Folly Group returned to the King Tuts stage (we last seen them here a few months previous supporting Geese) having capably amassed a honourable following to call their own.
Outside the streets are awash with a deluge of drizzle. Inside King Tuts are having their own alternative St.Patrick’s Day bash with the promise of Fontaines D.C. furnishing the after party soundtrack via a DJ Set.
Folly Group are an unlikely assemblage of peers, formed in London as former flat mates. The band Led by Sean Harper (singer and drummer), Kai Akinde Hummel (percussion), Tom Dehorty (guitar) and Louis Milburn (bass), took to the stage at King Tut’s in Glasgow, delivering a performance that was nothing short of electrifying.
With an eclectic mix of influences ranging from The Rapture’s danceable grooves to Massive Attack’s atmospheric vibes and ESG’s minimalist funk, the band captivated the audience from the first note to the last.
The band are currently touring their long awaited debut LP “Down There”, having previously teased us with some truly captivating singles it’s great to see these guys sinking thier teeth into something more concrete.
Opening with the absolute stomp of a track that is “Awake and Hungry,” Folly Group wasted no time in setting the tone for the evening. The crowd was immediately drawn in by the infectious energy emanating from the stage, unable to resist the urge to move to the beat.
As the set progressed, the band seamlessly transitioned between tracks, each one a testament to their versatility and creativity. “Four Wheel Drive” showcased their ability to blend genres, effortlessly fusing elements of post-punk and electronic music into a completely new colourful creature of its own.
“East Flat Crows” saw the band delving into darker territory, showcasing Harpers depth of tone in his vocal range, he looks like like a young Keanu Reeves but has the gravely undertones of Tom Waits after a bout of laryngitis, all served on a bed of double percussion.
But it was tracks like “Pressure Pad” and “Fashionista” that truly set Folly Group apart, with their infectious hooks and irresistible bass grooves. I mean who doesn’t love double cow bells? The crowd couldn’t help but dance along, swept up in the band’s tight performance.
There is even room for comparison with Glasgow’s very own Humour – unsurprising then when Harper jokes about live streaming a midnight closet reveal as they seem to be crashing at thier flat this evening. With several mentions of staying to hang out with the band at the merch desk the gig has a very welcoming and open flat party vibe to it.
As the set drew to a close, Folly Group treated the audience to a flurry of fan favorites, including “I’ll Do What I Can” and “Strange Neighbour,” each one leaving the crowd begging for more. By the time they launched into the anthemic “Frame,” the entire venue was in a state of toe tapping, head bopping joy.
In the end, Folly Group’s performance at King Tut’s was nothing short of spectacular. With their unique blend of influences and undeniable talent, they proved themselves to be a force to be reckoned with on the live music scene.
In order to gain access to Edinburgh’s The Caves venue you first must complete the “find the venue” side quest. Google Maps will take you to a bridge above the sheltering spot of the multi-purpose venue, where we stumbled on a couple also looking dejectedly at a flat close entrance wondering where we can hear the sound rumble up through the centuries old stones.
Together, and with the help of a wisened elderly man waiting for the bus home we set off down a rambling back alleyway and with only the distant BPM leaking out from the venue we eventually found ourselves at the tucked away threshold of the medieval archway.
Sadly, this also meant that we missed the majority of Psychotoc Monks play their set but from what we did hear, they provided a formidable counter part to Gilla Bands headline act.
Having missed out on tickets way back in 2016 to catch Gilla Band – touring under the moniker of Girl Band before they switched their name in 2021, it’s fair to say that this evenings show was eagerly awaited with much anticipation, and honestly? This performance quaked our bones to the very core.
Kicking off with the infectious beats of “Fucking Butter,” they immediately set the tone for a night of unapologetic, raucous fun. Bassist Daniel Fox slide bass technique is full of frothy allure, a sound akin to a siren going off amidst a breakout at the asylum. See below.
