At the O2 Academy in Glasgow, the excitement is palpable. With fans packed from side to side and overflowing on the balconies, there is electricity in the air. Tonight we are seeing Khruanghbin, a phsych-rock band with a range of musical influences from middle-eastern and south american melodies.
The Texas trio is composed of three members: bassist Laura Lee, guitarist Mark Speer, and percussionist DJ Johnson. Arguably one of the most unique sounds coming from any band right now, they ooze funk and style. All members of the group are truly talented, but maybe exceptionally so is the lead guitarist whose notes flow and intertwine to carry listeners on a melodic journey. Unlike most bands today, many of their songs are instrumental with lyrics few and far between. They don’t need words to connect with their audiences but rather only their distinctive sound.
Playing an assortment of tracks from their discography, fans received the greatest hits of Khruangbin. Listening to live versions of personal favorites like “Mr. White”, “Shades of Man”, “Evan Finds the Third Room” was truly sublime. One of many highlights was the band playing “Maria También” on bottles of Buckfast.
The building shook from constant dancing and the happiness of the crowd was self-evident. Their live show is highly recommended and one to bring the entire circle of friendsto…regardless of preferred musical genre. Khruanghbin will be loved by all.
Having waited 30 years since the release of 1991’s ‘World Outside’, The Psychedelic Furs tour plans for new album ‘Made of Rain’ were shot asunder, like many bands by the pesky pandemic.
Now being 65 and clad in head to toe black, with permanent shades plastered to his face, ultimate new-romantic goth king, Richard Butler still cuts a prominent figure in the dream pop, post punk world.
But it does make you wonder, are the shades purely aesthetics or are they prescription?
Opening the set with ‘Highwire Days’ the band prove that in their long absence from touring they can still pack a mighty punch.
The crowd consists mainly of older men some of whom have brought their sons and daughters along to inspire the next generation. There are some hard core art school students and there is more than a fair share of smart phone novice photographers taking videos with full flash lighting…
Either way everyone, band included, are happy to be here and are set on having a good time.
The Psychedelic Furs new material has somewhat relied on that age old formula from the 80’s and if isn’t broke why fix it?
Some of the set highlights came from their new album – especially ‘The Boy that Invented Rock & Roll’, a mighty, post punk stomp, that showcases Butlers raspy, Marlboro drawl.
Admittedly, everyone is waiting on the hits being played, and when they do the crowd are singing along with every note.
‘Pretty in Pink’ sees the band daubed in rainbow lighting. ‘Love My Way’ has everyone dancing along with the sweet sparkling synth soundscape that it is.
‘The Ghost in You’ is swarthy art noir, meets big 80’s power pop at its core. Butler has all the mannerisms of a true icon, dips and hip shakes aplenty and even some almost hypnotic arm movements that certainly look like he’s casting a spell or summoning the devil, who knows maybe both?
His only detractor is the diminutive showboating saxophonist who keeps appearing and reappearing at different points on the stage, Mars Williams (excellent name) has toured with the likes of John Coltrane – so it’s no surprise that he is absolutely killing it this evening and ultimately gaining the most deafening round of applause at the end of the set.
Set closers are ‘Sister Europe’ which is a Kaleidoscopic prog-rock jangle, glittering with 80s synths and tambourine.
Followed swiftly by the imminent and moody ‘India’ proves that The Psychedelic Furs ( named after The Velvet Underground track Venus in Furs) have indeed, aged well like a fine whisky.
We highly recommend a mid-week musical treat to break up the monotony of home working and the slow burn of the daily grind. With loads of artists currently on tour and fans desperate to see their favourite bands, weeknight gigs are fully in force. Across Glasgow there are a plethora of great acts on tour any night of the week.
This week we had the opportunity to catch New Dad at Oran Mor. If you’ve never heard of New Dad before they are a four-piece dream pop band from Galway, Ireland. Although their sound can be ethereal at times, their hazy melodies, and lively tempos weave together to make their own distinct sound. Listening to their songs it is hard to ignore the heavy 90’s influence, yet their sound is unique and of its own breed.
