The Glad Cafe is always a fun place to be, and the addition of Haydn Park Patterson, aka Last Boy, as support for Jill Lorean was a lovely surprise. Haydn is best known as a founder and lead member of Glasgow’s new wave, post-punk, synth heroes Ninth Wave. Despite following their socials and buying their vinyl, I had never been in the right place at the right time to see them play live. What joy!
Tonight’s solo performance was both surprising and mesmerising.
A Tascam multi-track cassette player provided a heavy backdrop of sound and drone, to which affected guitar and evocative vocals were added. Haunting harmonies and Celtic DNA combined to deliver music that transports you elsewhere.
Over too soon and effortlessly beautiful—take any opportunity you get to see and listen to Last Boy.
I’ve never seen a gig quite like this one. Us Glaswegians (and one solo Canadian?) have been counting down the days. It’s a Sunday night at McChuills, and finally, the moment has arrived—a night of indie/electronic/cowbell/synth/Britpop sounds, humorous commentary, and PE shorts.
The stage appears more spacious than usual, as the band puts their trust in an almighty drum machine—undoubtedly to make room for all the galloping that takes place up there. A terrific tactic for enhanced performing! “BIG IN THE SUBURBS” is a huge hit, with the lead guitarist catapulting himself into the audience—something he seems to make a habit of. The band carries a sense of urgency, both sonically and physically, making them an exhilarating watch.
Although they’re relatively new—having released their first single, “ME AND YOUR MATES,” in May 2022—WELLY performs as if they’ve been touring for over a decade. This Brighton bunch is like gold dust in today’s musical world—think Sports Team meets Blur, with a hint of the ’80s.
The lead singer of Welly frequently chats with the audience between songs.
“Who took a gap year, then?” he asks.
“Me!” an audience member eagerly replies.
“Where did you go?”
“To college!”
“No, no, a gap year… as in a break from education.”
“Yeah, I took a gap year before university to go to college.”
Laughter erupts before they launch into “SOAK UP THE CULTURE,” a track dedicated to exploring time spent away from home—in the nicest way possible. This electrifying song boasts a repetitive chorus, making it brilliantly memorable and easy to sing along to.
A handful of my favorite Welly lyrics and songs:
• “My pockets must have holes ‘cause I don’t know where it all goes” – from “SHOPPING”
• “Don’t spend a lifetime looking for heaven when you can find it on the A27” – from “BIG IN THE SUBURBS”
• “Unpack your morals for Jack Kerouac’s novels” & “Posing for exposure on holiday in Cambodia” – both from “SOAK UP THE CULTURE”
Beyond their fantastic music, I have to highlight Welly’s authentic lyrical approach and their ability to create such a playful, uplifting atmosphere. It’s clear they’re just being themselves, and that authenticity shines through.
There’s no doubt this band is on an upward trajectory—they’re bound to skyrocket. Get a ticket to see them now while you still can, because they are going to be massive.
Their debut studio album drops at the end of March, and you can find upcoming tour dates here:
Jacob Alon is the kind of artist who could wring tears from Thom Yorke himself, if only because their music captures that perfect, painful sweet spot between melancholy and ecstasy—like Damian Rice, if he’d stopped sulking in a Dublin bedsit and started mainlining glitter.
Their latest single, “Liquid Gold” – yes, named after the poppers, because of course it is—is a shimmering, serotonin-spiked gut punch about the doomed pursuit of connection through the flickering ghost-lights of online dating. The tragedy of modern intimacy: fleeting, disposable, and yet, somehow, still desperately beautiful.
Alon takes to the stage in what can only be described as industrial fairy couture—bejewelled leather kilts, mesh tops, floral crowns, and glittery eyeshadow that looks like it was applied by Tinkerbell in Studio 54.
It’s giving Midsummer Night’s Dream meets Berlin warehouse rave, with just a dash of B&M Bargains bags with stage props haphazardly chucked towards the back of the stage. Raw, chaotic, and unapologetically real from start to finish.