“Going Norway” followed, oozing unbridled, punk energy with lyricist Dara Kiely drawling and slurring syllables in the same styling of James Murphy of LCD Soundsystem.
However you can transplant a buzzing wall of sound from guitarist Alan Duggan and salacious, spiralling drums from Adam Faulkner for that of the glitchy fun disco beat that LCD are known for.
Gilla Band are a veritable maelstrom of bedlam. The crowd were instantly hooked. Admittedly it was strange to see men throw themselves around with wild abandon in a venue usually reserved for weddings…
The audience eagerly anticipated what came next. “Post Ryan” hit like a musical punch to the gut, its raw lyrics and intense instrumentation resonating with the audience’s emotions. Imagine The Fall being electrocuted by Bdrmm after dropping steroids and you are not too far off the heady concoction of this track.
Switching gears, Gilla Band ramped up with the gritty charm of “Bin Liner Fashion,” a track that turned The Caves into a makeshift runway for the unconventional and bold or for those willing to seethe in the bubbling mosh pit.
The atmosphere shifted with “Umbongo,” an anything but tropical-infused anthem, with screaming drums (seriously what BPM is this and does Faulkner have an extra set of arms?) juxtaposed with somber moments with Kiely lamenting about fighting a pigeon.
There is a stop-start tempo to this track that’s abrasive beyond belief and seems to defy all logic with the song ending so abruptly it seemed like a plug was pulled from an amp.
But this is exactly what Gilla Band serve up steamy ladle after ladle. They defy contemporary ideals, a beautiful, irate howling at the moon. A tonic to colonial capitalism and all the bureaucracies that modern life entails.
A chokehold on oppression, reminiscent of early Nirvana.
As the night progressed, “Eight Fivers” a song about hipsters and buying “shit clothes” delivered with a snarl enveloped in irony. There’s elements of guitar here borrowed from Just Mustard and Primal Scream.
The penultimate track of the evening is a blinding cover of “Why Do They Hide Their Bodies Under My Garage?” By Blawan. An absolute stomping Titan of a track perfectly encapsulating the visceral energy of the concert. The castle like walls, now dripping wet.
Closing the show with “The Cha Cha Cha,” Gilla Band left us craving more, proving once again that their live performances are an unmissable experience, weaving together a tapestry of musical genres that captivates the soul and attempts to jolt awake a society sleeping on corruption. Or then again maybe it’s just some songs about fighting pidgeons?
Edinburgh won’t be forgetting this night at The Caves anytime soon, we suggest you keep your eyes peeled for the Dublin quartet to head to your town soon.
St Luke’s is a very intimate venue with a low stage that’s very close to the crowd and is just round the corner from the renowned Barrowland Ballroom.
Kill the Pain is a pop funk duo comprising of Phoebe Killdeer and Melanie Pain (see what they did there?).
Phoebe and Melanie have both previously featured on Nouvelle Vague albums so it’s no surprise that they have great stage presence and phenomenal voices. Fun fact, Vague is pronounced to rhyme with bag.
The lights went down, and the band walked on the stage in robot fashion striking dramatic poses with each step. Phoebe was wearing a very high, sparkly tinsel wig which didn’t come off until the third song. We can attest to the fact that these things are not fashioned to be worn all night as they’re very hot and can make you very sweaty!
They performed mainly to pre-recorded backing tracks, taking turns singing, playing bass, keyboard and occasionally a shaker.
They launch into Watch Your Step with the opening lyric ‘Excuse me, I’m sorry, I think you’re standing on my foot’. It must be said that the foot in question was encased in a very striking neon green boot. Funky drums and bassline with a spoken word style of singing.
This is the kind of music that you can’t help but dance to and the crowd were certainly enjoying it. Next up was Skinny with the standout lyric being ‘I was born skinny but my hands are made of steel’.
Chiwawa was next on the set list, a more laid-back track which seemed to be about releasing your inner chiwawa (I’m assuming a chiwawa is the same as a chihuahua) although the lyrics are quite sexualised so who knows?