The crowd danced and sang to favourite songs such as “I Don’t Recognise You” and “Slowly”. Passion for the band was notable in the crowd with fans begging for more. We overheard some fans who had seen them previously discussing how they never play an encore. Despite begging from the crowd to play more, singer Julie Dawson explained, “Guys we just don’t have that many songs”.
With one EP and one short album their discography comes to a total of 11 songs. Despite this, each song the band publishes deserves a listen. After all quality is always more important than quantity. We will be waiting anxiously for the release of more tracks and be in line for tickets the next time they visit Glasgow.
We’ve said it once and we will say it again, ‘It’s great to curate, yeah?’ that’s exactly what Walt Disco seem to have done this evening. They have put together a fierce selection of ethereal, goth rock.
Opening the show this evening is Glasgow’s very own Fauna who are a delightful quartet peddling beautiful grungy synth melodies that are at once reminiscent of Radiohead but with bluesy vocals of Billie Holliday too. With dewy skin, impressive frills, frocks and thumping bass they are definitely ones to keep an eye on. We enjoyed their track ‘I’m Still Here’.
Up next are Priestgate – who may as well have arrived in a Delorian, as they are serving uber cool, Teddyboy, goth looks in trouser braces and breeches it also doesn’t help that lead guitarist Connor Bingham looks surreptitiously like the dad from Back to the Future…
The band have been hailed as NME’s one to watch in 2022 and based on tonight’s set it’s easy to see why. Big suits, big hair and big sounds the band hailing from Yorkshire are bringing a small scale riot on stage and we are very much here for it.
Lead singer Rob Schofield cuts an enigmatic figure on stage, strutting about with all the hip wiggling prowess of Iggy Pop. It’s not long before he is in fact, tearing off his wife beater vest whilst spitting the lyrics to latest single ‘Eye’s Closed for the Winter’ which is a surly, yet intimate slice of beautiful 80’s prog-rock that is both 80’s Matchbox and Echo & the Bunnymen. Other standout tracks included; ‘Summer(air)’ and ‘Bedtime Story’.
‘How are you doing Glasgow? We’ve missed you!’ James Power, pirouettes on stage beaming with a joy and elation that only playing to a packed out hometown crowd can give you. Side F have been slowly championing Walt Disco since their infancy, when the band played We Never Heard of You at Lion Coffee Records in London way back in 2019.
Two years and one pandemic later it’s great to see that the band haven’t rested on their laurels, having just completed a very successful stint at SXSW were the band even played at some Texan wedding nuptials, the boys have a tremendous vigour and bounce in their step as they have finely crafted their debut album out today (and no that’s not an April fools) titled ‘Unlearning’. It’s a beautiful, honest and youthful flight of fancy, doused in glitter filled with witty jems based on love, identity and becoming your true self.
Opening track ‘Heather’ is hypnotic, gaudy and delightfully camp. James Power, sporting a cute black dress, could be the long lost love child of Shirley Bassey and David Byrne – and yes, you’re correct that is a winning combo indeed.
With fun choreography the whole band skip through a set studded with hits including; ‘Those Held High’, ‘Malicent’ and ‘The Costume Change’.
‘You’ve made me the happiest girl in the world, we are going to play you an absolute banger’ and James, doesn’t let us down. Lurching into ‘Weightless’ it’s a hark back to 90’s rave or even later work by Crystal Castles, with its catchy chorus that has the crowd singing along full force.
‘Hey Boy (You’re One of Us)’ is another change of pace with stand up percussion and pounding drums the track is reminiscent of dare I say… Marlyn Manson dipped in sugar.
‘I usually do a bit before this track, in a thicker Scottish accent, but no one overseas could understand us… lets see if you can’ James is clearly having fun with the crowd, ‘Come back Charlie, I think you are bloody lovely, I don’t care what they say about you…’ laughs James before hurling into current single ‘How Cool Are You’ which is a tongue in cheek take on pretention, which doffs its cap to Kim Wild and Bowie alike.