And yet, beneath all that dazzling, delightful absurdity, there’s a voice—soft, unsteady, and utterly arresting. When they open with “Sertraline”, the room of 500Glaswegians—noisy, drink-slinging Glaswegians—falls so silent you could hear a phone vibrate (and we did later in the set) It’s a feat that even Yorke himself, patron saint of the Sad Lads, might struggle to pull off.
The setlist reads like a diary entry scrawled in eyeliner on the inside of a crushed-up Rizla packet. “Don’t Fall Asleep” is a song “about a horrible thing that happened and the nightmares it left behind,”Alon admits, with the kind of sincerity that makes you feel like they’re opening a wound just for you.
“Confession” is a heart-bruising swell of guitar harmonies and ghostly keys, a song that shimmers in the air before stabbing you straight in the chest.
Then, in a moment of absurd brilliance, they pivot into a cover of The Korgys’ “Everybody’s Gotta Learn Sometime” only reworked into a much filthier, much funnier “Everybody sucks and fucks sometimes.” It’s hard to get a room of weary, winter-battered Glaswegians to genuinely belly laugh on the last Friday of January, but Alon does it—because that’s what they do. They pull you in, gut you, and then wrap you back up in a tinfoil blanket of absurdity and joy.
There’s no encore. Because, as Alon says, encores are fake. Instead, they close with “Liquid Gold”, that glittering, tragic anthem to desperate connection, breathless pleasure, and the ever-widening gap between the two. A trumpet player emerges from the wings, Alon submits to the spit-and-sweat closeness of the moment, and we all watch an artist teetering on the edge of something truly magical.
The night wasn’t just about the music. It was about radical acceptance, about the queers and the outsiders and the fighters, about turning a Friday night gig into a full-throated “fuck you” to fascism. If there’s any justice, Jacob Alon won’t just break your heart—they’ll be filling rooms far bigger than this one in no time.
Have you ever been to one of those gigs that is so captivating and so all enthralling that you go home and end up playing your guitar until the early hours?
Arriving early, I was amazed to see that the venue was already half full and that the largely young crowd had already tightly packed out the front of stage areas. With such an air of excitement and lively chat, it was hard not to be engulfed by it. The night was only ever going to go one way.
Californian Punk Rockers Destroy Boys primarily came to Glasgow to promote their current album ‘Funeral Soundtrack #4’ but the night was much more than that.
We all know that the world is currently spinning off axis, like a Gyroscope in the last throws of stability and the pre-gig presentation by Extinction Rebellion Scotland and the presence of Youth Demand ensured that some serious topics of the day were addressed. In addition, the importance of mutual respect, awareness, empathy and activism were to be continual topics in the set. The age of Destroy Boys is often mentioned and yet tonight their maturity and positive live force is something to be celebrated amongst their much younger fan base.
‘Here we, here we, here we fucking go…’ started to be chanted as the house lights went down and Destroy Boys came on stage to an explosion of sound. Impossible to see anything, it was only when the red stage lights came on that you could see Violet Mayugba’s expression of total shock as she looked out at the gathered crowd….it was as if her breath had been taken away amazed at the enormity of support that she had just glimpsed.
As expected, the new songs feature heavily in a blistering set. The crowd loving every moment…at times too enthusiastically. Emotion busting songs such as ‘Cry Baby’, ‘Shadow’ and ‘K Street Walker’ results in some serious crowd surfing and yet, one of the main highlights is a stripped down version of ‘Boyfeel’, with Alexia Roditis, SG in hand and the crowd joining in. A final encore of ‘Fences’ sees the band leave on a sonic high with applause and gratitude being shared in all directions.
I’ve a feeling that the assembled crowd left tonights show with minds spinning, full of positive thoughts and ideas for the future.
If you haven’t had one of those after gig…go home and play the guitar nights…go and see Destroy Boys…and if you haven’t got a guitar…get one.
