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 balmy morning should have been all the warning we needed, to know that the rain would appear today and appear in glorious form it did…
There is a marked change in the festival audience on day two, very young girls in very tiny bikinis – completely unprepared for the inclement weather to come.
The early afternoon kicked off with a performance by Inhaler, the rising Irish band effortlessly bridged the gap between nostalgia and modernity. With their infectious guitar riffs and frontman Elijah Hewson’s distinctive vocals, they had the crowd swaying and singing along to their indie anthems, leaving us eager to hear more from this promising quartet. We loved, “My Honest Face”.
Next up were The Coronas, who captivated the audience with their heartfelt melodies and contagious energy. The Irish outfit commanded the stage with their charm, delivering a set brimming with catchy hooks and heartfelt lyrics. The crowd was swept away by their euphoric tunes, creating a unified sense of joy that permeated the air. Our Favourite track was, “Heroes for Ghosts”.
Next we ran over to the River Stage to catch for the enchanting sounds of Lauran Hibberd. With her impeccable songwriting skills and powerful vocals, Hibberd showcased her ability to capture both vulnerability and strength in her music. Her songs, filled with sharp observations and relatable stories, resonated deeply with the crowd, forging an emotional connection that lingered long after her final note. We relived our emo days bopping to, “Bang, Bang, Bang”
As darkness settled in and with the rain finally clearing, the anticipation for Kasabian reached its peak. The British rock favourites unleashed an explosive set that ignited the festival grounds. Their signature blend of electrifying guitar, pulsating beats, and Serg Pizzorno commanding stage presence transported us into a state of pure joy. Admittedly we weren’t sure how we would feel with Serg on vocals but the band played a tight set that entertained the masses. The crowd came alive, belting out every word to anthems like “Fire” and “Club Foot,” transforming the field into a sea of unified energy.
Bringing the night to a crescendo, LF Soundsystem took the stage, engulfing the crowd in a sonic feast of electronic wizardry. Their masterful fusion of house, disco, and funk elements had the entire audience entranced and dancing with unbridled enthusiasm. As they delivered their iconic hits like “Always Feel Afraid” and “Hungry,” LF Soundsystem effortlessly proved why they remain unrivaled in their ability to captivate and energize.
Amidst the hazy Glasgow skyline, the TRNSMT 2023 Friday event unfolded like a tempestuous symphony, of raw energy and unfiltered passion that permeated the air.
Having taken over from the formidable T in the Park, TRNSMT can be seen as it’s baby brother. At 6 years old the festival still seems to be figuring out how to finesse a line up that both appeals to the masses but also has enough clout with the discernible music affecinado to coax them into buying a ticket.
I feel that this year there has been a reasonable attempt at doing so. A gathering of eclectic talents delivered a night that oscillated between introspective melancholy and unabashed revelry, leaving the crowd intoxicated by the musical delights on offer. Or by the copious amounts of Tennents being consumed within the hallowed grounds of Glasgow Green.
The View, a band synonymous with working-class fervor, burst onto the stage like the boisterous ragamuffins we remember. They’ve always brought an air of joviality to a festival audience and it’s good to see them back doing what they do best. Their gritty anthems, soaked in tales of urban realities and youthful rebellion, gripped the audience with an iron fist. Each song bellowed with unapologetic vigor, stirring the crowd into a frenzy of cathartic release. Standout Track: “Wasted Little DJ’s”.
Cloth emerged, veiling the stage in ethereal soundscapes and an air of introspective joy. Their delicate melodies intertwined with haunting vocals, conjure up the imagery of grey Sunday afternoons and heartbreak. The twins, Rachel & Paul Swinton garnered attention after being featured on the soundtrack for Normal People – a good fit for the bands evocative poetry found within their lyrics. Cloth’s music penetrates the depths of the human experience, extracting both sorrow and solace from the collective heart. Our stand out track was the breathless whisper of their latest single “Pigeon”.