‘Selfish Lover’ sees more Macarena style dance moves before the band play ‘Something for those of you who have been with us a little longer’ before playing ‘Pop Sensibilities’ followed by ‘Macilent’ is a nice juxtaposition.
Set closer is an oldie too with ‘Past Tense’ showcasing the bands true, ability to skirt between saccharine sweet synth and moody 80’s goth kids. Walt Disco are making Glasgow proud, blurring gender roles and bringing a party wherever they go, it’s clear to see that these promising young upstarts have so much more in store for us going forward.
When the taste makers at Mono Records book a band to play two nights back to back you know you are in for a good time…
Opening tonight’s show is psychedelic rock trio Bug Club who for having such a diminutive line up certainly pack a punch in terms of the noise they can create.
Hailing from Wales the band rattle through a quick 30 minute set, giggling and generally having a good time. Frontwoman Tilly Harris is the psychical embodiment of a cute pixie and her candidness is infectious. Stand out tracks include; ‘If My Mother Thinks I’m Happy’, ‘Lorraine’ and ‘Wishing Well’.
Bodega have been touring their second album ‘Broken Equipment’ which will see them play across the UK to the end of the month. The 5 piece ensemble originate from NYC which is where they get their name from the countless Bodega’s (small convenience kiosks) that can be found on every street corner in Manhattan.
Tonight is the second night Bodega are playing Mono and the crowd is packed out and quite rightly so. The band play with a tremendous vigour, they are painfully cool with perfectly quaffed Teddy boy haircuts and chic vintage dresses.
They introduce their latest band member, Adam See who is affectionately named ‘The Professor’ owing to the fact that he is indeed a former Philosophy professor. The band have never taken themselves too seriously which makes their sound subversive yet playful, which is part of the appeal.
Having not one but two female percussion players is a bold move. That teemed with the fact that Thai Lee is not only standing up behind her drum kit but also dancing and at one point jumping enthusiastically at certain verses, whilst simultaneously swigging beer makes Bodega one of the most captivating live performances we’ve seen for some time.
Lead singer Nikki Belfiglio seems to embody the spirit of Audrey Hepburn meets the character Marla Singer in Fight Club (although that might just be the sunglasses) with her cute beehive and modish dress.
They play a surreptitious mixture of tracks from 2018 debut album ‘Endless Scroll’ and current release ‘Broken Equipment’ both of which have two very different distinctive vibes. The former a lazy post-punk, Sunday afternoon, garage rock affair (produced by Austin Brown of Parquet Courts) similar to The Breeders with hints of Liquid Liquid too. The new realise however is more up tempo almost math/art rock with glitchy synths and a BPM over 100.
Set highlights included; ‘Bodega Birth’, ‘How Did This Happen’, ‘Warhol’ ‘Doers’ and ‘NYC’. Opening track of the new record ‘Thrown’ has an almost Data rock quality to it.
Bringing the set to a close the band play hit ‘Jack from Titanic’ and the feverish ‘I’m Not a Cinephile’ followed by a much distorted rendition of The Rolling Stones, ‘Sympathy For The Devil’ and with that the set is over. Be sure to check out Bodega on the rest of the tour.
Tonight certainly was a night that sought to endorse girl power right from the off. The line up from start to finish was all about supporting your local girl gang. With local ones to watch The Uninvited kicking things off with their own brand a post-punk power pop they certainly seem to be ones to keep a close eye on for the future.
Lucia & the Best Boys are up next and have certainly become much more polished since the last time we seen them play pre-pandemic.
Frontwoman Lucia has just wound up a stint modelling for fashion giant Alexander McQueen, which will have no doubt rubbed off on the poise and power-vogue moves she’s entertaining the crown with tonight.
The band are a delightful mix of whom they have undoubtedly drawn inspiration from. On opening track ‘Summertime’ there is more owed to Kate Bush than just a similar haircut.
After a brief interlude were Lucia explains how much Dream Wife have been a positive influence on her stage persona –after sharing a stage with them seven years ago, the girls told Lucia she had a great talent and to stick with what she is doing. She dedicates ‘You’re So Sweet You Could Die’ to the headline act. The track has all the whispering whispering melodies and 80’s pop synth of Nena, the band certainly put on a good show.
