Thursday 9th July – Scotland’s festival for music discovery, TENEMENT TRAIL Festival, has today announced the first wave of artists for this year’s event which takes place on 10th October, including huge Scottish co-headliners Baby Strange and Brògeal. Baby Strange are reforming exclusively for TENEMENT TRAIL and headline the Barrowland for a special, one-off show marking the 10th anniversary of their debut album ‘Want It Need It’, while Brògeal headline Barras Art and Design (BAaD). Set times have been arranged so fans can catch both performances across the night. 

Alongside the headliners, the 2026 line-up brings together 45+ artists. Fans can expect a mix of established festival favourites and some of the most exciting emerging talent on the scene, including Cliffords, The Orielles and Willie J Healey.

Having played the very first TENEMENT TRAIL in 2013, Baby Strange are reforming for one night only to co-headline the festival and play the Barrowland. A true full-circle moment for both the band and the festival, the landmark show will celebrate the 10th anniversary of their acclaimed debut album ‘Want It Need It’. The Glasgow outfit are a defining part of TENEMENT TRAIL’s story, with previous appearances spanning the inaugural event in 2013, a surprise last-minute set in 2018, and the festival’s first year in Glasgow’s East End in 2019. Fans won’t want to miss this historic performance from one of the city’s most influential modern bands – one that is sure to go down in the Glasgow music history books. Johnny Madden, frontman of Baby Strange, said: “We’re really excited to be reuniting for one night only to headline TENEMENT TRAIL this year, celebrating 10 years of our debut album ‘Want It Need It’. The album holds a special place in our hearts, and there’s no better place to play it than the Barras! This will be our fourth time playing TENEMENT TRAIL, the first being back in 2013. Thanks to TENEMENT TRAIL for having us and for everything they’ve done for Scottish music.”“We’re looking forward to celebrating with everyone who’s been part of the journey, and those seeing us live for the first time. It’s going to be a really memorable night. Now, let’s see if we can remember how to play the songs…”

Falkirk’s Brògeal also return as co-headliners, following the release of their hit debut album ‘Tuesday Paper Club’ last year. Known for their electrifying blend of Scottish folk and indie music, the five-piece have gone from strength to strength since their last TRAIL performance in 2022 when they played the Barrowland 2. Since then, they’ve amassed a loyal following across the UK, playing huge shows at TRNSMT Festival, The Great Escape, Eurosonic and more, alongside support slots with the likes of Paolo Nutini, The Pogues and The Mary Wallopers. 

Organisers Tenement TV and DF Concerts also confirm AKA, Angelface, Bad Gravy, Boxing Club, Burglar, Chancer, Compost Compost Compost, Conscious Pilot, Dan Parks, Dice, Diva Down, Ewan McKenna, Faeda, Fatale, Ferguson Hi-Fi, Foreign2, heavyskint, Heidi Curtis, Jack Torrance, LeisureLand, Limonead, Lupercalia, Maicin, Makeshift Art Bar, Morgan T Morris, My First Time, Oedipus and the Mama’s Boys, Paulie Swan, Pixie McCann, Pyncher, Quality Control, Quiet Houses, Sally Stenning, Slag, Sodakill, Supersun, THEATRE, The Paris Match, Tom A Smith, Woody.

Spanning some of Glasgow’s most iconic East End music venues, TENEMENT TRAIL is a unique multi-venue festival showcasing the best in emerging music across 10 hours, 50 artists and eight venues. With just one ticket, fans can enjoy performances at The Barrowland Ballroom, Barrowland 2, Barras Art and Design (BAaD), St Luke’s, The Winged Ox, 226 Gallowgate, Van Winkles and McChuill’s.

Among the first wave of artists announced, Cork-based five-piece Cliffords are tipped as one of Ireland’s most exciting emerging guitar bands. Also joining the bill are Mercury Prize-nominated The Orielles, whose blend of post-punk, disco, psych and dream-pop influences has earned them a devoted following across the UK. Making their TENEMENT TRAIL debut in October, they’ll be joined by acclaimed Oxfordshire songwriter Willie J Healey, whose warm, melodic indie rock and charismatic live performances make him a hugely exciting addition to this year’s TENEMENT TRAIL. Festival organiser Chae Houston said:“Brògeal are a band we’ve been buzzing about since they came onto our radar in 2022, playing the Barras 2 at TRAIL that year. We gave them number 1 track of the year in 2024 so to have them co-headlining our music festival this year showcases exactly what TRAIL is about! “Baby Strange’s special 10th anniversary show is going to be one for the TRAIL history books. The band are a hugely important part of Glasgow’s music scene – they played the first ever TENEMENT TRAIL  on Sauchiehall Street in 2013 and our first in the east end in 2019. This is a full circle moment for the festival. We cannot wait to see fan reactions to this news!”

