Opening tonight’s show with an industrial bang, are Liverpool based foursome The DSM IV – named after a diagnostic manual for mental disorders it’s no surprise that their live show brings with it a flare of chaos. Front man Guy McKnight has a commanding stage presence lending from his time with The Eighties Matchbox B-Line Disaster.

The band bring with them high energy techno dance with all the surly undertones of The Fall, something that isn’t always present with opening bands. Displaying some erratic yet mesmerising dance moves akin to Future Islands front man, Samuel T Herring, it doesn’t take long before McKnight is clambering off stage to sing and dance in the middle of the mosh pit.

Thick chewy basslines from Jade Ormesher, who tonight is serving up tracksuit chic meets Avant Gard Berlin hipster, keeps the overall anarchy of the live performance together with a driving disco backbone.

Stand out tracks include – ‘Funland’, ‘Scumbag’ and ‘Racist Man’. The band one by one begin to leave the stage with their instruments left on a repeated loop, so that they leave behind with them a distorted wall of sound and again an element of showmanship rarely seen from an opening act, they have gigs coming up in April – make some moves and check them out.

The Dead Freights have been making waves down south in their hometown of Southampton and it’s easy to see why. The quartet amble casually on stage and waste no time lurching into songs with big crunchy guitar riffs and pouting baselines.

The foursome are effortlessly cool with cheekbones that would have Karl Lagerfeld (god rest his beautiful soul) raise an eyebrow or two. It’s easy to see why they are drawing in a big crowd on the tour with The Libertines, with cheeky scallywag lyrics bringing a similar energy of their headlining counterparts.

Their music is equal parts swarthy cool, sexy with an element of 80’s hair metal. Try to imagine The Horrors sitting down to a tea party with Josh Homme and The Cramps. With big crunchy basslines, inspired guitar riffs and pounding drums, these guys will definitely be making waves this summer.

Stand out tracks include ‘Sufferin’ Safari” which doffs its cap in the direction of The Beach Boy’s “Surfin’ Safari” but with a much darker, insidious air. Witty lyrics like ‘All my bad dreams make sense, but the wet ones don’t’ perfectly showcases singer Charlie James guttural snarl and sharp delivery.

Recent single ‘Batman’ again has a cheeky-chappy element that uses the old ‘Na nan a nan a Batman’ TV theme tune in an effective derisive complaint about police complacency and inherent racism. But with fast paced drums and bass lending the tune a Ramones vibe.

‘Stray Dogs’ and ‘Jaw Talk’ both have easy to dance to compositions but with almost spoken words style lyrical delivery that give both songs an almost ‘protest’ ethos which lends itself well to the current climate. Make sure you get down early to catch them on the rest of The Libertines tour.

Unlike other bands who have made a concerted effort to get back together and on the road post pandemic The Libertines have avoided plugging new material and instead have curated a set list that is jam packed with all the hits the hungry audience could wish for.

I have to admit after rumours were circulating about a rather off-piste summer set at Playground this year I had my reservations about once again going to a Libertines show. But, gone (or seemingly so) are the inter-band rifts, the substance fuelled slurring and general chaos that came hand in hand with a Libertines gig in the early 2000’s.

Now what we have seemly been gifted with are 3 original Libertines’ members (Jon Hassall had issues with a vaccine passport it would seem) and one former Babyshambles bassist (Drew McConnell) drafted in to save the day.

The band are together, they are tight and they seem to have disowned any former pretence. They are genuinely delighted to be playing the second of two sold out Glasgow shows and more to the point they are having fun with it.

Pete and Carl are back to being the likely lads and seem to relish every second in each other’s company. Opening with ‘What a Waster’ the crowd are instantly chanting along with every word. Followed quickly by ‘The Ha Ha Wall’ however it’s the very first opening chords of ‘Up the Bracket’ that sends the feverish crowd into an almost frenzied state.

The boys play a fantastic set from start to finish, one that delivers a good dollop of nostalgia and along with an almost cathartic release from seeing this group of talented musicians, that have always been the underdogs, succeed by getting back on track with what they do best – delivering a set that pleases every fan that has stood by them in tougher times hoping for exactly what was given tonight.