Meditations was the highlight of the set with the crowd joyously singing along to the opening phrase “What the fuck is going on, what the fuck is going on, what the fuck is going on”.
Any members of the audience who had been asking this question when the duo rocked onto the stage like a couple of Austin Powers Fembots were definitely on board at this stage. Bit of a samba beat to this one, but still very funky.
Before the final song of the set Melanie spoke about the fact the song was about stories from the tour and what happens on tour stays on tour… unless you write a song about it.
Good girl has a very fast beat but again has an almost spoken style of singing. It’s all about some guys that they ‘met’ while on tour, an American guy, a guy from the Netherlands and a French guy. Each one pretty much useless.
A fantastic set from Kill the Pain.
Nouvelle Vague is a French cover band who cover mainly punk songs in a Bossa Nova style. This show is part of their 20th anniversary tour and over the past 20 years they have featured several singers.
In tonights show the singers that are joining them are Marine Quemere and Alonya, who both appear on the album Should I Stay or Should I Go.
The opening song of the set is Love Will Tear Us Apart by Joy Division.
The stage is in darkness with only spotlights picking out the members of the band, Marine is singing this one, but she is in total darkness throughout the song.
The track is quite melancholic, but it’s very well known as it appeared on their first album and this version of the Joy Division classic was one that found them fame two decades ago.
Alonya joins Marine on stage to perform People Are People by Depeche Mode. The drummer was almost horizontal at times during this song but still managed to conduct the band, as he did throughout the whole set. As with Love Will Tear Us Apart this song has a real sense of melancholy and is sung beautifully.
Alonya is left on stage to sing the next song which is Only You by Yazoo. This one is much more upbeat and got a strong reaction from the audience who were loving it.
The singers swap and Marine takes charge of Making Plans for Nigel by XTC. This track goes back to the strong Bossa Nova style and features smooth lilting vocals by Marine.
The slow bouncing ska beat helps me realise she’s signing Girls on Film by Duran Duran. This song is probably the furthest from the original, but it’s delivered so well and is a fantastic cover.
Other mentionable tracks are; What I Like Most About You is Your Girlfriend by The Specials, Marian by The Sisters of Mercy, You Spin Me Round by Dead or Alive, Shout by Tears for Fears.
The stage is bathed in green light for the next song and once again the singers switch. Alonya stands in front of the mic while sounds of nature are played over swinging bongos and intricate bass. The song is A Forest by The Cure which starts out very subdued but during, what I think might be, a marimba solo Alonya dances frenetically.
Next up is the bands version of John Peel’s favourite song, Teenage Kicks by The Undertones. She asks the audience “Are we ready to have some fun?” which, to be fair they are, but this version gives the audience more of a middle aged shuffle than a teenage kick.
The tempo really goes up as Alonya and the band launch into Just Can’t Get Enough by Depeche Mode.
The audience are loving it and dancing along. It’s quite easy to spot which sections of the crowd support a certain football team as they chant along to the song.
This is the fourth song in a row that Alonya has been at the mic. A very different take on the Guns of Brixton by The Clash which has a bit of a Disney Villain feeling to it. You can really imagine this being sung by Cruella De Vil.
At this point it’s clear to see that the audience are reacting more to the songs from the bands first album. It also must be said that the singers have great voices, there’s nowhere for them to hide behind the music especially on the more stripped back songs. The band and singers are so tight and there’s not a single note out of place throughout the whole night.
Both singers take to the stage for the next song which is Too Drunk to Fuck by Dead Kennedys. The familiar beat kicks in and the audience has a great time singing along.
Marine and Alonya are joined on stage by Kill the Pain for their rendition of Friday Night Saturday Morning by The Specials which Phoebe sings most of.
The audience are enjoying it, but things are cranked up at the end when the song speeds up and takes a turn towards its ska origins and all four singers launch into a mini encore.