Follow TENEMENT TRAIL on socials @tenementtrail. 

Tickets on sale now at tenementtrail.com2026 LINE-UP ANNOUNCED SO FAR
Baby Strange (10th anniversary show) | Brògeal | | Cliffords | The Orielles | Willie J Healey

AKA, Angelface, Bad Gravy, Boxing Club, Burglar, Chancer, Compost Compost Compost, Conscious Pilot, Dan Parks, Dice, Diva Down, Ewan McKenna, Faeda, Fatale, Ferguson Hi-Fi, Foreign2, heavyskint, Heidi Curtis, Jack Torrance, LeisureLand, Limonead, Lupercalia, Maicin, Makeshift Art Bar, Morgan T Morris, My First Time, Oedipus and the Mama’s Boys, Paulie Swan, Pixie McCann, Pyncher, Quality Control, Quiet Houses, Sally Stenning, Slag, Sodakill, Supersun, THEATRE, The Paris Match, Tom A Smith, Woody

On one of Glasgow’s hottest nights of the year, the sold out Barrowland Ballroom was exactly what you’d expect; gloriously atmospheric and absolutely sweltering. By the time Sierra Ferrell took to the stage as part of her Heavy Petal Tour, the legendary venue had become something of a sauna, with handheld fans in constant motion and brief breaks in the slightly-cooler area outside the main room a necessity for those of us not used to the heat . The security team deserved enormous credit as they worked tirelessly throughout the evening to keep the crowd hydrated.

The audience was as colourful as the music itself. Cowboy boots rubbed shoulders (ankles?) with flip-flops, double denim met flowing prairie dresses, flower crowns dotted the crowd, and cowboy hats were everywhere. There were moustaches aplenty and one particularly brave soul had donned a kilt despite the heat. There was even a sparkling sequinned playsuit that looked perfectly at home beneath the Barrowlands disco ball!

Opening the evening were The Brudi Brothers, whose easy charm quickly won over the Glasgow crowd. The handsome trio had great chemistry and played a set filled with tight harmonies and lively musicianship. By the time they wrapped up, the audience was warmed up (literally) and ready for their headliner.

Sierra Ferrell has carved out a musical identity all of her own. Drawing on her Appalachian roots while weaving together country, folk and bluegrass influences, the former busker has built a sound that’s difficult to categorise but instantly recognisable. That free-spirited, nomadic quality runs through both her music and her stage presence.

Joined by a superb band of musicians, Ferrell captivated the packed ballroom from the outset. Dressed in a striking blue dress and eye-catching shoes, with flowers woven through her hair (including Scottish thistles in a thoughtful nod to the local audience), she commanded the stage with effortless charisma. In acknowledgement of the stifling conditions, she regularly paused to remind everyone to drink plenty of water, her concern for the audience adding another layer of warmth to an already intimate performance.

The set balanced fan favourites with fresh material, including new song “Pair of Dice”, which received an immediate and enthusiastic reception. Songs such as John Anderson tribute “Years” had the audience singing every word, while “In Dreams” prompted another huge response. One of the evening’s standout moments came during “Fox Hunt“, where Ferrell demonstrated that her talents extend far beyond her distinctive vocals. Picking up the fiddle, she delivered a breathtaking performance that drew wild cheers from the crowd and showcased the remarkable musicianship shared across the entire band.

Ferrell closed the night in style with an encore that included a rousing cover of Kris Kristofferson‘s “Me and Bobby McGee“, sending the sold-out crowd home on a high.

Article: Kim Sabetelli

After a Friday spent drenched in unavoidable downpours, followed by tentative Saturday sunshine, TRNSMT Festival was finally blessed with a true Scottish scorcher for its close on Sunday. Blaring sunshine and relentless heat graced Glasgow Green, drying out the mud to allow festival-goers in their thousands to enjoy the final day. 

