F.O. Machete are like a cactus with a heart of gold. After more than 20 years since their first release, they’re back with a confetti-intoxicating bang.

Mother of a Thousand (released on Last Night From Glasgow) is an album full of their signature bittersweet delicacies, wrapped in a sugar coating.

Tonight’s fantastic set is both bewitching and barbed. Sonically jarring songs of love, devotion, and separation collide with darkly humorous observations of life and the human condition. Softly sung—at times almost conversational—you’re drawn in, spun into a web of words and music that suddenly explodes when you least expect it.

F.O. Machete hypnotize a sold-out Sleazy’s audience with a song-by-song account of their brilliant new album, peppered with between-song anecdotes on the do’s and don’ts of breakups—comparing exes to Skeletor and debating the correct pronunciation of “milk” in Glasgow.

Recorded at Chem19 with Paul Savage at the helm, the songs feel more evolved than before. Less lo-fi, yet still unmistakably F.O. Machete—just with an extra chromosome or two. In this case, it’s backing vocals and keyboards, a studio-led addition that makes a huge difference in tonight’s live show. There are now infinite layers to get lost in. As always, Natasha and Paul lead from the front with a captivating delivery of razor-sharp guitar and bass, while the backbone of Berny, Aidan, and Kotryna provides the sugary sparkle that balances the impact.

The night flies by in the blink of an eye, climaxing with fantastic encores of Olivia Newton-John’s Physical and Panda from their first album. Confetti cannons erupt, covering everyone—pretty impressive for a Sunday evening.

Like the Sirens of Greek mythology, fabled to lure sailors to their doom with irresistible songs, F.O. Machete are impossible to resist. And they’re ready and waiting.

Take every and any opportunity to see them.

Words: Nick Tammer

Images: Chris Hogge

It takes a certain kind of confidence to stride onto a Glasgow stage and declare, “I love Glasgow, it’s got real grit—if I were to move anywhere, I think I’d feel right at home here.” A bold claim from Lola Young, considering the city’s collective allergy to out-of-towners adopting it as their own. But we’ll let it slide, given her clear appreciation for the crowd’s no-nonsense energy. That, and the small matter of alleged nepotism—whispers abound that she’s related to The Gruffalo author Julia Donaldson, a revelation met with the sort of raised eyebrow Glasgow reserves for both suspiciously cheap pints and Westminster politicians.

Support act Bug Eyed kick things off, with the lead singer channelling peak Timothy Chalamet chic—somewhere between tousled charm and brooding indie-boy mystique. Their sound? Imagine the sonic equivalent of walking into a house party where everyone looks cooler than you but still hands you a drink. The standout moment comes with Snug as a Bug—a track that, if I had to make an analogy, is like a lost B-side from Jamie T’s most poetic era, but with a twang of something younger, more self-aware, with super fun synths.

Then, in a flash of unfiltered Gen Z energy, Lola Young bounds on stage, launching straight into Good Books. Her voice is an intoxicating mix of rawness and polish, wielding vulnerability like a weapon. The audience—adoring, half-feral—sings back every lyric, particularly during Big Brown Eyes, a fan favourite that sits somewhere between heartbreak and euphoria.

Then comes Wish You Were Dead—a track that, in another time, might have raised eyebrows but in this room, becomes a communal, slightly chaotic singalong. It’s less a song, more a shared exorcism of bad exes, worse decisions, and the general existential crisis of being 20-something.

The set moves seamlessly through heartbreak and self-reflection—Walk On By is a woozy, late-night lament that sounds like it should be playing in the background of a coming-of-age film where the protagonist just got dumped in the rain. Intrusive Thoughts is a kaleidoscope of disdain and disappointment, fear and fleeting romance, all wrapped up in Lola’s signature mix of self-awareness and biting humour. Crush is equally intoxicating, a song that simultaneously embodies infatuation and the knowledge that it’ll probably end in disaster.

At one point, a fan hands Lola a handcrafted poster, and she beams, declaring, “I want this on a T-shirt—that’s how much I love it.” A meta moment of fan appreciation, if ever there was one.

As the show nears its end, the band stretches out the last track in the set with a strobe-heavy outro, Lola slipping offstage in the thick of it. And then, as the crowd chants “HWFG” (Here We F***ing Go, for the uninitiated), she returns for the encore.