The band leave the stage but very quickly come back on for their first encore which takes us back to the bands roots and what they do best a version of Ever Fallen in Love with Someone by Buzzcocks, sung by Marine.
I think that Nouvelle Vague may have a real chance at doing the next Bond theme with their version of She’s in Parties by Bauhaus. Phoebe sings this one and she’s giving real strong Shirley Bassey vibes.
Quite possibly the best song of the night and further proof that any other singer can sing a Smiths song better than Morrissey. Melanie and the band make This Charming Man sound more like The Girl from Ipanema. Like a meeting of a Salford social club on Copacabana beach.
Marine takes over the microphone for the penultimate song and falsely tells the audience this is the last song. She breezes through I Melt With You by Modern English, the song that launched a million lounge version covers for use in car adverts.
Again, the band leave the stage but very quickly come back on for the final encore. The classic rhythm starts and we’re into In a Manner of Speaking by Tuxedomoon a rather strange choice of last song as it is very slow, however Alonya sings it so beautifully and so purely that the audience goes home happy.
In the dimly lit confines of Glasgow’s legendary King Tut’s, Edinburgh’s song writing duo No Windows offer a super twee and cutesy opening set this evening with lots of goofy between song jibes towards own another.
Their music is a delicate blend of low-Fi garage definitely for fans of tonight’s headliners Just Mustard.
Although they may still be in their teenage years their music is beyond their years. We enjoyed trucks “Shout”and “Eggshells” they will be back Headlining King Tut’s themselves towards the end of January so mark up your diary appropriately.
Next up this evening and becoming our fast favourites are Glasgow’s very own Humour. A band set for bigger things their music is witty, political and thunderously loud. So loud Infact I can feel my eyeballs shaking around my cranium. We absolutely adore the irreverent shrieking masterpiece that is ‘Halfwit’ and the emo caterwauling of ‘Yeah, Mud!”.
Just Mustard hail from Dundalk in Ireland and our romance with this band begun in lockdown when the closest thing to going to a gig was watching live sets on You Tube (large sigh).
We stumbled across their live set at STCstudios and were instantly hooked. The brand of heavy shoegaze, wall of sound sonic landscape, overlayed with the angelic disposition of vocalist Katie Bell makes for a beautiful but intense listening experience.
I have to admit, I was told they may have their first album 2018’s ‘Wednesday’ on sale at this show but alas it was not meant to be. I’ve been trying to find it for years. But the band boldly seem to be on tour without a single item of merch.
Shrouded in blue light the band amble on stage to rapturous applause and unleash a undulating tapestry that enraptured the audience, weaving through their set with a compelling blend of intensity and ethereality.
The evening kicked off with “Seven,” an entrancing opener that set the tone for the night, immediately immersing the crowd in the band’s atmospheric prowess.
David Noonan and Mete Kalyon’s layered guitars sing and soar beautifully in chaotic patterns that somehow compliment each other while the driving foundation of unrelenting bass of Rob Clarke, underpins each verse.
As the haunting echoes of “Seven” lingered, seamlessly transitioning into “Curtains,” the audience found themselves enveloped in the swirling melodies and lyrics.
Katie Bell is an enigmatic, fixed presence on stage, staunch yet serene at the same time she portrays the whispering intensity of Dot Allison whilst all around her the reverberation of noise seems to tremble off of the walls ofa packed out King Tuts.
Just Mustard’s ability to navigate between moments of haunting delicacy and explosive crescendos became evident, creating an emotional ebb and flow that resonated through the venue.
The transition to “Early” showcased the band’s versatility, with shimmering guitars and the delicate vocals of Katie Ball casting a hypnotic spell. The interplay between the instruments, notably the intertwining of guitarists David Noonan and Mete Kalyon, demonstrated a nuanced understanding of their craft, adding layers of complexity to their sound.
“Deaf” emerged as a sonic juggernaut, with thunderous drumming courtesy of Shane Maguire driving the song’s relentless momentum. The intensity was palpable, each beat resonating through the venue’s walls, creating an immersive experience that left an indelible mark on the audience. It was “Deaf” that made us fall in love with Just Mustard and finally getting to hear it live was absolutely stunning.