There is even a feint whiff of Billie Ellish on finisher ‘Perfectly Untrue’ which bodes well that this hometown band will continue to grow their popularity.
Bounding on stage in an eye catching green silk suit and lace corset, frontwoman Rakell Mjöll is an Icelandic –by way of California, powerhouse of Femme Fatal meets rebellious angel.
She has all the stage presence of Baby Spice on speed. She’s the perfect amount of sultry pop punk pixie and fuck the patriarchy nihilism – a delightful juxtaposition.
The band have waited two years to tour ‘So When You Gonna…’ the follow up to their self-titled debut album and you can tell that they are here to have a good time and ensure that the audience does too. There is a tangible sense of catharsis.
Having formed way back in 2014 while at Uni the trio who originally got together as a ‘fake girl band’ quickly found that they had something real and visceral to offer. Which is very present in their stage performance tonight.
From raucous opening of ‘Heartbreaker’ there is a small mosh pit steadily bopping away in time to the Riot Grrl energy of the guitars and danceable bassline notes.
Up next is ‘Hasta La Vista’ which perfectly encapsulates Mjöll’s cherubic almost Gwen Stefani imbued vocal range and proves that the band can offer tranquil pop melodies as well as their full throttle punk efforts too.
“Can all the Bad Bitches come to the front? Being a Bad Bitch is nothing to do with gender – because we all know that is a construct. Being a Bad Bitch is about supporting your fellow Bad Bitches. Do we feel safe? Are you looking after one another? Are you respecting each other’s boundaries?” asks Mjöll it’s a sentiment they have carried with them from their debut performances as a band.
In fact before even entering the concert space there is a poster promising; ‘No harassment, no transphobia, no racism, no homophobia, no ableism, no xenophobia’ it’s a poignant message aimed at making gigs a safer place for all who attend.
This is the perfect set up for ‘Somebody’ a song about the sexual objectification of woman’s bodies. The crowd are singing along to the easily chantable chorus.
High tempo ‘Sports’ is up next and so are the energy levels in the room this time Mjöll is using a money gun to stream fake bank notes into the crowd. It’s a nod to Bikini Kill and Siouxsie & the Banshees.
Followed by ‘FUU’ is the climatic ‘Let’s Make Out’ which has even the oldest member of the audience shuffling along to its frenetic pace.
Whatever you do, make moves and check out the fabulous girl riot at their next shows.
White Lies are a band that have been consistently releasing material ever since they burst onto the scene way back in 2009 with debut album, ‘To Lose My Life’ unlike so many of their contemporaries their longevity is mainly down to their output. The band have been releasing a steady slew of atmospheric post-punk tunes that border on mainstream pop.
Tonight’s set is a prime example why White Lies have been, and will continue to be, popular on the summer festival circuit. From the opening bars of ‘Fairground’ zero time is wasted whipping the crowd into that festival spirit, with confetti cannons showering the eager crowd and an impressive stage lighting set up.
Four songs into the set and a perplexing amount of guitar changes later (to be fair, if I had such an impressive guitar collection as frontman Harry McVeigh then I would probably show it off too) and the band pull out the big guns with hit single ‘To Lose My Life’.
It’s an instant crowd pleaser with its grungy bass and ethereal synth melodies and easily chantable chorus. McVeigh’s vocals are equal parts the deep grumble of Interpol and the high pitch echo of Ultravox.
The band rattle through a set peppered with gems from the bands whole back catalogue, with standout tracks being ‘Big TV’, ‘Is My Love Enough’ and ‘Tokyo’. White Lies perform their set with genuine gratitude with many a thank you to the audience and honest smiles that would suggest that this is a band that love what they are doing.
A special shout out to Glasgow support VLURE who played a very early support slot that we annoyingly missed out on, who we are determined to see on the 7th of May at The Garage.