Sunday’s programme leaned slightly more towards singer-songwriters and reflective performances, in contrast to the indie powerhouses of the previous days. Sets from Skye Newman and Finn Forster offered soulful moments, while the day also showcased the depth of Scotland’s music scene. From the folk-inflected storytelling of Jacob Alon and Katie Gregson-MacLeod, to the indie-pop charms of Abbie Gordon and Blair Davie, the festival’s commitment to Scottish talent was evident across the day’s line-up.

Later in the day, the confetti cannons and fireworks reserved for established Scottish headliners became a reminder of where such support may lead. If TRNSMT has built a reputation for giving an opportunity to the rising stars of Scotland, Sunday’s line-up suggested that one or two of these names could yet follow in the footsteps of Lewis Capaldi and Amy MacDonald, who, gracing the main stage, were met by an adoring homecoming. 

Artists from outside Scotland added their own twist to proceedings. Westside Cowboy brought their unique take on “Britainicana”, which sees a blend between American country music and the eccentricity of British indie lyrics. Overpass were true to form in providing the traditional British indie festival soundtrack, drawing a loyal, enthusiastic crowd that yelled every word from atop friends’ shoulders. Perrie, of Little Mix fame, brought true, unabashed, upbeat radio pop. 

However the real star of the festival was CMAT. The Irish star was funny, sincere, and an expressive performer, demonstrating how quality songwriting can be paired with a good time. Dressed in a yellow polka dot dress that popped against her red hair, CMAT’s skill came from not taking herself too seriously – joking with fans between songs as easily as she delivered them, completely at home in the Scottish sunshine. 

TRNSMT, a festival that always seems to be surrounded by whispers about its future and judgments of its success, remains a necessary fixture in the nation’s musical calendar.

Article: Anni Cameron

Gallery: Anni Cameron

Gallery: Marco Cornelli

After a soaked first day on Friday, TRNSMT was bathed in sunshine on its second day, and there was an unmistakable sense that the festival was letting tomorrow’s music stars steal the present, helped by the glorious weather. The festival’s smaller tents were already overflowing with fans early in the morning, chasing word-of-mouth recommendations.

Opening the King’s Tut’s Stage, Chasing Abbey set the tone. Their blend of electronic music with trad Irish influences felt tailor-made for a warm Glasgow welcome. Their early slot quickly became one of those “I was there before everyone else arrived” performances that festival veterans love to brag about.

Across on the BBC Introducing Stage, Sister Madds wasted no time announcing themself. After seeing them multiple times, it still felt like the first time. Confident, charismatic and armed with sharp songwriting, their set carried the excitement of a band discovering just how well their music translates to a festival audience.

Lacuna followed with a darker, more atmospheric performance. The Glasgow band offered a welcome contrast to the brighter indie sounds of The Snuts on the Main Stage, proving they deserve a much larger venue. Every song seemed to build patiently before exploding into moments of intensity.

One of the afternoon’s biggest surprises came from Madra Salach, whose blend of punk and Celtic grit resonated strongly with the Scottish audience. Raw without becoming chaotic, they delivered the kind of set that reminded everyone why the King’s Tut’s Stage continues to be TRNSMT’s breeding ground for exciting new bands.

If there was another act destined for a larger stage, it may well have been Girl Group. Their punchy post-punk, blended with pop and dry humour, transformed the BBC Introducing Stage into one of the day’s liveliest crowds.

Similarly impressive was Keo, whose emotional songwriting sat comfortably alongside The Fratellis, who were playing on the Main Stage. Their songs balanced vulnerability with confidence, giving the cheering crowd one of the day’s most heartfelt performances. It was easy to understand why industry buzz has surrounded them over the past year.

The Main Stage finally found its theatrical centrepiece with The Last Dinner Party. They delivered exactly what their growing reputation promises: gothic glamour, dramatic arrangements and commanding stage presence. It seemed as though we, as photographers, weren’t there for only three songs, but for the entire set. Every movement felt choreographed without ever appearing forced, while Abigail Morris remained one of the most magnetic frontwomen currently touring, interacting effortlessly with every member of the band and the crowd alike. She even came down from the Main Stage to perform among the fans, delivering what was undoubtedly the performance of the day. The Last Dinner Party’s songs continue to blur the line between indie rock and grand theatrical spectacle, and Glasgow embraced every second once again.