As the set progressed, the band delved into the dreamy textures of “Frank,” a track that showcased the otherworldly depth of Just Mustard’s palette. The juxtaposition of serene vocals against a backdrop of intricate instrumentals created a sense beauty, captivating the audience in a contemplative trance.
“Pigs” served as a dynamic pivot, injecting a dose of raw energy into the performance. The crowd responded with enthusiastic fervor, mirroring the band’s infectious onstage energy. The convergence of powerful vocals and pulsating rhythms underscored the band’s command of the stage, drawing the audience deeper into their cataclysmic journey.
“October” brought a moody atmosphere, with brooding basslines and evocative lyrics. Just Mustard’s ability to evoke a range of emotions was on full display, as the audience navigated the landscape shaped by the band’s meticulous craftsmanship.
The haunting strains of “Still” provided a moment of reflection, a respite that showcased the band’s capacity for subtlety. Katie Ball’s vocals soared, delivering a performance that resonated with both vulnerability and strength, leaving the audience in hushed tones.
Closing the set with “Seed,” Just Mustard unleashed a swirling crescendo, bringing the evening to a climactic end. The convergence of all the elements that define their sound — the intricate guitar work, pulsating rhythms, and evocative vocals — reached a zenith, leaving the crowd stumbling out into the cold November evening, ears ringing and hearts full.
The Irish quintet’s ability to seamlessly navigate between the delicate and the ferocious marks them as a formidable force in the contemporary music landscape, and their performance at King Tut’s solidified their place as purveyors of scuzzy guitar driven enchantment.
Baby Queen AKA Arabella Latham is the South African songstress by way of London, whose appearances supporting the likes of Olivia Rodrigo and cameos on Netflix’sHeartsopper have garnered her a faithful yet niche following.
She’s currently in tour promoting her debut album out today, “Quarter Life Crisis” an album that begun its life in lockdown and is now, after three years in the making, being delivered into the eager hands of her fans.
Known for speaking up against the toxic nature of social media, FOMO, drug abuse and everyday struggles with mental health it’s easy to see why she’s a natural advocate for Gen Z and the societal pressures they face.
The stage in St. Luke’s is daubed in a twee pink bedroom scene – used in her promotional videos, cute kitch ornaments are strewn across her keyboard and there is an impressive lighting arrangement in place for this evenings show.
Starting with the anthemic ‘Quarter Life Crisis,’ setting the tone for a fun night of grunge inspired pop music. With nods towards Garbage, Hole and the lyrical essence of Lilly Allen.
‘Dream Girl’ followed, showcasing her versatile vocals and lyrical depth, establishing a strong connection with the audience.
The energy surged with ‘Buzzkill,’ a track that seen Letham playfully take photos with the audience.
As the set progressed, the crowd’s enthusiasm peaked with ‘Want Me,’ an infectious blend of pop sensibility and rebellious spirit.
At various points in the evening Arabella can be seen wielding a guitar, playing her keys but one thing that detracts is what seems to be the use of pre-recorded material.
Closing the night on a high note, ‘We Can Be Anything’ resonated through the venue, leaving an indelible mark.
Baxter Dury for the uninitiated is the uber chic proprietor of funk driven, disco led spoken word, punk music.
He’s been producing music for over twenty years, with a glittering back catalogue that has seen him make contributions to painfully cool compilation series Super Discount to collaborating with the likes of Fred Again.
It’s safe to say Baxter Dury has etched his own unique style onto the British music scene. He’s very much always marched (or Judo chopped if tonight’s performance is anything to go by) to the beat of his own drum for a while now and it has only brought him and his music from one strength to the next.
Born to Ian Dury of Blockheads fame in 1971 it’s clear to see where his unabashed stage presence comes from.
