Music Review

Fenne Lily – Stereo

Live music, Music Review

On a mellow and melancholy Friday 13th at Stereo, Fenne Lily took to the stage to give a live rendition of her debut album, On Hold, released a week earlier. The fresh-faced songwriter has been growing a reputation over the last couple of years for her delicate vocal delivery and intensely vulnerable lyrics. Her brutal, direct and openly self-deprecating onstage banter is also, somehow, a highlight of any show. Fenne Lily is a performer who brings everything into the moment; she is witty, honest and hyper-attentive in a way that engages her with every member of her audience at once. For as much as her set is rehearsed and professional, the whole occasion feels incredibly intimate, personal and unique, on a much smaller scale than the actual experience. It’s a bit like hanging with your new best friend for the first time.

Two supports in Millie and Alexander Alexander test the crowd’s attentiveness, with the latter drawing complete silence as he steps away from the microphone, relying entirely on the acoustics of the concrete bunker that is Stereo’s basement venue. The exercise goes exceptionally well and several bleak songs pass calmly before the headliner is politely welcomed on stage.

Fenne Lily’s set mostly follows the running order of her album, interspersed with small introductions to each song. The theme is fairly consistent though; relationships and expectations. You get the impression from these songs that Fenne is someone who has been a bit too generous with her emotional investment and suffered some harsh consequences. Yet in contrast to the sombre tone and vaguely dark details of songs like The Hand You Deal and More Than You Know Fenne comes across as quite relaxed, even if not entirely comfortable in her own skin. Her voice and guitar naturally dominate the room with the subtlest of accompaniment from her band. Credit to Dan and Joe, on drums and bass respectively, their restraint is an asset to the performance and while their contribution is simplistic at times the overall effect is grand. There’s nothing excessive, not a word or note is wasted. It’s just enough. Fleshed out with a cover of Angel Olsen’s Unfuck The World, the set concludes with an explanation of encore etiquette and album closer For A While as Fenne ducks comically behind a pillar on stage. She returns to the microphone momentarily for an emphatic solo performance of Top To Toe, and a brand new song Like That Man, that leaves a trademark bittersweetness lingering over her audience. Her disarming smile and charisma is so likeable you can only wish her well, but with sad songs this beautiful you almost hope her luck won’t turn. Almost.

Field Music – St Luke’s

Live music, Music Review

Like the turning of an old fashioned wind-up toy, there’s a kind of humble anticipation that precedes the first outburst of genius from Field Music; you know it’s coming, there’s a tension in the air. Still it strikes you with stunning velocity, a bubbling polyphony of cosmic sounds storming over a clinical backbeat. It’s hard to believe there are only 8 people on stage, such is the immense intricacy and variety of noises they create. The band is a self-contained orchestra performing uplifting and progressive pop music so exact in its conception that they feel the need to apologise repeatedly for their errors, however unnoticeable. But in the band’s own words “them that do nothing make no mistakes” and Saturday night in Glasgow is all the better for their efforts, flawed or otherwise.

There’s an elated ‘whoop’ from the crowd as cracking lead single Count It Up, from the latest album Open Here, begins. With pithy self-awareness David Brewis spins privilege and positivism superbly. Radio-friendly Disappointed receives a similarly spirited response from the audience but it’s clear throughout that fans aren’t only here for the easy listening. In an instant everything is angular; there’s racing, jolting piano and wirey bass synth. A cacophony of percussive clicks, pops, tings and shuffles lay out cross-rhythms too precise to be mere happenstance and yet the atmosphere remains one of spontaneity and surprise. Intense flute flourishes from Sarah Hayes compete periodically with waves of Pete Fraser’s wild saxophone. And subversive lyrical undercurrents delivered through the Brewis brothers’ signature short phrases are a testament to their wit and humour, as much as to their musical intelligence. Instruments are always changing between the two leads, with each displaying equal aptitude for drums and guitar whilst singing. That’s not to say the music is too irregular for comfort; there are persistent grooves, steady beats and meticulous bass lines. It’s just always interesting and never boring.

Each song offers a glimpse into the world of its composer. No King No Princess addresses gender stereotyping and equality through the tender eyes of a parent. It’s more fun than it sounds thanks largely to the joyous addition of Liz Corney’s voice. The banter is top notch too; tongue in cheek comments about the rugby have the crowd on side but there is genuine praise and gratitude to the venue and audience for being so lovely and warm on an otherwise very chilly St Patrick’s Day night. Not only are Field Music obscenely clever musicians, they’re also nice guys. The show concludes with an unplanned 2-song encore, one each from David and Peter in the interest of “fraternal equality”. The whole evening is a monumental delight to the very last note, credited to the rare alchemy of this incredibly talented collective; perfect despite their imperfections.