Back on the BBC Introducing Stage, Tanzana kept the bar high, injecting more soul into the evening with their set. Fresh from releasing their second single, their rhythmic confidence kept the audience mesmerised. I’ve seen them more than five times now, and I’m still of the opinion that they are destined for great things.

After them, Irish band Basht immediately raised the intensity once more. Their modern indie-rock anthems from their debut album arrived with power, producing one of the loudest singalongs outside the Main Stage all day, where Australian DJ Sonny Fodera was entertaining the festival’s biggest crowd. By the time they finished, it was clear they had gained a considerable number of new followers.

One of the festival’s coolest discoveries came from Australia’s Radio Free Alice. With echoes of The Strokes, the band channelled the best elements of classic post-punk while sounding thoroughly contemporary. Their performance possessed the confidence of a band already playing much bigger stages, and the packed tent suggested word had spread quickly across Glasgow Green.

Then came the night’s climax.

Kasabian remain one of Britain’s great festival headliners because they understand precisely what these moments demand. There was no overthinking, no unnecessary reinvention—just a relentless barrage of huge riffs, electronic sounds and crowd-pleasing anthems delivered with confidence. Serge Pizzorno has fully grown into the frontman role, arriving on stage in a giant leopard-print faux fur coat and commanding tens of thousands with ease, while classics such as Club Foot, Empire, Underdog and Fire reminded everyone why the band’s songs have become such enduring festival favourites.

Their closing set wasn’t simply nostalgic; it felt new. Their more recent tracks blended naturally with the classics, while the production transformed Glasgow Green into a sea of lights, smoke and bouncing fans from the very first song.

If Friday belonged to anticipation, Saturday belonged to discovery. TRNSMT has always balanced major headliners with emerging talent, but day two demonstrated that the gap between the two has never felt smaller. By this time next year, several of these “smaller bands” may well be headlining the very stages they spent Saturday outgrowing.

Article; Marco Cornelli

Images: Marco Cornelli & Angela Canavan

Gallery: Angela Canavan

A funny thing happened after I shared an old T in the Park poster from 2005.

What I thought would be a harmless dose of nostalgia quickly turned my DM’s into something that looked like the last orders bell had rung in a Scottish pub. Everybody had an opinion. Some mourned the loss of festivals they were convinced we’ll never see again. Others pointed towards DF Concerts’ grip on Scotland’s live music calendar and the uncomfortable reality that, as part of Live Nation, one promoter now occupies so much of the country’s concert landscape. Then came the entirely fair criticism that this year’s TRNSMT couldn’t find room for a single female headliner across three days.

All perfectly valid conversations.

But they weren’t the conversations people were having as they wandered out of Glasgow Green on Friday night.

Because festivals have never lived or died by posters.

They live in the spaces between the names.

In the accidental discoveries.

The conversations with strangers.

The bands you hadn’t planned on seeing.

Friday felt less like a concert and more like Glasgow opening every window in the city at once.

Beluga Lagoon drifted across the Main Stage like the first shaft of sunlight through a bedroom curtain. A shame then that they had to play in the deluge of wet Scottish weather. Gentle at first, but impossible to ignore. By the time Nile Rodgers & CHIC arrived, the entire site had found its pulse. Rodgers doesn’t play rhythm guitar so much as quietly remind everyone that he wrote the blueprint. Every riff landed with the confidence of someone who knows they’ve already changed popular music once and could probably do it again before dinner.

Dylan John Thomas didn’t need fireworks.

He walked on carrying the weight and warmth of the city with him. His songs feel lived in, full of bus routes, back courts and nights that started with one pint and somehow ended watching the sunrise over the Clyde. Every chorus came back from the crowd louder than it left the stage. Glasgow wasn’t watching one of its own. Glasgow was singing itself back.

Then came one of those moments no lineup poster could ever advertise.

I’d brought my young niece along for the day.

As we wandered away from Dylan and headed towards the BBC Introducing Stage she turned, completely matter-of-factly, and said,

“Auntie Ange… when we see Soapbox, we’ll go in the mosh pit for ‘Fascist Bob’.”

I nearly burst out laughing.

Forget the endless think pieces about young people being switched off or politically apathetic. This kid’s first instinct at a festival was to throw herself into a circle pit behind a Glasgow punk band shouting down fascists.