Tonight’s sold out show at the QMU in Glasgow was a mesmerizing journey through his eclectic discography, filled with wit and charm.
Dury sauntered onto the stage with that nonchalant demeanor that’s almost obnoxious but oh so cool. He didn’t give a damn about expectations, and neither did the swathes of bodies crammed into the venue.
It was like he raided a ’70s thrift shop for his wardrobe, and I’m not complaining – stacked gold necklaces and copious hip thrust? Yes, please.
Opening with “Leak at the Disco,” he immediately set the tone for a night of infectious grooves and storytelling.
Madeline Hart on keys provides beautiful soaring harmonies, whose whispering allure is the perfect contrast to Dury’s gravelly rasp. It’s the perfect overlay that dulls the sharp edge to Dury’s delivery,
“Isabel” followed, and it was a sultry slow burn, a haunting ballad that showcased the unique vocal style. The audience hung on every word, and Dury’s stage presence was undeniable.
“Slumlord” was a gritty journey into the underbelly of city life. Dury didn’t just sing it; he embodied it. You felt like you were in the alleys and backstreets he was describing.
The transition to “Happy Soup” was seamless, and the audience was treated to a captivating rendition of this fan-favorite track.
As we delved into “It’s a Pleasure,” the atmosphere shifted to one of bouncy joy, with the crowd singing along with every word.
“Cocain Man” was a highlight, with its infectious rhythm section provided by Shaun Patterson and witty lyricism. All delivered with Dury prowling and stomping around on stage like caged beast.
The performance of “Prince of Tears” was deeply emotive, tugging at the heartstrings of everyone in the venue.
The night concluded with “Shadow,” leaving a lingering sense of nostalgia and longing.
A Baxter Dury show is never going to be your typical polished, cookie-cutter show. But if that’s the kind of thing that floats your boat we suggest you move swiftly along.
The swaggering poet of Ladbroke Grove has other things planned for you.
After leaving the scene with what it felt like a coming of age album “The Ceiling” and dropping a jewel like “Untitled” mid-journey circa 2021, which completely helped to redefine and replace the old for the new sound, Jaws came back with a much more progressive and oneiric sound with their last EP “If It Wasn’t For My Friends, Things Would Be Different”
As soon as we heard Jaws would be rolling into town to promote their newest EP our interest was piqued. As the band stepped on to the King Tut’s stage the revel of sound began with lots of pedal interactions, powerful drums and dreamy yet heartbroken vocals.
Jaws play their new EP in it’s entirety, the sound is a byproduct of a post pandemic world in which, if anything we became a lot more introspective and emotional but far more socially anxious and detached.
Their live performanceis proof of a well choreographed and rehearsed gig and the Glaswegian fan base, as the dedicated and fervent crowd they are, were able to sing most of their songs like a choir.
Absolute bangers like “Stay In” and “Sweat” got the masses moving but we were also gifted with “Be Kind“, a song for the soft hearted and the true romantics that truly immersed the private and cozy stage at King Tuts into a trance that almost tricked us into believing we were at a secret acoustic show.
Having been added to the press list for this show super late… 15 minutes before stage time, we had arrived into the subterranean basement of Stereo slightly bedraggled and on edge.
Leaving behind our friends casually sipping the golden nectar (whiskey) at Bon Accord to grab our shooting equipment and get to the venue we felt plunged into a parallel universe of purple hues and pretty glockenspiel sounds.
Despite some initial sound issues, (which seen Hendrik Weber talk nonchalantly about how music is a vibration that connects us all together – how fitting) Stereo played host to a night of electronic enchantment with Pantha Du Prince at the helm. In this intimate setting, tonight’s performance proved to be nothing short of an electronica alchemist, transforming sound into pure magic.
The night began I have to admit uncomfortably early considering the genre which would be more suited to a club night at The Berkeley Suite and to be honest the room began to fill up closer to 9pm. I feel the scheduling was a bit of considering the calibre of the performance.