‘Don’t Look Back into the Sun’, ‘Music When The Lights Go Out’, ‘What Katie Did’, ‘Horrorshow’, ‘Boys in the Band’, & ‘Death on the Stairs’ the set was indeed what any fan would have wanted it to be. So let the naysayers complain, The Libertines are back, they sound as good – if not better than they have ever been.

So get yourself along early – see the amazing new talent they have found to open for them and generally have a grand old time.

Tonight, is the first of two completely sold out screenings of Talking Head’s 1983 seminal recording of their live show at Hollywood’s Pantages Theatre. “Wearing a suit and doing a toot” was the notorious tagline as it’s very clear that the band, at the height of their heyday, may have been partial to indulging in some stimulants pre, mid and post show.

Big suits, running man style dances, boomboxes and the infamous lamp dancing sequence are all synonymous with this recording and it’s no wonder the denizens of Glasgow have sold out both nights well in advance of the screening – this is as close to seeing David Byrne and co in the flesh as we will ever get to the full 1983 Talking Heads ensemble.

We got down early to catch Bosco play a delightful new wave set that seen the packed out industrial space at BAaD, shoulder shuffling and bopping along to 80’s synth pop gems. We managed to catch up with the man himself to find out what exactly what inspired him to host such a night.

How long have you been putting on parties?

I’ve been DJ-ing for 30 years and putting on parties for 20 years. First club was at the Soundhaus where Let’s Go Back started. But I’ve been putting on concerts, mostly dance based ones as well.

What made you decide to do this? (apart from the obvious)

Well I never got to see them. And let’s face it, unlikely ever to see them.

So I thought what would be the next best thing.

Tribute act wouldn’t work.

So the Stop Making Sense video is one I tend to watch late at night after a few drinks ha ha.

Ideal choice

Two nights in a row have sold out do you think Glasgow/Glaswegians are burning a candle for David Byrne?

Absolutely.

I think Glasgow has a great affinity to New York. Certainly of that era. Bands like Blondie, Velvet Underground, Ramones are incredibly popular here.

And we just like a party, a cool party, but… a party none the less

Are there other films you would consider hosting something similar for? (If so we will be there).

Well yes there’s a few ones that immediately come to mind as obvious choices. But I’m not sure. Kind of prefer to do something nobody has thought of.

Not always easy though

What was the best thing about putting on this party?

No losing money! Ha ha!

Being a promoter is risky job. Maybe the riskiest financially as you’re really only a couple of disasters away from bankruptcy at any time. That said, seeing people really enjoy something you’ve thought up and brought from idea to show. That makes it worth it

What’s next for you?

Next my band Acid Ultras are releasing our first records and Let’s Go Back are playing some of the big summer festivals. So really looking forward to that.

Can you point us in the direction of 5 new bands that are giving you the feels? That we should check out?

Not all new but…

Tom of England

The Emperor Machine

Les Big Byrd

Les Grys Grys

Daniel Moloso

Top 5 tracks you played as part of the new wave set?

B52’s – Private Idaho

The Stranglers – Skin Deep (extended)

New Order – Your Silent Face

Devo – Whip It

Martha & the Muffins – Echo Beach

Girls in bands, supporting each other and lifting each other up – are having a moment. It’s no big secret. London’s The Big Moon are spearheading this movement bringing with them, their uniquely twee, grungy synth pop.

The girls are fresh off the Bombay Bicycle Club tour and have sold out a scattering of UK dates in thier own right, tonight is no exception as the Dissection Room at Summerhall is completely jam packed. Oasis is blaring out from the speakers as the crew set up the stage, a nod to the bands Britpop influences.

The crowd is brought to an immediate din, as the four girls march confidently on stage. Sporting halter tops, clodhoppers, kickers and relaxed beachy waves with perfectly dishevelled fringes, the girls are indie chic at its very finest.

Opening track ‘Sucker’ from 2017’s Mercury nominated debut ‘Love in the 4^th Dimension’, is a beautiful, swooning, indie-garage, scuzzy rock anthem.

Frontwoman Juliette Jackson has a moody baritone that is reminiscent of Nico and Hole, which serves as a jutting contrast to the whimsical nature of the pop overtures that make their sound so instantly discernible from the plethora of synth pop music that is out there at the moment.

