‘Stars’ from their latest album. Even although we spent most of summer with Dehd on repeat nothing really beats seeing this band perform live.

The energy that lead guitarist Jason Balla has on stage is unparalleled joy, the band are unapologetically themselves, serving up lashings of darkwave, fuzzy guitar indie surf pop.

They rip through a 45minute set littered with gems such as; ‘Clear’ – with it’s anthemic chorus, ‘Flood’, ‘Empty’ and ‘Eggshells’. There are beautiful sober moments where you can hear a pin drop, gorgeous two part harmonies and lashings of atmospheric soul.

There’s lots of fun audience chat in between tracks mainly from Jason & Emily while drummer Eric McGrady has a more constant focus on the kit in front of him. The band seem amused by how similar Glasgow is to Chicago, when we caught up with them after the show they promised to move to town very shortly… we’ll hold you to that.

The ethereal, ‘Window’ closes the set, its poignant yet hopeful – something that underpins most of Dehd’s tracks. It’s seemingly a casual endeavour but in fact it’s a well thought out masterpiece.

On our way to the bar, before Dry Cleaning took to the stage the audience was bustling with ‘Who were they?’ and countless voices spelling out ‘Dead but with and H. D-E-H-D’. I think it’s fair to say hearts have been won over.

Words/ Photos Angela Canavan

Here we are reporting from the trenches of the Y2K revival once again… it’s been 20 years since Jesse Malin released his low key debut ‘The Fine Art of Self Destruction’ back in 2003.

When teenage us, had the record on repeat in our bedrooms, dreaming of red-stone stoops, the Manhattan skyline and all the unfiltered, grunge existentialism that The Big Apple had to offer.

Along came an album that bounced jovially around dark topics such as loneliness and depression.

It was every emo girls dream. Yes, the chord progressions are simple but what do you expect from an album that was hastily slung together in 6 days with the on and off presence of Ryan Adams?

“The Fine Art of Self Destruction” has always been one of those albums that we keep coming back to. Maybe because it reminds us of the whimsical folly of being 15 or maybe it’s because even after all this time we can still warble away to 95% of the lyrics. Some things last a long time, as a wise man once said and what I’m certain of is Glasgow has held a symbiotic brotherhood with Jesse Malin for years and I’m confident he will be playing in our city for years to come.

Stereo is completely packed to the rafters this evening, it’s squeezing room only and we had clamber up onto the side seats just to catch a glimpse of the action.

Jesse strolls on stage at the early time of 8:20pm, having played Glasgow countless times I’m sure he’s familiar that we like a good bang for our buck and with Stereo’s gig curfew set strictly at 10pm he’s making sure he delivers on the promise of kickstarting the UK tour with bang.

Sporting tartan trousers and a whole new set of togs he purchased that afternoon from the ubiquitous Dee’s of Trongate, he opens the set with, “Hotel Columbia”, from his 2016 album, “The Heat”… but wait aren’t we here for one album played in it’s entirety?

“I didn’t want to do things the boring way” explains Jesse. He continued on with, “The Way We Used to Roll” and “Turn up the Mains” before starting with the title track of “Queen of the Underworld”.

The band will go on to play the album in sequential order, briefly punctuated in the middle by a cover of The Replacements, “Bastards of Young”.

The band play a like a well oiled machine, the songs have have a certain grace and poignancy that can only be matured over time – like a fine wine. It’s clear they still hold appeal from the reactions of the riveted crowd.

But what really made this performance special was the affinity Malin has with the Weedgie audience.

There’s recollections of good times he had visiting the goth headquarters of our town The Cathouse in his 20’s when his former band supported Greenday at the infamous Barrowland.

There’s jovial banter about Manhattan slum lords, the Hells Angels, being in part of a anarchist group when he was 16 and having a friend dump all over his record collection as a teenager.

It’s this intimate glimpse into the stories that inspired the tracks on the album that really have the audience captivated.

There is even a funny interlude about King Tut’s (which is Malin’s usual stomping ground in Glasgow) where he explains how he used to work the door at the NYC nightclub that the independent music venue borrowed its name from.

Subsequently a bar in NYC, called Niagara which serendipitously he now helps to run.

There’s moments of entertaining showmanship, when Malin, throwing covid caution to the wind (although he did confess to being a part time germaphobe).

Bounded into the audience to sing amongst the audience, at one point during “She Don’t Love Me Now” even clambering up beside us (15 year old me would have literally died).

But the underlying caveat of the evening was all about love, acceptance and generally have a good time and above all else be kind to each other.

Set highlights for us included; “Subway” with its sunny, jazz piano and upbeat jangle it’s not hard to imagine Bruce Springsteen playing it, “Tranny” about a friend of Malin’s whose mafia associated father disapproved of his sons penchant for getting drunk and dressing in drag.