As the crowd sauntered in the venue was filled with a subtle, almost ethereal hum, reverberating through the venue’s walls. Stereo’s eclectic crowd, a diverse mix of devoted fans and intrigued newcomers, leaned in, ready to embark on an auditory adventure. Pantha Du Prince, shrouded in an aura of mystique, stood before an array of synthesizers and electronic gadgets, poised to cast his sonic kaleidoscopic spell.
From the very first note of “Mother Drum” it was clear that this was an immersive journey into the depths of electronic soundscapes. Pantha Du Prince’s intricate melodies, punctuated by mesmerizing beats, enveloped the audience like a warm embrace.
The visual aspect of the performance was equally beguiling. An intricate dance of lights, shadows, and projections painted a vivid tapestry that mirrored the music’s ebb and flow. It was as if the visuals were choreographed to the notes, creating a mesmerizing fusion of sensory experiences.
Our twinkling favourite “Bohemian Forrest with its violin and marimba, seamlessly intertwined with minimal techno textures, infusing the music with an unmistakable human touch. This delicate balance showcased his artistic prowess, blurring the line between man and machine.
The zenith of the performance arrived with a crescendo of energy and emotion that came in the form of “Lay in a Shimmer” that left the crowd in awe. Pantha Du Prince’s connection with the audience was palpable, as if we were all participants in a shared ritual. Even if the night ended early doors.
St Luke’s provided an intimate setting for what feels like a bit of a homecoming performance by Wheatus, that allowed fans to get up close and personal with the band, creating a unique atmosphere of nostalgia and excitement. The energy in the room was palpable, and the band fed off it, giving a performance that will be remembered by stalwart fans for years to come.
Admittedly – a few eyebrows were raised when I mentioned to my friends that I was going to see Wheatus, a band that shot to fame soundtracking a ‘That film’ that really hasn’t aged well. A band whose music will unfortunately follow you around for the rest of your years with ‘Teenage Dirtbag’ being played at every wedding, Christmas and milestone birthday celebration known to man.
But this is a contentious issue I have with people who snub bands who write music that is comical. Can a band be satirical and still be good? For me the answer is a thousand times yes. In fact, if not more so. Why can’t music be tongue in cheek and still functionally sound?
Wheatus put on an electrifying performance that brought back the spirit of the early 2000s with a modern twist. The band, led by the charismatic Brendan B. Brown, delivered a high-energy show that had the crowd on their feet from start to finish.
This is a band that are proudly flipping the bird to pretence within music. “This is your night, you make the rules, fuck bands that have a set-list. Bands shouldn’t be allowed to make a set list. What do you want us to play Glasgow” And just like that Brown, establishes the tone for the evening. The audience are 100% in charge of what will be played, when and how.
From the moment they opened with “Hump & Dump” the audience was transported back in time to the days of scruffy hair, flannel shirts, and carefree youth. Brown’s vocals were as powerful as ever, and his interaction with the audience created an intimate connection that made the night feel like a reunion with old friends.
With Brown being the only remaining founding member of the band it appears that he has hand picked a group of individuals each with their own merit. Matthew Milligan is an accomplished bass player that lays down a funk-based backbone to their overall sound. For me percussion has always been the driving force behind the signature sound of Wheatus. Purveyor of all things snare and kick drum realeted, comes from new recruit KC Marotta – anyone that has 9+ cymbals and high hats in the mix means serious business.
With tracks like “BMX Bandits”, “Truffles” and “American in Amsterdam” the audience are treated to an eclectic mixture of the bands back catalogue. Although it’s been a hot minute since they have toured, the band’s musicianship was on full display, with tight guitar riffs and infectious melodies that had everyone singing along. The setlist was a mix of their classic hits and newer tracks, showcasing their evolution as a band while staying true to their roots.
After the audience have called out almost two hours of hand-picked favourites the set reaches its crescendo with – you guessed it; “Teenage Dirtbag”. As you can imagine the sold out crowd are singing along with great gusto. There is even an acapella moment thrown in while Brown happily watches the audience sing the chorus back to him while collecting a small stuffed animal a fan in the front row, who has brought in as a tribute.