The girls are confident and super relaxed on stage, making witty quips like ‘You all look so friendly’ from Celia Archer (bass & synth), in between songs and bouncing off of each other, you can tell that the foundation of the band is mired in friendship and having fun, its exactly the type of Girl Power that we need in 2020.

Next up is ‘Don’t Think’ from recent release, ‘Walking Like We Do’, the track is a shimmering pop masterpiece with pounding bass, and an infectiously catchy and dancy chorus of “Just don’t think about it now, Just don’t think about it now, Or your head will talk you out of it (Ooh-ooh-ooh), Just don’t think about a thing, Just don’t think about a thing, And your heart will lead you into it.”

New tracks such as ‘Barcelona’, ‘Take a Piece’ and ‘Why’ are soaring, heartening pop ballads that purposely move away from the grungy, dive bar sound of the first album. A move that has brought with it some grumbles of complaint from the muso world. But when it has been done with this level of finesse you can be assured it is completely guilt free.

Older tracks such as, “Pull the Other One” and “Silent Movie Susie”, bring with them enough low-fi garage fuzz to keep everyone happy, with nods to The Breeders and Elastica throughout.

The band are fond of a cover and have covered tracks from Madonna to Eurhythmics’ in the past treat the crowd tonight to an infectious rendition of Fatboy Slim’s, ‘Praise You’.

They close the set with firm fan favourites, “Cupid” and “Your Light”, which sees the crowd rapturously bouncing along in unison. An uplifting, performance from your favourite local girl gang, don’t hesitate to catch them the next time they play your hometown.

Its Sunday night everyone has work in the morning and there is a snow storm happening outside… but, that doesn’t stop California’s very own seaside shanty hit makers The Growlers, breezing into the sold out warehouse space at SWG3, bringing with them their very own brand of laid back garage rock and maybe even a little glimmer of the unclouded beach vibes from their hometown.

The event tonight is billed as ‘An Evening with The Growlers’ and that is exactly what we get. Two and a half hours of uninterrupted low-fi, shambling garage rock, tinged with disco notes and some cowboy themed guitar riffs.

The band have been making waves ever since 2009, they write about a variety of every day experiences, from lost love to meeting annoying people at parties, with both a high school sweetheart wide eyed wonderment about the world but also more than just a nod to the sleazy underbelly of it all.

The band stride on stage to what sounds like an Edwardian overture sporting baggy corduroy and polo neck t-shirts advertising a funeral home its exactly the hip ‘devil may care’ style that oozes just the right amount of nonchalance to make it just cool enough. They are met with rapturous applause from the crowd – who seem completely up for it right from the opening chords of Heaven and Hell, from 2018’s compilation album Casual Acquaintances.

By the third track Night Ride – with its dreamy glockenspiel sounding synths the whole venue is singing rapturously along. There is even some fans at the front waving a poster that they had made requesting their favourite track – Tell It Like It Is (see photo) and this is exactly the kind of following that The Growlers have. They have become big enough to fill a venue like SWG3 with 2000 fans, that can chant back the choruses even to that previously unrealised B-side, but also they are still relatively unknown, so it’s still cool enough to like their 6^th studio album, without losing that DIY ethos.

Brooks Neilsen has a sultry, raspy falsetto (aided no doubt by the copious amounts of cigarettes he’s trying to discreetly huff in-between songs) that is both unique and unusual yet reminiscent of a young Bob Dylan. He has just the right amount of swagger and an impressive bouffant that makes him look like a young George Best. He seems like a wayward preacher, that’s perhaps a little too fond of bourbon, preaching from the pulpit about the doldrums of everyday life.

Try Hard Fools is an impressive, dreamy ballad with the easy to sing chorus of, “Nobody said it would be easy and if it was you wouldn’t want it”

“I think this song has a really good Scottish vibe to it” announces Neilsen before the band launch into Black Memories, an moving ditty interlaced with calypso guitars and castanets, singing about a long lost love; “Where are you going, Come back with my heart, Sure as the wind keeps blowing, Nothings gonna heal these scars” maybe Scotland is what he was alluding to? Either way the crowd are lapping it up.

This is followed swiftly by Love Test a firm fan favourite from the crowd’s reaction, which sees Neilson standing stage left with the same hands behind back pose made famous by the Mancunian Ghallagher brothers. It’s a crooning, melancholy ode to finding love that perfectly encapsulates the hazy riffs and unabashed optimism that encapsulates The Growlers sound.

