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.

A Certain Ratio are a band who, over their 42 years together (Yup – they formed in 1977) have been hugely influential, yet critically underrated. They have been cited as huge inspirations for everyone from Talking Heads, The Rapture and even comedians The Mighty Boosh.  

The music they create has well and truly stood the test of time with their own brand of multi-layered dub, funk and post-punk anthems gracing soundtracks, clubs and grungy basement dives alike. It would seem there is no forum unsuitable to the A Certain Ratio Sound.

Idling on stage just after 9pm the band launch into, ‘Winter Hill’ a thundering 10 minute marathon of scuzzy guitar and tumultuous drums, which see’s Donald Johnson and Martin Moscop swap over drums and guitar mid song – hinting at the kind of musicianship that can only be garnered over decades of practice.

1981 single ‘Do the Du’ is up next and it’s not hard to make reference to labels mates Joy Division, with Jezz Kerr’s detached and nonchalant echoing vocals interlaced with a funk laden guitar riffs. The band have been on stage for 12 minutes and the whole room is dancing.

The bands cover version of Talking Heads track ‘Houses in Motion’ is a glorious cacophony of funk and punk together. Adding to the mix of instruments, cowbells, bongo’s and referee whistles (don’t believe me? – check YouTube) which all seem to bounce around King Tut’s sweaty walls.

Followed next and to the motley crew of young mods and ageing hipsters delight is ‘Lucinda’ and ‘Milky Way’ which has everyone shuffling about in pure delight.

‘Won’t Stop Loving You’ is an upbeat ditty that perfectly encapsulates singer Denise Johnson’s vocal range perfectly. The band are well and truly into their groove and you can tell that even after all this time they still enjoy playing to a live crowd. As the song ends and seemingly brings with it the end of tonight’s show, frontman Jezz Kerr huffs, “Surely that’s not all we’ve got?”

After a short reprieve the band come back on stage and smash out ‘Good Together’. As soon as the first opening chords of 80’s dancefloor anthem ‘Shack Up’ are heard the audience erupt into rapturous applause and the wild dancing begins.

Closing noise beast ‘Si Firmo O Girdo’ is reminiscent of a football World Cup anthem and that’s not just because the referee’s whistle is frantically blown throughout… With a wild rhythmic section and drums being bounded at breakneck speed it’s the perfect set closer that leave the crowd happily dancing out into the frost bitten streets of Glasgow, with only the funk warming their bones.

It’s Sunday night in Glasgow, there is frost on the ground and everyone is working in the morning… yet that doesn’t stop those who have come to hear some big sounds from the West Yorkshire Upstarts.

Opening the show tonight and potentially your new favourite squeeze, are a band called PVA a post-punk, Balearic (yes, I did say that in the same sentence) noise making trio that based in the boroughs of London.

It’s hard to stand still whilst being assaulted by a barrage of synths and drum machines, the band are making serious danceable noise. You can imagine this band tearing it up had this been a good old Sunday night down at Optimo.

Singer and lead button pusher – Ella Harris is serving up cute surly skin head – Annie Lennox if she partied hard in Ibiza look while front man Josh Baxter presents more like an eccentric librarian – with just the right amount of cool a la Mac DeMarco.

Opening track, ‘Talks’ is a glorious mix of grinding techno and fuzzy distorted guitar riffs and is the perfect appetite whetter. The band race through a quick set including gems like, ‘Divine’ and ‘Exhaust’. Closing track ‘Individual’ is a toe tapping, cacophony of sound reminiscent of Depeche Mode partying hard at the Hacienda with Suicide. What’s not to love? Please keep your eyes open for these stalwarts making moves early next year.

The main act tonight, ooze confidence. Working Men’s Club are band that have formed just over a year ago, they possess a disposition that’s brooding and cantankerous.

If you haven’t wrapped your chops around the throbbing disco pulse of the single that is ‘Teeth’ this summer – then, seriously, where have you been?

Working Men’s Club have been the toast of the up and coming new wave scene for months now and have been receiving plaudits all across the country for leading the charge and breathing new life into a scene that has almost collapsed in on itself.

The quartet comprised of – Jake Bogacki (drums), Sydney Minsky-Sargeant (vocalist, guitar) and Mariade O’Connor (vocals, guitar, keys) have added an extra bassist and now permanent member to their live set-up Liam Ogburn. The band  squeeze onto the tiny stage at Broadcast climbing over the mountain of gear in the form of synthesisers, drum pedals, loop machines, cowbells and even a random copy of the autobiography of John G Paton that seems to have made its way into the pedal set up.

It doesn’t take long for Frontman Minksy-Sargent to grab the crowd’s attention, with the posturing of Iggy Pop and the boyish good looks of Iain Curtis he has the demeanour and swagger of someone well beyond his 18 years on this Earth.

Opening track ‘White Rooms and People’, is a magnificent stomp of jagged new wave synth punk, with elements of Devo and Parquet Courts. The room is packed and everyone is dancing.

Single ‘Bad Blood’ see’s Minksy-Sargent whip off his top to the general approval of the crowd (Tapp’s Aff is alive and well in Glasgow even on a frosty night like this). Seconds later he’s in the middle of the crowed swaggering up and down at the front of the stage.

The band hurtle through a set, that for a band still in their infancy is only six songs long, yet imbued with a devout passion and an almost feral agenda to reflect what they can see happening around them in society – but all the while make you dance.

The rest of the set is made up of ‘Cook a Coffee’, ‘Johnny Cooper Clarke’, ‘Be My Guest’ which are all set with the same frenetic energy.