With a set this strong and a performance that sparks so much joy and frivolity for the audience, I say to the naysayers, if this isn’t what music is about, unifying a collective and offering escapism through playfulness, then what is?
Opening proceedings tonight was Glasgow’s own diamond children Humour. We’ve been keeping an eye on this band for a few months now and this evening was our first foray into the enigmatic sound that Humour love to peddle. Dark, graveyard funk with plenty of distortion seems to be the order of the day. We loved the moody stomp on recent single ‘The Halfwit‘. Make moves and catch them ASAP.
Enigmatic and true to form Do Nothing at Glasgow’s iconic King Tut’s was nothing short of a post punk revelation. If music be the food of love, then Do Nothing served up a banquet of audacious soundscapes that left our hearts and ears ravenous for more.
I have to admit, when I heard the bands recent album ‘Snake Sideways’ it seemed to be a departure from the big energy of 2019’s ‘LeBron James’ a snarling juggernaut that firmly solidified the Nottingham band as ones to watch on the post punk scene. The bands recent long player still packs a distinctive punch but one that’s a bit more dreamscape and twee.
So tonight, then as the dimly lit stage came to life, the quartet erupted onto the scene with an energy that could rival a lightning storm over the Scottish Highlands, instantly dispelling any reservations I had, as the resounding bass notes rattled ever fibre in my being – or maybe I was too close to the speakers?
Frontman Chris Bailey, a veritable tornado of charisma, strutted onto the stage, his lanky frame dressed in an eccentric mishmash of besuited vintage threads that somehow coalesced into a fashion statement all its own.
The opening notes of ‘Gangs’ reverberated through the venue, and it was as if the ghost of post-punk had been summoned to inhabit the bodies of these young rock provocateurs. Bailey’s lyrics, dripping with wry social commentary and cynicism, cut through the air like a serrated knife through butter. His distinctive baritone delivered lines like “I’m so unimpressed with everything I’ve seen, so what does that make me?” with the conviction of a preacher delivering a sermon.
The rhythm section, consisting of bassist Charles Howarth and drummer Andrew Harrison, were the sturdy pillars upon which Do Nothing’s sky-scraping sound was built. They laid down a pulsating set that had the entire audience entranced, each thump of the bass and crack of the snare syncing with the collective heartbeat of the crowd.
Guitarist Kasper Sandstrøm’s fretwork was nothing short of spellbinding which is probably why he also plays with Divorce. His searing riffs and intricate melodies elevated songs like ‘Rolex‘ and ‘Sunshine State‘ to anthemic heights, prompting frenzied headbanging and wild cheers from the crowd.
In the intimate confines of King Tut’s, Do Nothing managed to create an atmosphere of electrifying intimacy. Between songs, Bailey engaged in witty banter with the audience, sharing anecdotes (like the time he was rubbing a gentleman’s arm on the ferry over from Dublin rather than petting his cute dog) and insights that made us feel like we were in on some esoteric joke that contrasted the societal disfunction around us.
As the set reached its climax with tracks like ‘Amoeba,’ and ‘Moving Target‘ the room crackled with an electric fervour that could have powered the city of Glasgow itself. Do Nothing’s performance was a heady cocktail of punk attitude, post-punk artistry, and a dash of irreverence that left us all feeling like we’d witnessed something truly special.
Unsurprisingly when ‘LeBron James‘ played as the penultimate track the room erupted into a toe tapping fist pumping pit of joy. With the final track being ‘Handshakes’ serving as a soothsaying lullaby with dreamy undertones, left the sold-out crowd emerging with wide eye and grinning.
If you ever have the chance to witness Do Nothing in the flesh, seize it without hesitation. They delivered a musical exorcism, expelling the mundane from our souls and leaving us exhilarated, transformed, and hungry for more.
The Golden Bough 