Other stand out tracks from a set list that has been curated with scattered gems from the bands full back catalogue include; Empty Bones, Dope on a Rope and Who Loves the Scum?

There is an amusing moment when Nielsen, mistakes the “Here we F*£$ing go” chant that is synonymous with Glaswegian music fans for “Every F*£$ing ho?” that the crowd find highly amusing, before they play City Club which has Daft Punk guitar riffs and laid back high hats, by this point everyone on the room is dancing.

They end the set with Chinese Fountain, only to be brought back on stage moments later by a crowed hungrily shouting for more. The band play a short encore consisting of Shadow Woman, I’ll Be Around and finish with Going Gets Tough – a reggae infused sonnet about a fire that destroyed their recording studio a few years back, it’s a perfect way to finish a behemoth set, prompting the crowd to remember how important it is to band together during these uncertain times.

And just like that the massive congregation disperses off out into the wintery night, perhaps managing to take with them a small ray of Californian sunshine.

Fronted by lyricist, Tom Stearn formerly of Admiral Fallow fame who is based in Genoa alongside bassist Pietro Martineli, with Riccardo Chiaberta on drums, based in London and finally guitarist Marco Giongrandi based in Brussels the band blend contemporary melodies with each character imbued with a sense of self identity.

Kettle of Kites are an influential band of brothers that hail from a scattering of cities across Europe, which lends to their rich sound.

The quartet find themselves packed into a bustling Hug and Pint as part of the city’s Celtic Connections Festival, alongside Independent Venue Week, with an audience as seemingly diverse as the band themselves (the room is thick with European accents).

Playing tracks mainly from recent album ‘Arrows’ a buzzing lo-fi electronic, cinematic, soundscape concept album dedicated to the work of seminal sci-fi writer Isaac Asimov.

Stearn is very relaxed on stage and has some jovial banter back and forth with the audience when one shouts ‘Robots!’ he laughs and explains that yes, indeed this next song is all about Robots. The band launch into ‘Oliver’, a hauntingly mesmerising ode to the love between a human and a machine. Stearns orchestral baritone envelopes the venue while the post rock scuzz of the guitars are reminiscent of Caribou or Radiohead.

During the extended intro to ‘Orchid’ the band displayed some sensational rhythmic clapping to great effect – had this been a category in the Olympics I’m sure they would have been awarded a gold medal.

The song itself is a euphoric sweeping soundscape that stands as a warning to the delicate tipping point that we see our planet currently precariously hanging in the balance of. It’s moody and melancholic and also beautiful.

Other stand out tracks included ‘Supernova’ an upbeat ditty that nods it’s cap to both Four Tet and Lemon Jelly alike, and also ‘Lights Go Out’ where Stearns vocals sound similar to Anohni formerly of (Antony & the Johnsons).

The band are last spotted energetically conversing with fans at the side of the stage as they sell their vynil and chat openly with aficionados who are well versed in their work. I casual DIY effort from a band who produce a rich tapestry of sounds inspired by the stars.

Currently on tour in the UK with his fourth album Here Comes the Cowboy, I had the opportunity to catch Mac DeMarco’s sold out show in Glasgow Sunday night at the 02 Academy.

Over the years I have read many articles about Mac DeMarco and see him consistently referred to as  “up and coming” or a “rising artist”. In my humblest opinion, this is no longer an apt description as he has long been an established indie rock powerhouse and  a household name amongst millennials. If you know anything about the indie rock scene, even if it isn’t your favourite type of music, you know the name Mac DeMarco. Unlike some artists who are only popular for a moment or a season, Mac DeMarco has been popular since the release of his first studio album in 2010 and over the years with each subsequent album release his fan base has continuously grown and grown. People who have listened to his music since the beginning are still showing up almost a decade later and persons who have recently found his music are converts no less passionate about his music than the OG’s of his fan base.