The magic of catching a band in the embryonic stages of a new year tour is a privilege, a shimmering snapshot of creativity unbound. No slick production polish, no festival-season preening—just raw, road-tested material. Tracks that may live a fleeting life, aired once under the dim, intimate lights of a venue and then lost forever to the cutting room floor. It’s music at its most alive, unpredictable, and vital.
And where better to experience this phenomenon than at McChuills, the beating heart of Glasgow’s east end? Not just another venue—no, McChuills is a cultural institution, its walls soaked in decades of passion and rebellion. A socialist dream turned sanctuary for misfits and mavens alike.
During Independent Venue Week, its role as a grassroots hub feels all the more poignant. Here, scenes are born, identities forged, and the waifs and strays of society find community. Tonight, the place is buzzing, packed to the rafters with everyone from rising stars like Walt Disco and Humour to the indie glitterati of Glasgow’s own underground.
This is where I finally—finally—got to catch Conscious Pilot, a band I’d shamefully missed despite friends singing their praises louder than a Mark E. Smith rant. Turns out, the hype was justified. If anyone’s still wondering if the spirit of indie sleaze is alive and well, let me confirm: it’s thriving. Frontman Joe (with the swagger of a cult leader) channels all the sneering, throaty brilliance of The Fall, while the jangling, knife-sharp guitars could have been pulled straight from The Rapture’s darkest corners.
Their track “My God Is So Angry” is a brooding, angular manifesto, a sonic Molotov cocktail that captures the anxiety and irony of modern discontent. “Kitchen Knife” goes in for the kill with dual vocals from Emmy also on lead guitar —a razor-sharp interplay of harmony and menace, underscored by guitars that cut like a stiletto heel on a sticky dance floor.
But it’s “Filthy Nite”, their closing number, that cements their place in the Glasgow canon. The crowd is a writhing mass of limbs and sweat, and you can’t help but feel this track will become a cult anthem—or at least a bittersweet memory for those lucky enough to have been there.
As the night deepens, Do Nothing saunter onto the stage. If Conscious Pilot are raw electricity, Do Nothing are a finely tuned engine, purring with purpose. Glasgow’s, a city that’s adopted them as one of its own, greets them like prodigal sons returned. From the first pulsing beats of “Happy Feet”, the band exudes an irresistible confidence.
Then there’s “LeBron James,” a track that turns the Acid Arch into a punk-disco cathedral. Lead singer Chris Bailey (whose tones are pure velvet, equal parts Morrissey and Bryan Ferry) prowls the stage, weaving between grinding basslines and searing synths. Guitarist Kasper Sandstorm cuts jagged riffs that skitter and soar, bassist Charles Howarth anchors the chaos with pulsing urgency, and drummer Andrew Harrison – oh, the drums!—provides a heartbeat that’s both feral and faultless. Together, they create a sound that is both nostalgic and futuristic, like Gang of Four beamed into a Blade Runner universe – if that universe was set in post recession Britain…
New tracks like “Yes” and “Stars” show a band unafraid to evolve, while fan favourites “New Life” and “Contraband” whip the room into a euphoric frenzy. There’s something profoundly tight about their performance—slick without losing edge, practiced but still pulsing with danger.
As the set wraps up, the crowd demands more. And Do Nothing oblige, returning for a two-track encore that feels less like a victory lap and more like a benediction. “Summer of Hate” is a swirling, angry anthem, and when the band closes with the razor-sharp, world-weary brilliance of “Handshakes,” it feels less like the end of a gig and more like the closing scene of a film you’ll never forget.
Here’s the thing: nights like this are why grassroots venues matter. They are the crucible of culture, the unpolished gems in a world increasingly smothered by algorithms and corporate sterility. Glasgow’s UNESCO City of Music status isn’t just a title; it’s a responsibility. McChuilles, and places like it, aren’t just venues—they’re lifelines. For the bands, for the fans, for the city itself. Long may they reign.
