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.
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.
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.
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.
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.
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 GanniTop (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.
To prepare for International Womens Day we are at the Rum Shack in Glasgow joining Concious Pilot and Bikini Body as they play the last homecoming shows of their joint UK tour following the release of their joint single Kitchen Teeth (Conscious PIlot) and The News (Bikini Body)
CEEFAX are a supporting tonight, a 4 piece from Glasgow, playing some new material with a changed line up for the first time, its a dreamy and reflective sound with lead singers Siobhan’s keys and vocals front and centre. It’s a set that builds up from a quiet start into a strong performance and a band that we will surely see more of.
Edinburgh 5 peice Bikini Body are up next, Kicking off with “Daily Mail” then “Chivas Dunhills Coke”, its funky satirical post punk, like if Yard Act started singing angrily about weight loss pills. Its more than enough to get the crowd dancing in between their anecdotes of todays visit to Hadrians Wall and they end the set with the appropriately named banger “Mr Tinnitus“.
Last up are local based Conscious Pilot who start with “My God is so Angry”. It’s also post punk but with a surprisingly american sound. The punchy bass and deep vocals giving off Pixies and Nick Cave vibes. By the time we are ready for “Back on the farm” and “Snake in my Boot” we are firmly in Montana. Its not all Americana though “Kitchen Knife” and “Ronnie” (yes, the snooker player) bring some surrealism and funk to match up the vibe with their touring partners before ending on the thrashing noise of “Filth Night” and “Modern Religion”.
As I look up at the iconic Barrowland sign, with its exploding stars, my mind rewinds to early 2004 and the moment I first heard Franz Ferdinand’s Take Me Out—a moment that stopped me in my tracks. A real OMG, what have I just heard? moment. I wasn’t living in Glasgow then, but fast forward twenty-one years, and here I am—and here they are.
With a career spanning six albums and continued global success, tonight’s sold-out show marks the final night of Franz Ferdinand’s UK/EU tour. After an incredible appearance on Radio 2’s Piano Room and hot on the heels of the release of The Human Fear, there is genuine excitement and animated chatter in the hugely diverse crowd.
As the band strolls out, the venue erupts. Alex smiles broadly, arms outstretched as if greeting an old friend. The energy and chemistry between the band and audience are instant, creating an incredibly charged atmosphere that is unleashed as they launch into Bar Lonely, followed by the classic, timeless groove of The Dark of the Matinée.
This is Franz Ferdinand at their best—on home turf, delivering their music as they always have: with verve, intensity, and panache. They may still carry the “art school” tag, but there is so much more to them. Their attention to detail—both musically and visually—is impossible to ignore. The 25-song set flies by in an instant, filled with moments of pure joy between the band and crowd. Michael is played with such ferocity that it bites, and Take Me Out sees band and audience leaping into the air en masse, singing in unison.
Tonight was everything you thought it would be. Everything you hoped it would be.
Tonight, all of those exploding Barrowland stars aligned.
An absolutely joyous hometown show—just a stone’s throw from where it all began all those years ago.
Ah, Chalk… if you’ve bumped into me since November then the likelihood of me sporting my Chalk T-shirt and giving you a quick debrief on how utterly fantastic this band are live is probably very high!
The first time I encountered these Belfast bruisers, it was courtesy of a well-informed friend who suggested we get down early for Sprints to catch them opening the show. Dutifully, I arrived, lager in hand, fully expecting the usual support-band shuffle—earnest but forgettable. Instead, what I got was a full-body baptism in bass frequencies that left me somewhere between spiritually moved and in need of a defibrillator.
Fast forward to tonight, and Chalk are back in Glasgow, ready to kick off their Conditions tour, celebrating the final chapter of their EP trilogy. Any self-respecting band these days has to have a trilogy—if Star Wars gets one, why not some men in black making post-punk for the disaffected youth? But unlike George Lucas, Chalk actually got better as they went along.
Opening tonight’s show was noteworthy Makeshift Art Bar. You know when you see a support band and think, “They’re gonna be massive in a few years?” That was the vibe. The Belfast four-piece take to the stage with all the nervous energy of a school assembly before quickly morphing into something thrillingly defiant. The frontman is a wiry ball of tension, equal parts Ian Curtis and someone about to start a bar fight over existential philosophy. Jangly, moody, but with an undercurrent of danger, they carve out a sound that’s jagged, raw, and compulsively watchable. Their latest single, Bedwetter, sends ripples through the crowd—half bemused, half exhilarated—as if no one was quite prepared for just how good this lot are. Testament, then, to Belfast’s uncanny ability to produce bands that could soundtrack the apocalypse.
Lazy journalism will tell you that Chalk sound like Idles, in the same way that lazy journalism once tried to convince us that Kasabian sounded like Primal Scream (they didn’t). Yes, both bands have guitars, volume, and the ability to make sweaty men flail their limbs in a barely controlled frenzy—but while Idles deliver a kind of beer-swilling group therapy session, Chalk sound like they’ve locked themselves in a nuclear bunker with nothing but a drum machine and a deep-seated sense of existential dread. It’s techno-punk, sure, but with the industrial menace of early Nine Inch Nails and the hypnotic relentlessness of Underworld. If Idles are shouting at the pub landlord about the price of a pint, Chalk are lurking in the corner, whispering something sinister that makes you want to check your bank account for fraudulent transactions.