We often use the term “fans” to describe a collective group of people who like an artist and/or their work, but I don’t feel that Mac DeMarco merely has fans. They are FANS and he is absolutely BELOVED by them making me feel as though his following has developed into a bit of a cultish fever. Before the show I was able to chat with a few of his younger, more fervent followers. Two girls in their early twenties proudly show me their cowboy hat tattoos on the inside of their bottom lips. Immediately they begin gushing about their love of him and are quick to explain that the matching tattoos are in reference to his newest album. Upon overhearing our conversation a group of boys behind us chime in talking about how much they not only loved his music, but Mac DeMarco himself. Some were even seeing him in concert for the fourth time. So what makes his fans so zealous, coming back time and time again?

As I was pondering this, the band walks out and the crowd turns from impatiently excited to uproarious in an instant. The band begins playing and Mac begins, well, entertaining with slow pop-lock T-Rex stance dance moves and tossing the mic from hand to hand like a spritely kitten with a yarn ball. It is clear that  the band likes to have fun on stage. Every member tries to keep straight faces during the most goofy moments, but utterly fail to hold stoic expressions they try so hard to maintain. The crowd loves the humour as they relish every move the band makes and hang on to Mac DeMarco’s every word.

But it isn’t just the laid back, jaunty style that resonates with the audience. Most importantly it is the music. With the walls of the 02 Academy vibrating from the crowd bellowing in unison and vehemently dancing to the catchy guitar riffs, it was easy to recognise the  crowd favourites such as ‘Salad Days’, ‘Freaking Out the Neighbourhood’, or ‘Treat Her Better’. The guitar solo from ‘Ode to Viceroy’ was played two additional times due to the utter enthusiasm from the crowd after the first play. Towards the end of the night everyone collectively lost their shit (sorry mom) as ‘Chamber of Reflection’ was played.

Although outwardly Mac DeMarco’s stage presence can be carefree and jovial, his lyrics ooze with deeper meaning touching on themes like young love, growing up, and even escapism like in his most recent album. Possibly the loudest audience sing alongs happened during ‘My Old Man’ when the crowd sang out “Oh no, looks like I’m seeing more of my old man in me” or  during his song ‘Together’ in which the song goes “We’ll always go together//It’s easy love, fits like a glove from up above, together”. It was clear that his songs struck a meaningful chord with the audience and that they not only liked the sound of the music, but understood the messages of his lyrics as well.

By the end of the night I understood the Mac DeMarco effect. His ability to relate to his audience and succinctly write about these coming-of-age issues we’ve all experienced at one time or another is what makes so many fall in love with him. Long past being a rising star, Mac DeMarco has achieved success and will continue to do so for years to come. His prowess of connecting to not only the youth of today, but undoubtedly the future generations to come is what will power his longevity as an artist. Although he has just released a new album, I am certain that many are anxiously awaiting the next because, well, we simply can’t get enough.

Fontaines D.C. have come a long, long, long way from one of their earliest unkempt performances in Glasgow’s BLOC. Back then the post punk quintet where just cutting their teeth on the up and coming scene and had only played a handful of shows, their set was authentic and full of fire but somewhat chaotic in the same style as early Libertines gigs.

Tonight feels like a second homecoming, having sold out the intimidating SWG3 warehouse space months in advance, the Dubliners have refined their skills in the way that only an unrelenting touring schedule (seriously when were you boys last home?) can.

The band storm on stage to rapturous applause right from the opening thud of ‘Hurricane Laughter’. Frontman Grian Chatten has accumulated the reputation of shy, tortured poet, his on stage presence is agitated, yet commanding as he paces nervously back and forth like a caged animal.

Barely pausing for breath, and nervously clicking his fingers almost in a soothing fashion, Chatten flows right into ‘Checkless Reckless’ which demonstrates his affinity for spoken word style, it’s cool and it’s aloof, in fact if you squint just right in the light he could be a very young Mark E Smith circa Middle Class Revolt.

And why not? Chatten has been lauded as a poet of the working classes – anyone who gets teenagers talking about James Joyce and Yeats is already a hero in my eyes. The band hurtle through the set at breakneck speed, with minimal chat in-between, playing 2019’s critically acclaimed ‘Dogrel’ in its entirety.

‘Sha Sha Sha’ with its big bass noise and easily chantable chorus sees the first of the crowd surfers emerge from the mosh pit, which seems to be made up mainly of teenagers who seem to be mirroring the summer back catalogue from Urban Outfitter.