Ah, January—famously the month of broken resolutions, empty wallets, and grey skies. You’d think, in a city like Glasgow, where even the seagulls look like they’re frowning, people would be holed up in their flats, clinging to their last tenner like it’s a golden ticket. And yet, LeisureLand only went and sold out King Tut’s. That’s right—the hallowed ground that launched the likes of Oasis and Paolo Nutini was absolutely heaving. If selling out this venue in mid-January doesn’t scream “we’re onto something,” then I don’t know what does.
But before we dive into LeisureLand, let’s talk about their support act Vanderlye—a band so hypnotic, they should come with a health warning. Imagine Britpop in a leather jacket colliding with grunge that hasn’t washed its hair in a week, and you’ve got Vanderlye. Their set was a slow-burning bonfire, with “Guilty Lovers & Heartbreak Serenades” blazing brightest. It’s no wonder this track nabbed Single of the Year at the 2024 Unsigned Music Awards with over 9,000 nominations—though, let’s be honest, it probably only needed one listen to clinch it. “This Plastic Ego” was another standout—a snarky, snarling ode to self-destruction that felt like it could’ve been scrawled on a pub bathroom wall after a particularly bad breakup.
Unfortunately, just as Vanderlye announced their final track, “Romantic Anarchy,” the plug was pulled, leaving the audience muttering mutinous curses and glaring at their watches. You could tell people came just to see Vanderlye; they’d have happily rioted if someone handed them a pitchfork.
But all was forgiven the moment LeisureLand ( Adam Dolan – vocals, Connor McGeechan – bass/vocals, Scott Simpson -guitar/vocals, Reece Paul – guitar, Struan Battison – drums) swagger on stage. Their lead singer Adam Dolan strode out like he’d just won the lottery, the World Cup, and a free chippy supper all in one go. His grin alone could’ve powered the stage lights.
LeisureLand kicked off with two brand-new demos, “Just Like the Movies” and “Daydream”—tracks so fresh, they practically smelled of wet paint. They were warmly received, though the crowd still seemed to be defrosting. By the time “Suzie” rolled around, though, the place was a furnace. This track is a banger in the purest sense—like someone bottled the fizz of early Britpop and added a splash of George Ezra’s hummable choruses. Hearing it live was like seeing Sam Fender and Paolo Nutini in a fistfight, with The La’s acting as referee.
But it was the last two songs that really tipped the night into legendary territory. “Waster” turned King Tut’s into a cathartic free-for-all, with Dolan vaulting the barrier to sing with the front row, beaming like a kid who just got let loose in a pick-n-mix shop. Then came the final track, “Jamaica Street,” a love letter to Glasgow that had the crowd losing their minds. The floor was literally bouncing like it was about to take off, with pint glasses splashing and people dancing with wild abandon.
LeisureLand are a band who don’t just play gigs—they throw parties. Watching them felt like finding out about an underground rave before it hits the mainstream, except this rave is fronted by a singer with the raw, gravelly soul of Nutini and the cheeky swagger of Britpop’s golden era. If January is supposed to be dreary, someone forgot to tell LeisureLand—they’ve just lit a fire that’ll keep Glasgow warm well into Spring.
It’s a frosty January evening, the kind Glasgow excels at, but inside The Hug and Pint, it’s a different story. The place is packed, sweaty, and thrumming with anticipation as Fog Bandits take the stage. By the end of the night, one thing is clear: this is a band who know how to make noise, make friends, and make you question whether you’ve had enough electrolytes for this level of moshing…
The band stormed out with “I Want to Set the World on Fire”—an apt opener for a set that burned with energy from start to finish. If Queens of the Stone Age ever went drinking with Echo and the Bunnymen, Fog Bandits would be the resulting hangover soundtrack. The second track, “If I Could Love You,” had a grungy earnestness, the kind that makes you wonder, “Who even are these guys, and how are they this good?”
By the time they launched into “The Coven,” I was hooked. Think of it as a sonic witch’s brew—dark, brooding, and just a touch of 80s hair metal flair. It’s not a song so much as an incantation, conjuring heavy basslines and jagged riffs.