The encore opens with ‘Death’ and instantly the audience are singing along at the top of their lungs. Hearing two thousand odd Glaswegians shout ‘This fears got a hold on me’ full pelt is a fine way to round up an otherwise dreary Tuesday evening.
The show ends with ‘As I Try Not to Fall Apart’ from their new album of the same title and ‘Bigger than Us’ which leaves us feeling that this is a band that still have a trick or two up their sleeves.
My second time seeing Cheap Teeth, this time not by accident, was a joyous night of heavy-hitting songs and sweaty mosh pits.
Having been on tour for a few days now, the band were sonically tight even despite technical issues with their drum kit.
The band’s stage presence is what really shined. Every sonic output was matched physically with aggressive playing right in front of the crowd, blurring the lines between stage and audience as the set progressed.
It is safe to say I have never seen someone play a tambourine with so much energy – every beat was felt all the way at the back of the venue and the percussive element of their set was not to be missed.
Punchy bass and heavy chords gave songs like ‘I Am The Mud’ and ‘Animal Fat’ the sound they deserved while allowing vocals to be shouted across the room, both by the band and the crowd.
There is something very special about a band that can conjure up the spirits and feelings of perhaps a T in the Park era sing along or a well-known football chant while taking control of every corner of the stage, and Cheap Teeth do exactly that.
I can only hope they bring this same chaotic yet disciplined energy to the rest of their tour and can’t wait to see them back in Glasgow for the next one.
Opening tonight’s show is Baba Ali a synth driven duo who have some serious dance moves. Which is understandable considering their sounds is also distinguished as highly danceable, Hot Chip inspired indie pop. Defiantly worth checking out.
Yard Act occupy their own space within the music industry, they’ve created an album (during the pandemic, nonetheless) that skirts between angular guitar pop and disco rap with lyrical witticisms that illustrate life perfectly in post Brexit Britain.
The four piece hail from Leeds and are extensively touring the UK promoting their debut album The Overload (out now).
This brings them to Glasgow’s very own indie label stomping ground of Monorail Records – or Mono to locals.
The band hurtle through what seems like a deliberately short set (45mins) with some jovial banter with the audience thrown in for good measure.
Walking on stage with the Ukrainian flag draped over a speaker and delivering a distorted guitar version of the Ukrainian National Anthem makes no room for error when understanding that Yard Act want to serve as a bastion for social justice.
Opening track Strip perfectly exposes frontman James Smith’s vocals for their unique candour. Think Alan Partridge proclaiming the whimsical folly of capitalism, all the while neck twerking to an XTC bass line juxtaposed with some very forked, post punk guitar riffs.
Indeed the ‘overwhelming sense of independent doom’ to quote directly from the bands track Peanuts is an over arching metaphor that runs congruent throughout tonight’s whole performance.
There is a distinct fervour of rebellion at the heart of what Yard Act do and I honestly can’t think of music more appealing to the masses (Yes, I mean the general populace – their album charted at Number 2) in todays uncertain times.
But what Yard Act really manage to encapsulate is the personality traits of the Tory leaning, middle class, demi-capitalist whose actions and words stick like an unwanted fly in the syrup of the more socialist minded individuals.
Stand out tracks included The Incident and Peanuts which both had the audience members participating with the poetry infused spoken word sections.
Tall Poppies offered a more austere reflection on war. With set closer Land of the Blind bringing the set to its conclusion many in the audience seemed a bit baffled by the exclusion of songs like Fixer Upper which propelled the band to fame.
It would seem that James Smith was recently inflicted with a bout of stomach flu and almost didn’t make the Glasgow show at all which may explain why the set was curtailed.
With everyone from NME, BBC6 and The Guardian all hailing these gloriously quaffed stalwarts as ones to watch for 2022 you would be out of your mind to miss out on their show next time they roll into town.
A friend once described seeing IDLES perform live was something akin to being held aggressively in a headlock, while also being kissed affectionately on the brow, from an old friend… a sentiment that is not by any means a far stretch of the imagination for tonight’s show.
Over the past fifteen years IDLES have nurtured a swarthy following based on compassion, empathy and the hunger for protest, to question authority and to find strength in unity. It’s no surprise then that the band sold out three consecutive nights at The Barrowland Ballroom.