With the arrival of The Big Moon, the atmosphere transformed into a kaleidoscope of unbridled energy. It’s no secret that The Golden Bough have been long term appreciators The Big Moon, armed with an arsenal of catchy hooks and infectious energy. The all-female quartet commanded the stage with unwavering confidence, delivering a set filled with indie rock gems that had the crowd dancing and singing along. Their tight harmonies and bubble gum melodies leave an indelible mark on all who witnessed their formidable charm. We flailed about in the crowd to “Your Light”
Warmduscher arrived on stage with enormous swagger and a heavy dose of disco laced funk. Their frenetic fusion of garage rock and punk detonated on stage like a Molotov cocktail, fueling an acceptable amount of chaos. With their relentless energy and uninhibited stage presence, Warmduscher proved that they are a force to be reckoned with, leaving a lasting impression on the crowd. We loved the absolute stomp that was “Friends in High Places”.
As the night neared its climax, the legendary Pulp took the stage, like a phoenix rising from the ashes – after all “This performance is an encore” as the visuals explained to the packed out festival audience. Jarvis Cocker’s magnetic presence and poetic lyricism electrified the final performance of the evening.
Pulp’s timeless hits, laced with sharp social commentary, unleashed a wave of nostalgia and an appropriate amount of fervour . Since our teenaged years we’ve always loved how Pulp’s music, dissected the human condition, exposing our desires, fears, and contradictions with unflinching honesty.
Jarvis and Co. held the audience in rapt attention from the first note. Their set was a masterclass in captivating performance, leaving no doubt as to why they are regarded as one of the greats. Too many hits to mention but notable mention goes out to, “Disco 2000” and “Babies”.
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.
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…
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.
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.
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 NYCJeffrey 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 3rd 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.
Having been postponed from March 2022 due to ongoing COVID concerns, Danish post-punk heartthrobs finally make it back to Glasgow for a packed show at Broadcast, their first in the city since 2018.
Absurdly-named Glasgow hardcore act Moni Jitchell kicked off the evening, providing the only support. Despite comprising just two members, vocalist Grant Donaldson and guitarist David Scott threaten to level the venue with volume. An insistent backing track of pre-recorded drums & bass, crackling electronics and the occasional distorted sample thicken the sound to almost unbearable levels, a raging baseline for the raw vocals and violent riffs as the band alternately speed and stalk through tracks from their debut EP ‘Clear’ and upcoming 12” ‘Unreal’.
While many of the songs are minute-or-so breakneck hardcore bangers, when they slow down, cuts like Sell Selfish and set highlight Waves veer into expansive, with Donaldson’s melodic vocals melding with Scott’s unusual 12-string guitar textures. They close their set with the furious (and incredibly titled) ‘Moni Jitchell Live at Hellfest’: Donaldson evoking TV classic LOST’s John Locke with an impassioned and definitely tongue-in-cheek refrain of ‘DON’T TELL ME WHAT I CAN’T DO’ – a fitting statement of intent for this inherently odd, exciting band.
Iceage’s frontman Elias Bender Rønnenfelt appears onstage wearing a very nice cardigan, and the audience immediately swoons. Perhaps the only band to have ever gotten away with ripping off Oasis and still sounding cool as fuck (as on 2021’s Seek Shelter), Iceage’s trajectory has been unusual. Their first two records were early Bad Seeds by way of English post-punk, but there was a definite shift with 2014’s Plowing Into the Field of Love into something more refined and big-room-ready.
Broadcast’s stage is strange, narrow and deep – Rønnenfelt front-and-centre, but the rest of the band stand nestled far into the venue’s alcove, giving the unfair impression that it’s the Elias show.
He is a captivating presence, his charismatically off-key drawl giving huge presence to the set (mostly comprised of cuts from Plowing…, 2018’s Beyondless and Seek Shelter) but the rest of the band are capable and poised, especially on ragers like Painkiller (the absence of recorded collaborator Sky Ferreira barely noticeable) massive singalong Shelter Song and early hit The Lord’s Favorite.
There are possible signs that their obsession with Madchester is getting a little out of hand, as two of the three new songs played tonight almost sound like Smiths covers, and the third could be a Joy Division b-side.
But the crowd are enraptured and rightfully so – the band is tight, the performance on the right line between joyous and painfully cool. It feels as though the band remains perched right on the edge of superstardom – hopefully their next visit to Glasgow is on a bigger stage.
The Golden Bough 