She closes with What Is It About Me—a song that distils all her best qualities: brutal honesty, a voice that feels lived-in, and lyrics that make you wince in recognition. And finally, Messy—the track she credits with changing her life. As the final notes ring out, the crowd lingers, reluctant to leave, hoping for one more song, one more moment.

Grit? Glamour? Gruffalo nepotism? Who knows. But one thing’s for sure—Lola Young just made Glasgow feel like home.

Article: Angela Canavan

For someone who only a few nights ago mistimed a stage dive and ended up eating venue floor, The Dare shows no sign of caution tonight. If he’s nursing a black eye, it’s safely hidden behind his ever-present shades, and besides, nobody in this sweatbox of a room has come for restraint. The Queen Margaret Union is packed wall-to-wall with a crowd that could have stepped straight out of a 2006 American Apparel ad—millennials and Gen Zers alike, reliving or discovering the indie sleaze era in all its grimy, neon-lit glory.

Opening with the jagged synth pulse of “Open Up”, The Dare wastes no time in turning the place into a full-blown party. This is club music, but not as sleek or pristine as the sort dominating the charts—his sound is all scuffed-up trainers and sticky floors, drawing from the same lineage of bloghouse and electroclash that once gave us DFA Records, early Ed Banger, and the trash-glam excess of Test Icicles. “Cheeky” struts along with a bassline straight out of a Prince-damaged Chromeo track, while “Perfume” feels like the lost soundtrack to a particularly messy NYLON magazine afterparty, all sleazy vocals and pulsing beats.

As ever, The Dare thrives on audience interaction. At one point, he’s off the stage, hugging, dancing, and singing face-to-face with his fans—perhaps making sure that if he’s taking another tumble tonight, at least there’ll be bodies to catch him.

A particular highlight comes in the form of an unexpected cover: “I Can’t Escape Myself” by The Sound, transformed from its stark, post-punk origins into something almost seductive, like if Soft Cell had taken a crack at it in their Non-Stop Erotic Cabaret days. Then there’s “Bloodwork”, a track already dripping in late-night neon sleaze, now laced with a dash of Charli XCX’s hyperpop glitter—warped, twisted, and ready to blow out the speakers.

The main set ends, but the crowd demands more, and he delivers: a short but relentless encore of “Movement”, “All Night”, and of course, “Girls”, the song that’s fast becoming an anthem for a new generation of club kids.

By the time the house lights come up, the room is a mess of sweat, spilled drinks, and mascara running down grinning faces. The Dare might have hit the floor a few nights back, but tonight, he never once loses his footing.

Photos: Elliot Hetherton

Words: Angela Canavan

Lucia & The Best Boys closed their UK Tour 2025 in Glasgow, their hometown. For this special gig, they brought onto the stage two of the most promising emerging bands in the city: the super-talented Tanzana, who, with the powerful voice of their lead singer and their banging sound, gave me goosebumps for the entire opening act; and the well-known The Era with their iconic harp.

Lucia entered the stage like a Lúthien Tinúviel ready for battle. Instead, she sat on a thin, tall chair, brandishing a harmonium and introducing The Best Boys over the ethereal notes of an extended opening of Summertime.

It wasn’t just the harmonium that made an appearance in this incredible set—mandolin, flute, keyboard, and violin alternated throughout the show alongside classic rock ‘n’ roll instruments.

Of course, Lucia’s tambourine and drum couldn’t be left out, especially the latter in When You Dress Up, where, as the song invites, she transformed from a graceful elf into a warrior leading her army into battle against Morgoth’s horde of orcs.

Once the crowd had been well and truly warmed up, the band played a strong set of songs, including Angels Cry Too, the unforgettable Blueheart, and Burning Castles from the album of the same name.

After a wee break, during which Lucia expressed her gratitude for once again playing in her own city at SWG3 (where it was noted how the band had levelled up the venue within the same building over the years), a violin made its appearance on stage, along with four members of The Best Boys lined up, ready to recreate a performance that had previously been played exclusively in selected Scottish castles.

In this evocative and emotional moment, the band performed Haunt Your Back and Somewhere in Heaven, gifting the fans a beautiful experience that showcased their talent and ability to create truly memorable moments.

Another break followed before the band regrouped in its original formation and proceeded to smash the venue with a run of high-energy tracks. Two of the standouts, So Sweet I Could Die and Perfectly Untrue, closed the show during the encore, sending the crowd over the moon and turning SWG3 into a sea of roaring, dancing waves.