Speaking of bass, the fourth track “HOUNDS” delivered enough low-end punch to rattle your pint glass clean out of your hand. It was a masterclass in rhythmic dominance, the kind of groove that makes your knees involuntarily give out.
And then came “Take the Money and Run” with its underlying emo overtones. This is the kind of number that brings the crowd together in a sweaty embrace, with the lead singer egging us on like the Pied Piper of GWR.
Mid-set, the band teased us with an unreleased track (working title? Anyone?), prefaced by, “This one’s not out yet, but please bounce around to it.” And bounce we did.
But the real highlight—the pièce de résistance—was their utterly gaudy, gloriously trashy cover of Britney Spears’ “Toxic.” Imagine the original, but filtered through the lens of a band who love chaos and aren’t afraid to make the crowd go feral. Moshing to Britney? It was like Christmas had rolled around again.
By the halfway point, the lead singer, who clearly moonlights as Mick Jagger’s dance coach, announced: “We need a break, as this man here”—gesturing to an audience member glossy with sweat—“is sweaty as all hell.” It was a moment of pure Glaswegian camaraderie.
A slower number “Pretty Little Words” a Radiohead-esque lament—gave us a brief moment of pause as the melancholy bassline wrapped around us like a comforting gloom.
The set barreled toward its conclusion with the penultimate track, “Ready or Not,” and the closer, “Vile.” By this point, the Hug and Pint had reached fever pitch. The front row of moshers surged forward, and in an act of true rock and roll madness, the lead singer was hoisted into the crowd. As the bassist shouted, “Keep him!” the gig reached its chaotic, sweaty zenith.
There’s a rare, almost magical quality about a Fog Bandits gig: it feels like everyone in the room is part of the same gang. Strangers share knowing grins, drinks are spilled without malice, and the band plays like they’re performing for pals in their living room.
Musically, the Bandits deliver a heady cocktail of 70s hair metal swagger and 90s grunge grit. Tracks like “The Coven” ooze theatricality, while others (ahem, “Toxic”) scream, “We’re here for a laugh, too.” On Spotify, their recorded sound is tighter and more polished, but live? It’s raw, sweaty, and utterly electrifying.
Fog Bandits at The Hug and Pint was a riotous start to 2025. Equal parts sweaty mosh pit and swaggering snake-hip dance party, it was everything you could want from a gig. They left the crowd grinning, exhausted, and slightly concerned about the state of their shoes.
After playing Glasgow earlier in the year supporting The Hives’ tour, it was time for Bad Nerves to headline their own tour at the legendary King Tut’s.
UltraQ has been the support band for this tour, and as soon as lead singer Billie Danger started singing, there was a wave of recognition around the room. Billie Joe (of Green Day fame)’s son, with an unmistakably similar voice. They were a tight support band with an undeniable root in pop punk, but through the set, they bounced between a variety of genres. From the growling on Peace of Mind to the surfer rock vibes of Some Dice, there was something for everyone.
Before the show started, the security began going around the room hanging up “No Crowd Surfing” signs, which was a pretty good warning about the energy everyone was expecting to be brought tonight. “Here we fucking go” echoed around the room before the band even got to the stage, not dampening that expectation much. “The Ramones on crack” was being used to describe the band, and it was immediately accurate. The whole band was a bundle of energy from the start with Baby Drummer and Palace, and the crowd matched them with a mosh pit forming in a way that doesn’t happen too often in Tut’s. Lead singer Bobby Nerves is effortlessly cool, and while the comment “I knew this was going to be a good crowd” was predictable, the beaming grin on his face made it clear it was a genuine sentiment.
Much like their often-referenced influence, the Ramones, the songs flowed smoothly from one into another. There weren’t a lot of breaks for the band or crowd, nor, like the support band, much experimenting across genres. But when everyone was clearly enjoying themselves that much, why change something that works so well? The punk rock influences would have been worn on sleeves, but of course, they were mostly all in vests.