Time In Joy

Them That Do Nothing

Count It Up

Disappointed

A House Is Not A Home

Goodbye To The Country

Let’s Write A Book

Checking On A Message

The Noisy Days Are Over

Share A Pillow

No King No Princess

How Many More Times?

Just Like Everyone Else

Stay Awake

(I Keep Thinking About) A New Thing

It’s Not The Only Way To Feel Happy

C2C: Country To Country – SSE Hydro

Festivals, Live music, Music Review

C2C: Country to Country returned to Glasgow this year, bigger than ever, finding a new home at the SSE Hydro. Previous events had taken place across the way in the SEC Armadillo but such is the reach of country music in the UK now that only the biggest venues can facilitate a line-up like this one. With 3 stages running throughout the weekend, Scottish fans were shown the full spectrum of what passes for country music in 2018, showcasing local and international talents through a carefully curated programme of rising stars and number 1 hit-makers through to bona fide legends of the genre. Compered by BBC Radio Scotland presenter and resident country music aficionado Ricky Ross, the 3-day festival  provided the city with yet another world class cultural event.

Friday

Taking to the main stage first up, the highly anticipated debut of Midland was met with huge enthusiasm from the crowd, as if they were already a headline act. Performing songs from their recent album On The Rocks they needed little encouragement to get the party started; their retro country rock sound paired with tight harmonies and ZZ Top-esque stage antics was exciting to witness and songs like Altitude Adjustment  and Make A Little had people dancing out of their seats. Drinking Problem saw many pints and fists raised in celebration.

On the Spotlight Stage at the back of the arena Lukas Nelson was warmed by the affection of the crowd and delivered one of the highlight performances of the weekend in response. Despite initial sound issues from the tiny platform, his 3-song set with just guitar and a singularly resonant voice captivated the audience in hushed awe.

Backed by a 5-piece band Margo Price built on her performance song by song, leading with latest album opener Don’t Say It she flowed through the range of her songwriting with a graceful command of the stage. Whether jamming it out behind the drum kit on Cocaine Cowboys or flying solo at the piano for the achingly good All American Made, her energy was 100% concentrated on delivering her best performance. A fun and furious cover of Proud Mary closed the set on a massive high.

In contrast to the main stage whirlwind Ashley Campbell centred a stunningly understated performance, a distant satellite elevated amidst the expectant audience. Dedicating her brief set to her father she began with a delicate medley of some of his best-loved songs. Bringing a flood of emotion to the surface for so many fans, she followed it with her own touching tribute Remembering. A heart of stone could not resist breaking at her exquisite voice and playing. She is a tremendous asset to country music and a credit to her family.

Outside the arena at the Acoustic Stage James Edwyn without his Borrowed Band mates was providing some great original tunes and top banter for those assembled in the pop-up record store and adjacent bar. Although fairly low key the standard of performances on this stage was as good as anything you’d hope to see at a bigger show.

While the fresh talent was trying to make an impression this weekend Emmylou Harris glowed with mature professionalism and calming restraint. She demonstrates strength in her delivery, good humour and vibrancy, that allows her songs to stand alone. Her voice remains blissfully clear, even over a full band, and her words evoke wide-eyed nostalgia, as much for the landscape and lifestyle she depicts, as for the tradition of music she embodies. In the live setting all music is equal and the crowd reacts to every song like it’s their favourite. The Pearl could have easily ended the night but for one final act.

Little Big Town took up the challenge of following a living legend; no small feat, but they are no small band. With 8 albums worth of material to choose from they put together something of a ‘greatest hits’ selection to fill their headline slot, and fill it they did. There wasn’t much time for chat, there was mention of shopping and very little else, but the set moved seamlessly between big hits and ballads, sing-along pop songs and old style country foot stompers. Little Big Town have come a long way, musically, from where they started out nearly 2 decades ago but still at the core of their sound is a dynamic 4-part harmony that equips them well for filling out large arenas. Taking time during Little White Church to move among the crowd, they made their way onto the Spotlight Stage where they performed a stripped back set that really emphasised the calibre of their voices. The crowd swelled around the tiny stage as the band conjured an incredible intimacy with their attentive audience, bringing “the living room out here”. The spell wasn’t broken when they returned to the main stage either. Better Man and Can’t Go Back ascend and hang in the air with potent majesty before they’re rumbled by Tornado and Day Drinking.  When Boondocks comes to an end the room is exhausted but satisfied.