The future suddenly looked as though it was in very safe hands.

If the Main Stage is where memories are confirmed, BBC Introducing is where they’re born.

Soapbox didn’t so much play a set as kick the doors off the afternoon. There’s a joyful lack of polish about them; the kind that can’t be manufactured because it’s still fuelled by cheap rehearsal rooms, group chats and the stubborn belief that guitars can still change someone’s week. Their songs arrive swinging, funny one second and furious the next, all sharp elbows and crooked smiles.

They’re exactly the kind of band Scottish music has always produced when it’s got something to say.

Standing nearby were two sisters who’d travelled all the way down from Inverness.

Richard Ashcroft had sold them the ticket.

Soapbox justified the petrol money.

Later, we met a couple from Newcastle. They’d come north for Wolf Alice, only to emerge from King Tut’s Stage talking excitedly about NewDad instead. That’s the beautiful sleight of hand festivals have always performed. The headline act gets your attention while someone further down the bill quietly steals your heart.

King Tut’s Stage has always felt like the festival’s best-kept secret. A place where bands arrive carrying possibility instead of expectation. NewDad wrapped the tent in shimmering guitars that hung in the air like sea mist rolling in off Galway Bay, while The Beta Band remained gloriously difficult to pin down, making music that wanders wherever it pleases and somehow always ends up exactly where it should.

Wolf Alice have reached that rare point where they seem incapable of making a dull noise. Their set stretched and snapped, whispered and roared, always keeping one foot balanced on the edge of chaos. Watching them is a little like standing on a shoreline while the tide changes: calm one moment, overwhelming the next, and utterly indifferent to whether you’re ready for it.

Then Richard Ashcroft arrived.

Some singers perform songs.

Ashcroft lets songs perform history.

Every chorus carried twenty or thirty years of somebody else’s memories. Friends with arms around each other. Parents introducing teenagers to records they’d worn out decades ago. Complete strangers singing in perfect unison without ever exchanging names. It felt less like the end of a festival day than the closing chapter of a novel everybody already knew by heart.

Walking home, I thought about that old T in the Park poster again.

Maybe the lineups were bigger.

Maybe they weren’t.

Nostalgia has a habit of editing out the average bands and remembering only the legends.

What Friday at TRNSMT reminded me is that every legendary lineup started life as a poster full of names that hadn’t become legends yet.

The next great Scottish band won’t announce themselves from the top of a bill.

They’ll begin on a smaller stage, in front of a few hundred curious people, while someone who only came for the headliner accidentally discovers their new favourite band.

On Friday, that happened over and over again.

And that’s why, for all the noise that surrounds TRNSMT every year, Glasgow Green still feels like one of the most important fields in Scottish music—even if it doesn’t have a field anymore.

Article: Angela Canavan

Photos: Reanne McArthur & Marco Cornelli

Gallery by: Reanne McArthur

I climb the famously steep hill to Glasgow’s Art School and arrive at the dark, hazy upstairs venue with about fifteen minutes to spare before Deadletter grace the stage. While the room is less full than expected, with their last Glasgow stop at St Luke’s at the end of 2024 selling out, there are still plenty of familiar faces dotted around the room. The show had been rescheduled, but a loyal crowd had clearly reshuffled their plans to welcome the South London-via-Yorkshire post-punk sextet back to one of their rowdiest cities.

Frontman Zac Lawrence spends most of the night slinking around the packed stage, one hand gripping the mic while the other punctuates the air. Behind him, the band’s signature saxophone cuts through crunchy guitars as the crowd responds in kind. Few words are exchanged between songs, and Lawrence frequently closes the distance between himself and the audience. During old favourite “Binge”, he serenades those at the front with the song’s prolonged ahhhhhs before disappearing into the crowd entirely, weaving across the sticky floor at the back of the room before eventually returning to the stage.

Overall, the show feels more measured than previous visits, though that’s less a criticism than a reflection of where Deadletter finds themselves sonically during this new era. Much of the material from Existence is Bliss (2026) leans into something more sophisticated, atmospheric and diverse. Ultimately, these songs are still settling into their live form and finding their place with audiences, and “It Comes Creeping” and “Purity I” are already proven strong live performances. Given time, this material will likely inspire the same riotous display that has become synonymous with a Deadletter show as, even on a slightly quieter night, there’s very little sense that the bond between band and crowd has weakened.