Clearly before the time of Drag Race.

“The Fine are of Self Self Destruction’ with its languishing guitar riff. Made even more poignant when Malin explained that the name was inspired by The Boomtown Rats, “The Fine Art of Surfacing” which featured the track “I Don’t Like Mondays” which sadly inspired the 1979 Cleveland Elementary Shooting.

“This was inspired by a Welsh man called Lenny” Malin explains in a wee doff of the cap to Motörhead before singing “Solitare” with honeyed vocals.

The album set list is capped with “Meet Me at the End of the World Again” before a brief encore that begins with, “Thank you for 29 years of friendship, Glasgow” the band play a super up temp, blinding cover of The Clash’s “Rudy Can’t Fail” which has the packed out crowed pogoing rapturously along to.

The only thing worth lamenting over is that we didn’t have time to hang around after the set, to get our vinyl signed.

Oh well, that can wait for what I feel will be a timeous return once again to Glasgow.

Y2K is trending… I never thought I would see the day trackies and butterfly clips would once again grace our shopping baskets but here we are.

This of course is spoken from someone who has predominantly dressed like Kate Bush sporting big hair, 80’s batwing sequins and gold lame for most of my adult life…

It comes as no surprise then that we are seeing a resurgence of bands who reached their heyday mid 90’s into the early 2000’s.

Tonight’s crowd are testament to this rhetoric as we spoke to fans from various generations; millennials, Gen Z and X are all gathered here under the beautifully painted ceilings of Summerhall.

Some have travelled from all over Scotland to attend tonight’s show and have jostled their way front and centre to hear Chris Helme perform a one man acoustic come comedy special here tonight.

If it’s nostalgia they’re after then they’ve certainly come to the right place.

Helme arrives on stage promptly just before 9pm, he’s clearly pleased at the crowd amassed before him, as a wide beam grin spreads across his face as he gives his audience an enthusiastic “Y’allright Edinburgh?” in his thick Yorkshire accent.

The crowd erupt in applause.

So what brought Helme to Summerhall this evening? It’s been exactly 25 years since his former band The Seahorses released their popular debut (and sadly only) album titled, “Do it Yourself”

Since The Seahorses, Helme has went on to contribute to various music projects – most notably and one of our firm favourites The Yards (we used to play The Devil is Alive and Well and in DC in most of our DJ sets of yesteryear ).

Yet, it seems sadly that people still refer to Helme as ‘the singer in John Squires post Stone Roses band’. But – that is not who he is tonight.

Tonight it would seem is more of an intimate audience with Helme. Yes, there’s plenty of endearing jokes about John Squire, yes there’s recollections of Oasis’s famous gig at Knebworth and yes Helme is instantly disarming with plenty of silly tales of his own folly.

But ultimately it’s the music that speakers volumes a tried and tested album that has stood the test of time and proven to be a truly magical experience when stripped back to one man and his guitar.

‘John’s pal found me outside of Woolies, busking and he asked me if I would go and audition for his pals band, I wore what I thought was my coolest outfit at the time bootcut jeans and a polo neck… But I almost never got in because my neck was too fat…”

This is the kind of esoteric yet beautiful stories that Helme regales to the crowd before launching into set opener, “I Want You to Know”. At the end of which he’s laughing saying “I bet you thought I was going to play the album in order? But as we all know Blinded by the Sun is the first track on the album and then you would all piss off back home”

It’s this sardonic wit that keeps the audience chuckling away throughout the night.

“Suicide Drive” is next much to the audience’s delight followed by “The Boy in the Picture” which is accompanied by a hilarious memory of…

“John went home to write some lyrics and after seeing him and his brother on two donkeys in an old photograph he wrote the words to this song. He came in in with a4 piece of paper the only word I noticed was strap on. I thought this won’t be a single will it?”

“Hello” was inspired by his ex girlfriend at the aforementioned Knebworth gig. “Love Me and Leave Me” has everyone chanting along in time with Helme and his solitary guitar.

“Love is the Law” illustrates perfectly just why Squire was known for curating a perfect riff.

“Love is Eggshaped” gets massive audience approval – the set is scattered with lots of jovial banter between the crowed and Helme.

Set closer “Blinded by the Sun” comes with its own anecdote about bumping into his girlfriends coffee table but ultimately gets the biggest singalong of the evening.

The Seahorses may have met their demise in their infancy, but the album is imbued with all the nuances that made Brit Rock so appealing in the first place. You can hear echos of Lennon, The Hollies and even Oasis – who Helme influenced too.

At the end of the evening Helme is happily taking photographs and signing albums with the most enthusiastic of fans.

Helme will continue touring throughout much of the year, we recommend catching him when he rolls into town next.

Words: Angela Canavan

Pictures: Angela Canavan