A moment of repose and a slower pace for ‘Roy’s Tune’ seems to unite parents and their children who have come to the gig together – illustrating the reach that Fontaines have at the moment. It’s impressive to hear a thousand or so punters cooing the chorus, ‘I hate the way they use her, I hate the way the use her’ in effortless synchronicity and I’m not going to lie – there was a hint of an Irish accent, even although the room was full of Glaswegians.

The calm, was obviously to allow the band a slight breather before they launch into 2018 single ‘Too Real’ instantly sending the crowd into a pogoing frenzy. Chatten is back to canvasing the stage and almost sucking in the energy from the crowd –kind of like an emotional vampire, only instead of taking everything from you and leaving you an empty husk of human flesh, the union seems to be symbiotic – the crowd and Chatten equally drinking up each other’s life force. The delivery is completely visceral and showcase the band doing what they do best. Playing live. I’ve seen many things, but I’m not sure I’ve spotted a guitarist playing guitar with a half drunk bottle of beer the way Connor O’ Connell was during this song.

Next up was ‘Liberty Bell’ a song that pays homage to the neighbourhood in Dublin named the Liberties that many of the members hail from, followed by ‘Boy’s in the Better Land’ and ‘Dublin City Sky’.

‘You get an extra song, as you’ve been a great crowd’ announces Chatten before treating the band to a new song called ‘Hero’s Death’ which see’s O’Connell and Conor Curley sharing a tender moment swigging Buckfast (would you even be in Glasgow without supping on the dreaded aperitif?) and sitting down on stage together.

Chatten is back to stretching out his Kurt Cobain style, already oversized, cable knit Jumper, before explaining ‘This is our last song and we don’t play encores.’ Tom Coll’s relentless drum intro for ‘Big’ is instantly recognisable, the band bash out a solid minute and a half of unadulterated, post-punk anthemic garage, with soaring soundscapes and the saccharine sweet wording of ‘My childhood was small, but I’m gonna be big’ delivered with an almost feral howl. It’s testament to the strength not only in the varied following Fontaines D.C. have amassed but to the accessibility of the lyrics, truly a homecoming gig for Glasgow’s – surely now adopted sons?

L.A soundhause duo Warm Drag have landed on our dreary little island with a stomp – albeit in a sexy leather and studs vampire sex melee, sort of stomp. The pair are currently on tour all over the UK supporting Fontain’s D.C. so if you manage to have in your possession a ticket, get down early and catch them, you won’t be disappointed.

Vocalist Vashti Windish, is the perfect epithet of femme fatale, she’s serving up suicide blonde meets Nico, with waspish hips that judder in effortless cool in time to the bass. Paul Quattrone (drummer in The Ohh Sees and formerly of !!!) is quite the contrast, he’s detached and completely engrossed, nonchalantly hunched over a table full of gear that is generating a wall of noise. It’s a rich tapestry of sharp guitars, pounding bass and just the right amount of hi-hats and it will make you dance.

The pair saunter on stage and roll right into ‘The Wanderer’ from their 2018 self-titled debut album, it’s instantly full throttle, 120 bpm, Suicide guitars interlaced with the guttural drawl as Windish sways about in full allure mode.

The band, who met by accident at a party and decide to record together, perfectly blend The Kills ‘wild caged animal’ on stage presence and drum loops with the perfect disco, rockabilly cool that would have our very own Bobby Gillespie chapping on the door to see what all that sweet noise is about.

In fact ‘Cave Crawl’ sounds like Alison Mosshart is directly in the room and is a perfect swaggering sex bomb of industrial noise and seething guitars.

‘Someplace that I Shouldn’t Be’, is a slight change of pace and shows that the band can do both rave in a night club vibe and lo-fi scuzzy garage rock. It’s soaring melancholic reflection on personality judgements and making choices, with The Cramps style guitars.

The band also seem to have brought with them a literal wall of speakers… which makes the reverb on ‘Sleepover’ echo around the room and bounce off the warehouse walls with great clarity. Other standout tracks included, ‘Cruisin’ the Night’ which would make Josh Homme quake in his boots and ‘End Times’ an alluring preamble into the apocalypse with almost a laissez fayre attitude.

Did I mention how sexy it was? Make moves and catch them while they are here on our home turf.