Article: Anni Cameron

One of the things I love about summer shows at Saint Luke’s in Glasgow is the way the evening sun shines through the high stained-glass windows. It adds just that extra layer of atmosphere that suits live music perfectly. This gig was no exception, as Sir Chloe’s return to the city on Sunday 24th May delivered a stellar performance after three years away.

The band kicked off with “Squaring Up,” with frontwoman Dana Foote singing the first verse backstage before finally stepping out for the chorus donning a kilt to an immediate wave of applause. Notably, she no longer plays guitar live, leaving the gritty instrumentation to her bandmates. The change suits her well; she fully leans into her captivating stage presence, constantly moving and locking eyes with audience members throughout the show. The crowd matched her energy, and although the show wasn’t sold out, the more intimate atmosphere felt like a perfect fit for the band.

The setlist was solid, striking a strong balance between older favourites and new material. If you haven’t heard Sir Chloe before, they sit somewhere between PJ Harvey’s raw intensity and The Pixies’ dynamic alt-rock — a combination that translated exceptionally well to the live setting. Highlights of the show included a ferocious performance of “Animal,” the grungy “Salivate,” as well as personal standouts “Forgiving,” “The Hole,” and the dreamy, swaying waltz of “Eyes,” all from the band’s latest album, Swallow the Knife.

The night reached its peak in the encore as the opening chords of their viral hit “Michelle” rang out beneath the venue’s vaulted ceilings, with the crowd singing along to bring the night to a close.

It was a fantastic gig that showed just how versatile Foote is as a songwriter and performer. Backed by a superb band, Sir Chloe delivered a set that felt both intimate and powerful, leaving little doubt as to why their audience continues to grow. For me, the newer songs felt particularly strong live, showcasing a more confident edge to their evolving sound.

Article: Barry Carson

When Fcukers first appeared on my radar, I had them pegged as another provocateur outfit — names like Savages and Dead Kennedys came to mind. A band using their name as an initial platform for anti-establishment rhetoric that the music itself would reflect. Well, it turned out I was half right.

The stripping back of music to create a space from which people could escape the brutality of life — ignoring the beigeness of so much that is presented as popular music, turning against the established music machine and the machines of war — is what Fcukers are about. They rewind and present an alternative ‘now’ that is, in many ways and by their own admission, a vibe and feeling drawn from two decades ago. Solidarity formed from optimism. Sub Club and Trainspotting euphoria mingled with a bloc-party sense of camaraderie and unity.

Whoever chose tonight’s venue deserves a gold star. SWG3’s TV Studio is the perfect environment for such a musical experience to thrive. A brutalist, Kafkaesque space with low ceilings and lots of concrete — you could be forgiven for thinking you were at a 1990s illegal rave. Tonight wasn’t just about the music; it was about the experience. Even before the band came on, the sound system was pumping out beats at a tireless, continuous 120 BPM, give or take. The scene was set, and the light was low. Very low.

As Fcukers took to the stage, it was obvious this was going to be a strobe-heavy show punctuated by backlit colour. The band were silhouettes for the entire set — the odd flash would reveal a face, but then it would be gone.

Musically, the band delivered exactly what you’d hope for: bass-heavy and body-pumping. The New York-accented vocals — nonchalant, almost spoken, with a The Velvet Underground quality — were so personable that you could join in, mimic the lines, and feel even more connected. The influences of Groove Armada and Faithless are obvious, but then you catch something that triggers a memory. Was that Talk Talk? Was that Pop Muzik by M? It turned out it was Beck.

The pace was relentless but always steady — as intended, and unmistakably club-like. There were no rip-your-head-off moments à la The Prodigy.

Tonight was far more than a retro retake on a club night. Was it re-emphasising the importance of subculture and past anti-establishment movements — musical and social? Was it a band presenting itself as a club? Was it a band saying: be yourself, don’t adhere to the rules? Probably all of these. Yes, this was no illegal rave, but equally it wasn’t playing by the rules either. Were they saying there has to be another way? I have no idea — but what I do know is that for those 60 minutes, none of the noise from outside that room got in. You weren’t thinking or worrying about the world, or even your own world. You were taken somewhere else. Somewhere optimistic.

What’s in a name? Fcuked if I know.

Words: Nick Tamer | Images: Chris Hogge