After a lengthy and sweaty set, everyone was granted a brief respite before the encore as they finished with You’ve Got the Nerve, Can’t Be Mine and Dreaming. Those three songs alone made it clear that getting a ticket to this show—as Bobby Nerves informed everyone earlier, “the fastest sellout of the tour”—was pretty lucky. When Bad Nerves are back in Glasgow, it is almost certain to be in a much bigger venue.
Glasgow’s subterranean sanctuary for sweat and sound, Stereo, bore witness to the triumphant, cacophonous finale of Doss’sEuropean tour. A night where DIY ethos met the debauched fervor of rock ‘n’ roll, and out Glaswegian mother tongue was wielded like an epistle of streetwise colloquialisms—a shield against pretension and a cudgel for satire.
Doss, a band as controversial as they are beloved, have become synonymous with the DIY scene. They don’t just play it; they are it—its lifeblood coursing through their snarling riffs and relentless rhythms tonight the crowd felt less like fans and more like kin.
The night began with Comfort, Glasgow’s very own answer to Sylvester—if Sylvester had a punk streak and a loop machine. Sean and Natalie, queer punk electro-clash champions, armed themselves with thumping drums and acerbic wit. Tracks like “Real Woman” and “Not Passing” were hypnotic, sweaty tirades against conformity that transformed the floor into a joyous, ecstatic battlefield. A sister-brother duo with wit woven into their DNA—an amuse-bouche for the anarchy that was about to follow…
Then came Doss: Sorley Mackay, Brodie Mackay, Chilton Fawcett, and Mark Black—each a vital organ in this Frankenstein’s monster of a band. The Mackay brothers are a rhythm and vocal section so tight it’s like they’ve spent their entire lives finishing each other’s sandwiches (well the likely have). Chilton’s drumming is an exercise in controlled chaos—he can stop a song on a dime or obliterate it entirely with the weight of his kit. Sorley, on guitar , brings a snarling groove that seems to simmer with Glaswegian defiance.
Mark Black’s bass playing? Filthy. Crunchy. Like an electric eel writhing in the Clyde. And oh, to be a fly on the wall at the Black family’s Christmas dinner table—comedian Paul Black is Mark’s brother who also seems to have the comedy gene in his bones too. Surely a table laden with both banter and barbs.
Then there’s Brodie, backing vocals with a sneer that could cut steel and a voice that could resurrect the dead—though only to mosh them back into the grave.
From the opening notes of “Dirty Fuckers”—a vitriolic manifesto aimed squarely at the promoters who plague the DIY scene—the room became a heaving, moshing mess. This is Doss at their peak: venomous, incendiary, but never losing their sharp wit.
Tracks like “Redundant” followed, a wry look at social dynamics that sounds like Gang of Four fighting The Jesus and Mary Chain in an abandoned car park. “King of the Castle” was a riotous standout—a sonic reimagining of Scottish playground chants, delivered with such menace you half-expected someone to square-go the sound tech.
The band’s infamous “The Mullets Are Moving In”—a scathing satire on gentrification—elicited guttural roars from the crowd. It’s equal parts biting social commentary and unhinged anthem, proving once again that Doss are both Glasgow’s chroniclers and part of its collective conscience.
By the time “Concrete Cowboy” swaggered in, with its twangy, noirish edge, the pipes of Stereo were dripping condensation, the air thick with the stench of spilled lager and triumph. The penultimate track, “Lungs,” has an almost saccharine sweet guitar riff that eventually becomes a screaming blister of distortion.
Finally the band treated the audience to a second pass at “The Mullets are Moving In” that was so blistering that the band played it twice for sheer laughs, an act of cheek that sent bodies crowd-surfing faster than you could say, “Mon doon tae the front.”