Penultimate track ‘Angel’ however perfectly encapsulates the ‘Wall of Sound’, Mark E. Smith meets Protomartyr meets Gang of Four all down the local pub enjoy a packet of K.P. Nuts aesthetic that the band seem to have mastered.

There is a lot going on from fuzzy reverb to pounding drums and grinding guitars all interlaced with a beautiful disarray of synths.

‘Teeth’ is instantly discernible from the rest of the tracks with the opening grinding, synthed out riff on repeat it sends the tiny basement into a frenzy. Everyone is dancing and the band are playing loud and with that the night has came to an end. It will also no doubt be the only time they play on a stage this small in Glasgow again, let’s just hope it’s not too long before they are back.

Whenyoung are a band on the rise. The last time Side-F caught the Limerick trio, was way back in 2017, in a basement bar in Peckham. The band at the time where sporting colour coded boiler suits and had a very DIY feel to their set. Having just moved to London as friends, it didn’t take them long to gather their pop sensibilities and form a band.

Tonight playing in front of a packed out crowd the band present a much more polished set with twee undertones. Bolstered by an additional fourth touring member on guitar the band play a super slick set imbued with 80’s synth and electro pop undertones.

Aiofe Power (perhaps the best name in pop) is a captivating front woman. She’s serving up effortless cool with her cute, Swedish cherub aesthetic and is the embodiment of a fun Cyndi Lauper meets Christa Päffgan of The Velvet Underground.  

Her counterparts,’ guitarist Niall Burns – still sporting the art haus boiler suit with strategically placed zips and drummer Andrew Flood are very at ease on stage with one another and all three chime in with some friendly banter in-between songs such as “Me Mum was born in Paisley – I’m still Irish though, she moved there when she was five’.

It’s easy to get the sense that Whenyoung are a candid group of people that you would probably have a great time chatting to over a pint in the pub and in fact they seemed to have garnered a great deal of support from friends they have made in the Glasgow music scene, who have all turned out to show support such as; Walt Disco, False Friends and The 9^th Wave.

Set opener ‘Pretty Pure’ is a whimsical ditty with traditional melodies and Pavement-esque guitar riffs. It doesn’t take too long before a small gathering at the front of the stage begin to pogo along – and at one point I’m sure, maybe even the Macarena made an appearance?

At one point Power breaks away from her upbeat energy to pause for a more sombre moment to introduce ‘Future’, she said, “We have to make a future for each other, I don’t know what else you’re supposed to do. This song was written when we were all going through a tough time, our friend passed away by suicide. For him, he could see no future, but for us we all had to go on’. This was met with rapturous applause from the audience and even inspired a bit of a singalong.

‘In My Dreams’ see’s guitars Niall Burns amping up the energy while track ‘The Others’ proves that the band can mix perfectly elements of punk, with their upbeat new wave synth pop.

The Final track of the evening leaves the crowd with a poignant message about looking after your mental health. ‘Never Let Go’ showcases the band at their best. It’s a mammoth, uplifting wall of noise, with a catchy chorus and riffs crunchier than a granny smith apple that leaves the packed out King Tuts more than satisfied. Catch Whenyoung on tour throughout October before they start to fill up larger venues.

True Crime and murder documentaries are having a moment – it’s no big secret. Netflix have been streaming binge worthy series such as, Making a Murderer and When They See Us which has paved the way for serial killers, stalkers and all sorts of weirdo’s to become the topic of the day in staff rooms across the length and breadth of the nation.

What we didn’t account for was, what appears to be a new wave of feminism to appear on the scene – girls talking and almost obsessing on what lurks in the dark, the macabre and the just plain mean.

Maybe it’s a minor rebellion against the patriarchy or maybe it’s girls banding together to prepare for these nightmare scenarios and how to ‘Stay Sexy and Don’t Get Murdered’ as per the My Favourite Murder tag line.

Riding this wave of nightmare fuel and highlighting the absurdity of these staggering and deplorable deeds is Hannah & Suruthi – two sassy Londoners who met at a party 2 years ago, drank wine and horrified some young kids when the openly dissected the tragic case of JonBenet Ramsey.

After some very low-fi recordings from – literally a cupboard and then beneath a duvet, the girls realised they had a winning formula, which quickly garnered them a loyal following and moved on (thankfully) to a proper recording space.

Since then the podcast has went from strength to strength and now the girls are hop-scotching around the country on a UK tour. Tonight Oran Mor has been set up conference style with seats crammed into the basement. Rows upon rows, predominantly made up of woman – and their partners who seem to have been coerced along for the evening, are intricate laid out and the room is full – and buzzing with excitement.

The girls are greeted on stage to rapturous applause and the girls ease in to a vivid recalling of notorious serial killer and necrophile Ed Kempur the ‘Co-Ed Killer’. It’s a meaty subject matter, dark, unsavoury and shocking to the core – it’s everything the audience want and what’s not to love?

The girls seamlessly breeze through a colourful retelling of Kempur’s childhood, flip-flopping between each narrator with gaudy tales of their own lives such as, university drinking games and references to 90’s TV hit Clarissa Explains it All, interwoven between the eerie tales of Kempur’s childhood entrenched with neglected.

Two and a half hours’ breeze by effortlessly as the audience are shaken and perplexed by the gruesome story. The night ends with the promise from Hannah and Suruthi to come and hang out at the bar and meet the eager audience. Hop on the murder bandwagon before it’s too late.

Angie Canavan