Seeing Lucia & The Best Boys after getting a glimpse of their talent during the opening act for The Last Dinner Party last year felt like a blessing. This gig revealed their poly-instrumental and vocal skills to me for the first time, and it’s an act I won’t forget anytime soon.

Special mention to Tanzana. After missing their gig at King Tut’s last January, I was hoping to get the chance to see them soon, and my expectations were not disappointed. After the show, I listened to their only song on Spotify, Covet, on repeat. I’m sure we can expect great things from them.

Article: Marco Cornelli

Keith Richards famously said, “Everyone talks about rock these days; the problem is they forget about the roll.”

Well, based on tonight’s rabble-rousing performance, the roll in rock is alive and kicking—and Jim Jones All Stars hold the key.

Revved up and ready to explode like an eight-seater rocket launching from a juke joint in 1950s Tennessee, Jim Jones All Stars are the incendiary flag bearers of the purest rock and roll experience, laced with a dash of soul and funk. With a rasping voice that whoops and wails like Little Richard, a rhythm section bolstered by duelling saxophones pounding like a heartbeat, and guitars that cut like a knife, it’s impossible not to be swept up in the all-engulfing spectacle of sound and energy.

The music is raw, relentless, and utterly immersive. The visual aesthetic is equally striking—every detail perfectly in place, yet effortlessly cool. From snakeskin shoes and Zoot-esque suits to tiger-claw medallions and Americana shirts, the band doesn’t just sound the part; they look it too.

Jim Jones leads from the front, commanding the stage with electric presence. Engaging and relentless, he leans over the assembled congregation like a fiery preacher, delivering his gospel of rock and roll with fervour.

Tonight’s renditions of “Cement Mixer”, “Troglodyte”, “Shakedown” and “Rock and Roll Psychosis” are nothing short of explosive. The mix of old and new material is seamless, and the epic finale of “512” leaves the room in a frenzy.

You should take any and every opportunity to witness this extraordinary band live.

Jim Jones All Stars reaffirm belief in what was once known as the Devil’s Music.

Tonight was a celebration.

Hold those guitars high and believe.

Words: Nick Tammer

Pictures: Chris Hogge

After a five-year break, the English folk band Tunng is back to celebrate their twentieth anniversary with a European and UK tour. Tonight, they take the stage at Glasgow’s Room 2, a venue packed to the brim with eager fans.

The six-member band delivers a powerful performance on a stage crammed with an eclectic array of instruments—guitars, banjos, wind chimes, keyboards, star-shaped tambourines, and mic stands aplenty. Adding a playful touch, a mysterious bag, secretly filled with Haribo, makes an appearance before being tossed into the crowd, much to the audience’s delight.

They open their set with a soft, gentle rendition of “Bodies”, seamlessly transitioning into “Jenny Said”. The band’s signature vocal layering weaves beautifully through the room, creating a warm and immersive atmosphere. As the night unfolds, they revisit earlier albums with tracks like “Jenny Again” and “By Dusk They Were in the City”, before closing the set with “Hustle” and fan-favorite “Bullets”.

Throughout the night, Tunng showcases not only their impressive musicianship but also an incredible stage presence, effortlessly switching between instruments at a remarkable pace. Their performance is both dynamic and intimate, reaffirming why they remain a beloved name in contemporary folk. For fans of the genre, “Tunng” offers a truly comforting and captivating live experience.

Article: Rose McEnroe

The five-piece indie rock band Haiver brought their run of three headline shows across Scotland’s music scene to a spectacular close at King Tut’s.

The Glasgow-based band commanded the stage with an impressive presence, effortlessly blending fun, lighthearted conversations with the crowd between songs. This added a warm, intimate feel to their performance, making it all the more special. Their set featured standout originals such as “Held” and “Crime”, alongside a stunning rendition of “Roadless” by Frightened Rabbit—a particularly poignant cover, given that Haiver’s own Billy Kennedy was once part of the renowned band.

Haiver’s music thrives on vulnerability and raw honesty, and this show was no exception. They created a mesmerising, unforgettable atmosphere, drawing the audience into every note. The encore began with “Yawns” before closing with “Love to Hate”—one can clearly see the passion for the art they produce, it was a powerful, fitting end to an incredible performance.

Article: Shea Dunn

The shoegaze quartet from Hull, bdrmm, delivered an unforgettable performance at Classic Grand in Glasgow as part of their UK/EU tour for the release of their third album, Microtonic. The venue was filled with a diverse mix of fans, creating a relaxed yet buzzing atmosphere throughout the night.