Saturday

Saturday saw the largest attendance over the weekend as co-headliners Faith Hill and Tim McGraw played only their first ever show in Scotland, part of their Soul2Soul world tour. Saturday brought out further subtle variations in the realm of country music, also pleasing a wider audience. Ryan Kinder and Morgan Evans each delivered rousing sets on the Spotlight Stage; the former with his soulful melodies and “Sass Squad” backing vocalists, and the latter with his “American band” loop pedal. Evans introduced and endeared himself with 2 hefty sing-alongs including the catchy single Kiss Somebody and crowd favourite Young Again. It was hard not to be charmed by his effervescent smile and sweetly optimistic lyrics.

Over on the main stage Brett Young turned on a show that saw many in the crowd up standing for the duration. Piano-lead ballad Mercy showed a tender side to the young Californian while Sleep Without You set the bounce right for Old Dominion to follow with their R&B infused twangy pop sound. Featuring songs from their latest release Happy Endings the set was loaded with chunky distorted guitar solos and boisterous choruses. Album opener No Such Thing as a Broken Heart “feels really good to sing as loud as you can” lead vocalist Matthew Ramsey assured the audience and so they obliged with many merry voices. Never taking their audience for granted the band made every effort to engage, with Ramsey abandoning the stage at one point to run high-fives across the front row. It was the kind of priceless performance you want to see at every festival, when a band sees they have everything to gain, and everything to lose, so they deliver with inspired tenacity.

Katee Kross provided sweet respite over at the Acoustic Stage for anyone needing to catch their breath. Her direct and heartfelt songwriting has already set her on a path to stardom and her refreshing Johnny Cash medley only furthered her reputation as an imaginative and entertaining performer.

Sparkling from head to toe and positively beaming, Kelsea Ballerini took to the main stage with the excited energy of a pantomime hero. She wasted no time laying out her arsenal of hit singles, willing the audience to sing along with irrepressible enthusiasm. The young star took her role of warm-up act very seriously, working the stage constantly to connect with as many fans as possible. “Faith Hill let me borrow her curling iron yesterday so I think we’re friends now” she declared at one point, clearly elated to be part of the same line-up. Although there were moments when her voice seemed overwhelmed by the band, songs like In Between and I Hate Love Songs, from her latest album Unapologetically, were given space and balance and really stood out.

When the moment finally arrived for headliners Faith Hill and Tim McGraw to emerge the atmosphere in the arena had shifted with so much anticipation, it was like another entire gig was about to start. Sure enough the Faith and Tim show lasted a solid 2 hours with hit after hit after hit. The Scottish fans who had waited so long to see this couple play here could only revel in the performance they were given. A cover of I Knew You Were Waiting (For Me) opened the set as the pair took opposing positions on stage. They were rarely close, but for theatrical effect, yet they somehow owned the space between them, bonded despite the distance. On Like We Never Loved At All McGraw’s voice is almost indistinguishable from Hill’s, their innate harmony blending into one powerful sound. Break First provided another exquisite moment between them and as the show continued their strongest performances happened when they came together. Hill took the first half delivering some of her biggest pop country hits like This Kiss, Breathe and The Way You Love Me, even venturing right back to her very early years with Wild One. Putting everything behind her voice to rise above the very loud (10-piece!) band left her sounding strained and breathless so when McGraw returned for his lead it was almost a relief. Picking up the baton for traditional country he showed the crowd exactly how he earned his place at the top, giving as lively a performance as anyone half his age. And he had fun, pausing to absorb the energy of the audience between phrases, smiling eternally, signing autographs without missing a beat. He is a peerless professional in this arena. Humble and Kind and Live Like You Were Dying elicited almighty applause. As if more was required the couple closed out their performance with a spotlit duet of I Need You into a single microphone. Silence occupied the room as if a vacuum has consumed the audience right to the final note, the crowd errupting once more as the royal couple of country left the stage hand-in-hand.