Emerging from a fresh wave of lockdown restrictions, there is an eager crowd of old and young alike queuing down the street to get inside all sharing stories about when they last seen Joe Talbot and co. play on Scottish Soil (this evenings show has been on hiatus for two years) there is an abundance of joy already bubbling under the surface that makes this evening show feel very much like a homecoming.
The crowd are plunged into darkness, and the band enter on stage, Glasgow’s very own favourite chant of endearment starts up with ‘Here we, here we, here we f*$king go!’ however, is quickly engulfed by the opening bars of ‘Colossus’, which sets the tone perfectly.
‘Turn up the lights, I wanna see you, split the crowd’second track in and frontman Joe Talbot is already preaching messages of love and benevolence, ‘in the pit we look after one another’.
He lurches into ‘Car Crash’, giving Glasgow the first taste of fresh material from their latest album ‘Crawler’. The track is an otherworldly stomp through demented screaming, distorted guitars and a bassline that will rattle every hollow bone in your body. With the same easy to participate in chorus as earlier IDLES material it’s an instant crowd pleaser.
A few tracks later and Talbot is back to delivering plaudits to the crowd about why Glasgow is his favourite city to play ‘This is the best city to play live, I love you, and for anyone who says I say that wherever I go, I don’t, check the footage’ a brief analogy later about how he believes he was conceived in Glasgow and the audience are ready to hand this man the keys to the city.
Next, he beckons tonight’s support act Jehnny Beth, former Savages frontwoman on stage and they duet on ‘Ne Touche Pas Moi’ a song about making gigs safe for woman, that’s sees both exuding the guttural wail of ‘Consent’ over and over again.
Another brief monologue about the NHS and how it’s the best thing our country ever did for the working classes ‘Divide & Conquer’ is dedicated to everyone who has ever worked for the public services for the country. Is a snarling reminder of just how much of a threat, this national institution actually is under.
Intentionally placed right in the middle of the set, personal favourite, from the new album ‘The Beachland Ballroom’ offers a moment of repose from the high paced fervour (and also the blinding strobe) to showcase the bands more subtler capabilities. The song is a slow waltz, full of faded seaside glamour. The Barrowlands own infamous disco ball, studding the room with dazzling lights, created a truly captivating moment.
This was swiftly replaced as energy levels peaked with ‘Never Fight a Man with a Perm’. A grinding socialist behemoth that has the whole room bouncing along. It’s moments like this that it’s easy to see exactly how IDLES have curated such an avid following, it’s a collective donkey kick to far right sentiment and fascism.
The band play a set for over two hours solid, interlaced with gems such as; ‘Mother, Crawl!, MTT 420 RR’ But it’s songs like ‘I’m Scum’ complete with running man moves from Talbot that the crowd are eager to lap up.
Another tender moment where Talbot asks his drummer to ‘get low’ to turn around and see that there are thousands of Glaswegian’s who have also ‘gotten low’ by squatting on the floor of the old ballroom. ‘See, this is why you are the best’, ‘Danny Knedelko’ follows, seeing a room full fans thundering the chorus, along with its pro-immigration theme is something that would warm the cockles of even the most staunch Tory defenders wooden heart.
Clearly having a good time, guitarist Mark Bowen seized this opportunity to jump into the crowd for an impromptu, somewhat bizarre yet brilliant tribute to Scotland. This came in the form of a seemingly unrehearsed, medley of songs that included; Lewis Capaldi, Edwin Collins, Texas, Travis and The Proclaimers… and ended with Talbot chiming in with The Spinners, ‘Working My Way Back To You’, which fantastically pleased the audience.
With no intention of playing an encore the band once again express their love of the city and thank the audience for ‘carrying them’ and helping the band grow over the past decade into what they are today.
Set closer ‘Rottwiler’ allows for once last voyage into the loud, swirling distorted yet danceable frenzy before they crowd empty on to the streets, many of whom I have no doubt will be back for the following two sold out shows.
The Golden Bough 