They arrive on stage not with a bang, but with a brooding cinematic tension—Leipzig 87 swelling ominously as the crowd collectively holds its breath. And then—BANG. From the first onslaught of noise, it’s clear this first night of the bands headline tour is a celebrating of what they have been striving for over the past few years as a band. It’s a subterranean rave where the DJ has been replaced by a man exorcising his demons through a distortion pedal.
Ross Cullen, looking suspiciously fresh-faced in a sparkly top, prowls the stage like a malfunctioning android before launching himself into the crowd, where he proceeds to deliver his guttural prose from the belly of the audience. At various points, he is crawling on the floor, punching the stage, or perched atop the crush barrier, as if possessed by some techno-punk poltergeist. The energy is unmatched—part feral, part meticulously calculated chaos.
Stand out tracks of the evening were; Static – A relentless, body-shaking assault of dark synths and hammering percussion. Feels like being trapped in a strobe-lit Berlin basement, the walls pulsing in time with your impending nervous breakdown.
Bliss – A rare moment of beauty amidst the noise, like watching a city burn from a safe distance. Vulnerable, cinematic, and still carrying that weighty, industrial menace.
Asking – A brutalist masterpiece. The sonic equivalent of a concrete high-rise collapsing in slow motion, all tension and release, thudding bass and piercing, distorted vocals.
Tell Me – Personal favourite alert. This one slithers and builds, an eerie synth undercurrent giving way to a punishingly loud crescendo. It’s like a Depeche Mode track that got lost in the seediest corners of Berghain.
Midway through the set, Chalk road-test some new material—three untitled tracks, still classified as if they were state secrets. The first, in particular, stands out—a swirling, cinematic piece that feels like the Never Ending Story theme, but as remixed for a 4AM warehouse rave in East Berlin. If this is a taste of the next chapter, the Conditions trilogy may have been just the warm-up act.
And then, just as suddenly as it began, it’s over. “This is our last song. No encores,”Ross declares before launching into Conditions—a song that somehow manages to be dreamy, vulnerable, and absolutely devastating all at once. It’s a farewell that leaves your ears ringing and the entire audience keen for more, the musical equivalent of being dumped via an incredibly poetic text message.
Chalk are on tour in the UK and Europe until April, and if you have even the vaguest interest in hearing what the inside of a dystopian nightclub feels like, go. Because soon, these lads will be playing venues where the beer is £9 a pint and the bouncers have earpieces. And when that happens, you’ll wish you’d seen them in a sweat-drenched basement while you still had the chance…
Tonight’s support comes in the shape of the svelte and effortlessly debonair Cosmic Crooner. Wearing a wide-lapelled, flared trouser suit, imagine a young Alain Delon mixed with Nick Cave—then add a little Serge Gainsbourg stardust, and there you have it. A soft, velvet-coated soundtrack transports you to another time and place. Close your eyes, and you could be in an open-top car on La Grande Corniche, the sun beating down and cicadas chirping.
Moving effortlessly across the stage, engaging with the crowd in an almost tongue-in-cheek fashion, the Cosmic Crooner is instantly captivating and utterly addictive. A short yet beautifully cinematic set of songs and moments—each one drawing you in, making you connect and smile.
Since emerging in 2017, Mattiel has continued on her genre-defying journey. She is an ever-evolving and multi-layered artist, difficult to pin down—certainly musically. Since moving from Atlanta, Georgia, to Firenze, Italy, she has developed into a solo artist, spearheading her own path. Tonight sees her performing to a packed and expectant Glasgow crowd who probably aren’t entirely sure what to expect. There’s some chatter that Mattiel has “gone country,” likely due to her most recent Nashville-recorded release.
What happens next is as unexpected as it is surprising. A dazzling and distinctly non-country version of Baby Brother from her first album ignites the set, reimagined so dramatically that it takes me a moment to recognise it. It is brilliantly assured and serenely confident, delivered with a swagger more Beastie Boys than you could ever have imagined—reminiscent of Mattiel’s cover of Looking Down the Barrel of a Gun. As the night progresses, a truly reverent audience witnesses a blistering performance, featuring a string of elegantly crafted new songs: Heartbreak Heatwave, Fine to Die, Victim for My Love. The themes are more direct, more personal, and the vibrato in her voice has been replaced with a clarity and razor-sharp fragility that allow the songs to shine. Her voice remains as pure and hauntingly timeless as ever, and with Laurence Hammerton on guitar, this is the perfect package.
Mattiel has seamlessly grown into her role as a solo artist. Having seen her live several times, it’s clear she has gained confidence and ability. Touring with Jack White, Tame Impala, and Jeff Goldblum’sMildred Snitzer Orchestra has certainly helped her learn the ropes and receive any necessary validation. Work on the new album is well underway, and based on tonight’s performance, it promises to be magnificent. There’s a line in one of the new songs that goes something like, “I’m a professional at hide and seek.” As an artist who improves year on year, Mattiel holds a lot of jokers in her back pocket, and I’m sure she has a few aces up her sleeve. I can’t wait to see what her next move is. Whatever you do—expect the unexpected….
The Golden Bough 