Sunday

The final night of C2C: Country to Country was, for many fans, a crowd-splitter. While the previous 2 nights had walked a fairly thin line around mainstream country, Sunday’s line-up was a real stretch and showed a huge diversity of sounds. Lizzie Reid brought a quirky folk side to the Acoustic Stage while Catherine McGrath proved that Brits could do hook-driven country just as well as their American contemporaries. A heady blend of Appalachian folk and southern rock on the Spotlight stage gave just a taste of what Delta Rae could bring to a live show. On the brighter side A Long and Happy Life left a saccharine sweetness on the palate that could only be countered by the dark, brooding harmonies of Bottom of the River.

Luke Combs opened the main stage with his big and bashful country rock. Drinking with the boys, playing music, watching football, and inevitable heartbreak – it’s that kind of country – delivered with youthful directness by a guy with a drink in his hand; very convincing. Honky Tonk Highway, Let the Moonshine and Hurricane got the crowd fired up. It was fun, it was loud, it was early Sunday night.

With a huge following already Kip Moore joined the party with his feel good drinking anthem Beer Money and immediately had the arena behind him. His husky tone and driving guitar on recent album opener Plead the Fifth suggests he is a far more matured songwriter and performer now, and the way he kept the audience hanging on his every note of Pretty Little Girl and Guitar Man is further evidence to that. It was more than just entertainment.

The return of Sugarland after a 5 year hiatus provided the perfect buffer in Sunday’s line-up. An equally joyous contrast to all that came before and all that would follow, Jennifer Nettles and Kristian Bush were on top form, adding unassailable flair, glamour and soul into the mix. Nettles’ rendition of Stay was arguably the highlight, but mainly because it came at the end of a set where every song was as good as the last.

It would have been near impossible to top Sugarland, except by being nothing like Sugarland. Gratefully, Kacey Musgraves is nothing like Sugarland. And unlike any other headlining artist at the festival, rather than playing the ‘best of’ her catalogue, she used her set to showcase songs from her forthcoming 3rd album Golden Hour, not released until the end of the month. It was a bold move, even for a Grammy winning artist, yet it proved to be just what the night needed. Musgraves was completely herself; raw, poetic, sensitive and down-to-earth, she radiated from beneath her sparkly exterior. Older songs Silver Lining and It Is What It Is pulled at the heartstrings but it was the likes of Space Cowboy and the breathtaking Rainbow, with simple piano accompaniment on the Spotlight Stage, that were the real gut-punchers. In case Follow Your Arrow wasn’t a jubilant enough conclusion to the event, Musgraves returned for an encore that pushed right to the boundaries of country, finishing with the disco-infused number High Horse, which featured confetti cannons and giant luminous balls bouncing into the audience. It was an accomplished performance by the young artist; honest, funny, warm and uplifting. Very modern and very country.

First Aid Kit – O2 Academy Glasgow

Live music, Music Review

Klara and Johanna SÓ§derberg are a powerful pair; as songwriters they have crafted some of the finest radio-friendly folk pop songs of the last decade, and as vocalists the force of their pitch-perfect familial harmonies is beyond compare. Having sold out most of their ‘Ruins’ UK tour dates months in advance, the anticipation of this first show couldn’t have been higher.

Opening for First Aid Kit on their dates across North America, LA’s wonderful Van William brings his warm up act to Europe, playing a brief but jubilant set of delightfully honest, reflective, upbeat pop songs. The beautiful heart-on-sleeve lyricism of Cosmic Sign and Never Had Enough Of You are stand out moments for their simplicity and directness as much as for their catchy melodies and pleasant harmonies. It’s a tidy sound; positive energy, without sounding saccharine. He’s definitely one to watch.

Emerging onto a darkened stage, lit only by an ominous red heartbeat projection, the band are welcomed with an intensity rarely felt in modern audiences. Warming into the environment with new songs Rebel Heart and It’s A Shame, the sisters endear themselves to their adoring Scottish fans by talking up their love of Irn Bru and congratulating the nation on its Calcutta Cup win mere hours before the show. Drawing one of the loudest receptions of the night from this, the band launches into a rousing King Of The World.

It’s a richly sensuous performance by the Swedes; visuals imbued with wanderlust, yearning, sentimentality and cosmic solitude accompany a set that pulls heavily on the heartstrings. Tender acoustic moments give way to fierce rock manoeuvres. At one point Johanna is down on bended knee thumping away at her bass, in another instant both SÓ§derbergs are flanking the drum kit and thrashing tambourines. Emotions swing from bitterness and anger as Klara addresses the recent global media attention shift to issues around sexual harassment, victim blaming and rape culture. The explosive delivery of You Are The Problem Here may have a few people shifting uncomfortably in their seats but that’s entirely the point. Johanna brings the focus back to the personal but no less universal struggles of “loneliness and desperation and how to live a life”.