Between tracks, Sorley a moment to address the crowd with a heartfelt, expletive-laden thank-you: “Youse got us out a black hole when we got our gear nicked. This started in my room as a wee silly project, and now look at it, so good to see so many of you out!” A sentiment that landed as heavily as any bass drop, reminding everyone why Doss trey stand out in their own,
Doss closed the night not with a whimper, but with a roar. Their songs, part punk diatribe, part Glaswegian gospel, had turned the basement of Stereo into a molten pit of unity. By the time the last chord reverberated through the room, the crowd looked like they’d survived a small earthquake rather than a gig.
In a scene awash with pretenders, Doss stands alone, bloodied but unbowed. And last night, they cemented their legacy as Glasgow’s DIY darlings and perhaps Scotlands loudest export.
If there’s one thing Glasgow does well, it’s big, sweaty nights of chaotic energy wrapped in glorious guitar riffs. Tonight’s show is like a festive night out/homecoming for some of our home city’s best new talent as Dead Pony took to the QMU the stage with a ferocity that had the sold-out crowd bouncing off the walls.
First up was Soapbox, despite some early lineup changes, their current roster – Vocals – Tom Rowan Drums – Jenna Nimmo Guitar – Angus Husbands Bass – Aidan Bowskill– packs a punch that could knock out a lion . Their bass-heavy track “Yer Dah” was an early highlight, with frontperson Rowan’s unmistakably Glaswegian baritone cutting through the room like a razor-sharp wit in a pub argument.
Soapbox wear their influences on their sleeves, blending the raw power of The Specials with a dose of DMA’s chaos – it’s like a musical cocktail mixed by a mad bartender. Their politically-charged anthem “Fascist Bob” was a particular standout, a snarling, bear of a track that stomped through the set like a drunk uncle on Hogmanay. Soapbox are tipped for big things, so don’t miss them when they headline The Garage on April 25th.
Next up, Gallus reminded everyone why they’re one of Glasgow’s finest exports since Irn-Bru. Frontman Barry Dolan couldn’t seem to stay on the stage, instead spending most of his set moshing, wailing, and sweating it out in the crowd’s sweaty embrace. Their latest single “Depressed Beyond Tablets” is the musical equivalent of caffeine and chaos – a high-energy meal deal of ska-infused swagger and punk rock grit.
Gallus’s sound ranges from Sports Team to Wunderhorse with tracks like “Looking a Mess” and “Fireflies” proving they’ve got range as well as riffs. Make sure to catch their headline gig at the Oran Mor on April 18th, and prepare to dance, scream, and possibly lose a shoe.
By the time Dead Pony hit the stage, the crowd was absolutely feral – in the best way. Opening with “Ignore This,” they made it clear that months of touring hadn’t dulled their edge one bit. Lead singer Anna Sheilds beamed ear-to-ear as she confessed it had been a lifelong dream to play the QMU, let alone sell it out. The band’s energy was infectious, with tracks like “About Love” and “Rainbows” showcasing a versatility that ranged from angsty punk to dreamy alt-rock.
Dead Pony’s influences are easy to spot – there’s a bit of Paramore’s emotional punch, a splash of Wolf Alice’s grungy cool, and enough Glasgow grit to keep them utterly unique. The band played a tight set and all brought something special to the table, from thunderous drums to guitar riffs sharp enough to cut through the thick Glasgow air.
One of the night’s most memorable moments came when Sheild’s somehow convinced the entire audience to zealously perform the Macarena during “Bad Girlfriend.” It was a weird, wonderful, and uniquely Dead Pony moment.
The night snowballed towards its dramatic culmination that included; “Everything Burns” and “Cobra,” but the real magic happened during their cover of Limp Bizkit’s “Break Stuff.” Inviting members of both Soapbox and Gallus on stage, it was a chaotic, joyous mess of a performance that felt like the perfect summation of the night.
Closing with fan-favorite “Mana,” Dead Pony cemented their place as one of the most exciting live acts on the scene. If last night was anything to go by, their next gigs will sell out even faster – so grab a ticket and prepare to lose your voice.
The Golden Bough 