The band kicked off the show with two new tracks, “Microtonic” and “Clarkycat”, setting the tone for the night. Their sound was immediately striking, blending dreamy, twinkling guitar with deep, pulsating drums. They followed up with the atmospheric “Push/Pull” from their 2020 album Bedroom, proving their consistency in creating immersive, emotive soundscapes. One of the highlights was “Is That What You Wanted to Hear?”, a melodic new track that was clearly a fan favourite, drawing cheers and applause from the crowd.

The band’s chemistry was undeniable, with all members visibly enjoying themselves and smiling throughout the set. There was a clear sense of anticipation in the air, as it had been a year since their last tour, and they seemed eager to be back on stage. A particularly memorable moment came when they played I Don’t Know’s “We Fall Apart” for the first time on this tour.

The energy shifted with “It’s Just a Bit of Blood”, which brought a faster, more upbeat vibe with a heavier start against ethereal vocals. The crowd responded enthusiastically, fully engaging with the band’s dynamic performance.

The set’s dreamlike quality was further heightened during “Snares”, a track featuring techno beats, synths, and spoken word vocals that created a trance-like atmosphere. This dynamic expertly contrasted with the euphoric sung vocals in the chorus, creating a moment of pure bliss.

For the encore, bdrmm played the fan-favourite “Happy”, which seamlessly merged into a softer guitar outro before returning to a dramatic, gazy instrumental in “Unhappy”. The crowd’s response was electric, with plenty of cheering and clapping.

The night ended on a powerful note with “The Noose”, an emotionally charged, instrument-heavy track with uplifting electronic techno sounds and a deep bass beat. It was a perfect, euphoric conclusion to a performance that left the audience craving more. Overall, bdrmm’s show was a captivating blend of shoegaze, electronic elements, and emotional depth.

Article: Reanne McArthur

Sharon Van Etten brings a magical atmosphere to the Barrowland Ballroom, starting her set with raspy yet beautifully smooth vocals in Live Forever—a synthy, futuristic-sounding track that builds anticipation and questions the nature of time. The band are all dressed in black, contrasting with the light-toned abstract artwork displayed behind them. The crowd appear calm and happy as they sway.

Sharon Van Etten’s formidable live vocals on Every Time the Sun Comes Up are a flood of heavy emotions, ready to attack the heartstrings of those unprepared for the onslaught.

I Can’t Imagine Why bursts into an upbeat rock and roll energy—an electrifying and fun song to experience live. The nostalgic nature of Seventeen evokes vulnerability like a dagger; performed so powerfully that, by this point, I felt tears in my eyes. A truly moving ballad.

Overall, the set was fantastically uplifting. You can always tell when artists are true to themselves in the music they create and perform, and it’s plain to see that Sharon Van Etten reflects the essence of her soul—a true artist.

Article: Rose McEnroe

Nieve Ella returned to Glasgow for her Watch It Ache and Bleed Tour, playing a sold-out show at SWG3 after opening for Girl in Red in the city last summer.

The venue was already packed when Nieve’s friend, Fred Roberts, opened the night to a screaming crowd. His sweet voice and charming presence set the mood, warming up the room with songs from his debut EP, Sound of My Youth.

After a short break—during which the crowd chanted and danced to Hot to Go by Chappell Roan—Nieve Ella entered the stage. Fresh off being named one of 2025’s emerging artists to watch, she kicked off the night with Anything and The Things We Say from her latest EP, which gives the tour its name.

Effortlessly engaging with the crowd throughout the gig, Nieve—always smiling and grateful for the love she receives—first brought Fred Roberts back on stage for a heartwarming duet. This was followed by a beautiful performance of Car Park, before she invited three fans wearing Minion hats to join her on stage.

Once the stage was lively enough, the band shook the room with the powerful Ganni Top (She Gets What She Needs), giving the crowd the perfect excuse to dance along with the infectious energy between the musicians.

The fans stayed locked in until the very end, when Nieve Ella played the bittersweet Meet You in the Middle, closing the main set with a heartfelt group hug.

But the night was far from over. After minutes of encore chants, Nieve returned to the stage for three more songs, ending the show with Sugar-coated—one of my favorite songs of 2024.

I can say with confidence that we can expect great things from this band. Since first seeing them last year, I’ve had the feeling that they’re destined for a long and exciting journey in music, and I can’t wait to see where they go next.

Article: Marco Cornelli