Tinted by overwhelming sadness at times, there is also great euphoria and release among these songs with the glorious crowd singalong on Emmylou epitomising the joy that the song itself celebrates; a love of singing in harmony and a -sometimes latent – fondness for country music. The set closes, as the latest album does, with the flawless Nothing Has To Be True as white noise washes over a spellbound crowd. Within a few short minutes rapturous applause brings the sisters back on stage for a four-song encore which includes a collaboration with their tour support and “best friend” Van William on his song Revolution. After an hour and forty minutes pouring their hearts out before two and half thousand people My Silver Lining ends the show. First Aid Kit finally take their leave, acknowledging a standing ovation in the balcony, blowing kisses, smiling, waving and bowing gracefully as they go.

Sam Fender – The Garage Attic Bar

Live music, Music Review

Sam Fender may be only 5 singles into his recording career but he’s already a veteran touring artist, having supported the likes of Bear’s Den, Daughter, George Ezra and Ben Howard over the last few years. 2018 finally sees him heading out on his first ever headline tour in the UK and it should come as no surprise to anyone that he’s really good live. Really good!

Support for this tour comes in the form of fellow gritty northern singer songwriter Brooke Bentham. Her songs are brutally direct and affecting, her voice gentle with an underlying richness that lends itself to soaring expression. The dynamic plays and intimate lyrics keep at least those in front of the stage captivated, while a majority of rowdy punters at the back have no idea what beauty they’re missing.

The crowd has almost doubled in size by the time Sam Fender and his band pick up their instruments and the energy shift in the room is tangible. The set kicks off with fast-paced tongue-in-cheek anthem Millennial but without much space to jump around band and audience are forced to face off against each other and embrace the intensity of the moment.

Like Bentham, Fender’s lyrics speak straight to the issue, whether it be social inequality, political frustration, mindless celebrity culture or some dark hometown heartbreak, the emotion is raw without hyperbole or embellishment. “Let’s learn to talk without the fear of being heard” he calls on Start Again, a rousing cry for youth empowerment. Similarly straightforward, his music is exactly everything it needs to be, bold, balanced and especially infectious. There are hints of War On Drugs, Real Estate and even U2 in the guitar sounds but it’s in Fender’s warm, soulful voice that his true magic lies. A single microphone is all that’s needed to get these songs across and Fender is an almost prodigious vocalist; power, control and maturity in delivery are skills he’s already mastered at such a young age.

The set is tight with minimal chat, the occasional tuning struggle, and no hint of an expectant encore. Fender delivers a solid 11 songs in around 40 minutes. He introduces the final song of the night, Play God, the single that launched his most successful professional year so far, with genuine incredulity and humility.

As well as being longlisted for the BBC’s Sound of 2018, Sam Fender has been popping up on “Ones To Watch” lists all over the music media in recent months, and from this performance it’s not hard to see what all the fuss is about.

Natalie Imbruglia – Oran Mor

Live music, Music Review
Natalie Imbruglia on stage in Glasgow

Last year Natalie Imbruglia enjoyed her acoustic tour so much she set out to do it all again in 2018, visiting cities and venues she hadn’t reached with the previous shows. The Australian-born singer toured Europe extensively in celebration of the 20 years since the release of her debut album Left Of The Middle. The first of two Scottish dates landed her in Glasgow, a city and audience she particularly enjoys. The feeling is clearly mutual as the 550 capacity venue is sold out with punters still looking for tickets only hours before the gig.

Italian singer-songwriter Kiol delivers more than adequate entertainment as support for this tour. His songs, a combination of jaunty folk-pop and hard-strummed, upbeat earworms, are delivered with the hunger and joy of an A-grade busker. Playing mostly songs from his 2017 EP I Come As I Am he offers himself to a new audience, describing how he was introduced to folk music in Ireland and worked with members of Paolo Nutini’s band on his recent single Hard Things. His charm is enough to get the crowd clapping and singing along for more than just the odd chorus (Broken Up Again is a particular highlight) and he leaves the stage with a big smile on his face, after the obligatory “Look I’m on stage” photo is done.

Imbruglia’s set opens with her 3-piece band taking to the stage moments before she emerges, shimmering in sheer black with gold sequins, and that iconic wide-eyed, dimpled smile. She appears as radiant as ever and is met with enormous enthusiasm so that the first lines of Wrong Impression are drowned out by applause. Surrounded by fairy lights and vintage lamps, the band appear cosy and at ease. “I want to bring you into my world a little” Imbruglia explains of her setting, “…it looks just like my lounge room”. Indeed it is beautifully intimate and unfortunately some fans get a little too relaxed, chatting away constantly as if the performance on stage is somehow aside to their evening’s entertainment. She draws them back in though, time and again, with her unwavering eye-contact, playful dance moves and of course, irresistible songs.

Her voice has a huskiness to it but the notes and words are delivered with absolute clarity and precision. She lets out a belter on Counting Down The Days at full voice and for just a few seconds you think this might be it, the moment of elevation, but sadly it doesn’t last and she returns to a gentle delivery. Early songs like Beauty On The Fire and Pigeons And Crumbs work this to their advantage and, of the latter, the singer muses on the transportative quality of music to draw you back to a very specific time and place. It’s true; these songs do have a certain tone and energy about them, lyrically, from a time when pop music could be intellectual, emotive and catchy all at once, without feeling contrived or insincere. This is especially apparent when Imbruglia invites her long-term songwriting collaborator and Scottish musical legend, Gary Clark, to perform one of their songs Butterflies from 2001’s White Lilies Island. Born out of Imbruglia’s “angst” phase, followed soon after by the lead single That Day from the same album, these songs are heavy on words that encapsulate coming-of-age naivety and romantic anxieties. Looking at the singer today you could almost forget how long ago these songs were written, or how young she was when she penned them; her performance is timeless and the integrity of the emotions is buoyed by the quality of her voice, even if the urgency of That Day is lacking slightly for the sake of breathing.

The set winds toward a natural ending with big singles Shiver, crowd favourite Smoke, and Torn before finishing with a cover of Daft Punk’s Instant Crush from her last album, 2015’s Male, which has fans singing along and dancing in spite of the acoustic beats from the cajon. Not getting away without an encore, the band returns to the stage for 2 final songs, the spirited and optimistic Intuition and venomous hit Big Mistake.

This isn’t a nostalgia tour. It’s a varied set showcasing some of the finer moments in pop from the turn of the century but unmistakeable at the fore, always, is that voice, as classic as the pop songs themselves.

Lord Huron – Leeds Beckett University

Live music, Music Review

It’s been 2 years since Lord Huron last graced our shores. Their sophomore album, Strange Trails, was released in April 2015 and brought them for multiple rounds of touring throughout Europe that year. Since then the band have been hanging Stateside and for at least the last 12 months they’ve been keeping a fairly low profile. Not that they’re the kind of band to be choking up social media channels with incessant updates from the studio or tour bus anyway, but there’s the suspicion that this radio silence is a deliberate prelude to some big news. It’s coming. Since reaching the UK last week the band have posted 2 teaser videos online, hinting at what’s on the horizon, and at these recent shows frontman Ben Schneider confirms;  they’ve recorded a new album. There is much anticipation and, given the elaborate worlds constructed around the band’s two previous albums, the expectation for their next release is pretty big. A tour of this scale still comes as a bit of a surprise however, especially falling outside of the album cycle; since the tour was announced nearly all UK shows have been upgraded to venues twice the original capacity, almost as soon as they were on sale. In Leeds the show was scheduled for the Brudenell Social Club, where the band have performed previously, but instead takes place in the 1100 capacity Student Union complex at Leeds Beckett University. And it’s essentially sold out. Without the promise of new material or any promotional exercises the band have grown a massive new following and a load of hype.

There’s a queue down the block when doors open and security are quick to get folk in out of the cold. It’s been a snowy day across the city and eager fans are keen to claim a spot at the front. The venue is already well packed when the opening act arrive.

London band Flyte provide support for all European dates on this tour and you could hardly imagine a better opener. Their wonderful debut LP, The Loved Ones, is a modern classic in every sense, awash with glorious 4-part harmonies, swirling guitars and heart-wrenching lyrics. On record they’ve drawn comparisons to the 20th century’s finest songwriters but in the live arena they really deliver on the promise of that talent. Their a capella rendition of Alvvays’  Archie, Marry Me easily rivals the original and is, in all honesty, a bit of a showstopper for first-time listeners. Beyond that the cleverly crafted Cathy Come Home sounds like a youthful ELO, with creative energy to spare while the undeniable melancholy of Victoria Falls is soon forgotten beneath layers of lush vocals and synth. Band leader Will Taylor is affable in his Britishness, without being overly self-deprecating, he charms the audience while encouraging merchandise sales. Their set closes almost too soon with the Macartney-esque single Faithless, all piano ballad and soaring harmonies, leaving the crowd in a heightened state of emotion.

Lord Huron are renowned for their energetic live performances and from the first stamp of Ben Schneider’s boot it is on! Dark afterlife tale The World Ender has the crowd shimmying from the outset, followed by the ethereal Meet Me In The Woods quickly reminding everyone what makes this band so special. Not only are their songs filled with vivid landscapes, engaging characters and graphic, emotional narratives, they’re also really catchy and really danceable. It’s 3 such generous songs before we’re introduced to any new material, but it’s well worth the wait then. The new songs have an edgier feel, not that Lord Huron’s music is so easy to define but the new sound definitely suggests a heavier rock influence than previously. The live band has expanded to a six piece too, that fills out the stage in front a geometric light display – the same lighting design as seen in the recent teaser videos. The songs certainly benefit from this expanded production; dreamy, drifting new song Wait By The River flows gracefully into an interlude of birdsong and the delicately alluring tone of The Birds Are Singing At Night.

The room fades for a while. There’s more birdsong, then theramin, then more new music. The spell is finally broken as the band winds up into the atmospheric crowd favourite Time To Run. Dancing erupts and there’s singing along too. The jangly guitars are too irresistible. The band are clearly loving playing together and that joyful energy sustains through the elaborate finale of The Stranger. There’s enormous applause as the band leave the stage and eventually they’re welcomed back for an expectant encore. The mirrorball at front of stage finally gets its moment, shining brilliantly over all the broken hearts in the crowd, in the loudest singalong of the evening, the achingly beautiful waltz of regret The Night We Met. The audience aren’t left to dwell on this moment for long as the show closes with an ever more lively performance of hit Fool For Love. The band leave once again and bereavement sets in. Still no word on when this new album will materialise and after this early, unexpected run of shows fans can only guess when they’ll get another chance to see Lord Huron live again. Fingers crossed for an announcement any day now!

Set list

The World Ender

Meet Me In The Woods

Hurricane (Johnnie’s Theme)

Never Ever

Ends Of The Earth

Dead Man’s Hand

Wait By The River

The Birds Are Singing At Night

Way Out There

Ancient Names

Time To Run

Ghost On The Shore

She Lit A Fire

The Stranger

­­­­___________

The Night We Met

Fool For Love

Boohoohoo – King Tut’s New Year’s Revolution

Live music, Music Review

Another January night, another round of musical discovery at King Tut’s New Year’s Revolution. Tonight’s line-up features a decidedly danceable set of bands from across Scotland’s cities, each with their own take on upbeat anthemic pop.

Indie rock outfit Oh Jay start the night on a bit of a downer, announcing that this will be their last show together, but with that weight off they’re out for a good time. A punchy set of Courteeners-inspired guitar-driven melodies goes down well with the early crowd and their job as “warm up act” is over and done in a flash.

By contrast Noah Noah present like a band on the up and up. If you’re in the market for a new favourite band – and if you’re at Tut’s at this time of year, chances are you might be – Noah Noah are one to check out. Between the infectious chorus of Cannibal Calling, the synth pop perfection of Thick As Thieves, the high sweetness of Fraser Fulton’s voice and vivid beauty of Lesley Wilson’s trumpet on latest single Everest, there is enough energy in this band to power a festival main stage. Brushing off technical issues at the beginning of the set they play with the intensity of a headline act delivering prettier-than-your-average Scottish electro rock songs.

The Little Kicks have just come off a grand 2017 which saw the release of their 4th LP, Shake Off Your Troubles, back in March. It was well received by critics and fans alike, featuring on many end of year lists on radio and in the press. They toured throughout the year in support of the album, with festival performances across Scotland and even an Amnesty International house concert with Fatherson, Prides and The National. There’s no time to reflect on any of that tonight however, with only 30 minutes to showcase themselves it’s a case of “shut up and play the hits”. 4 singles from the latest album and the catchy Girl from the previous record, the band are sounding as polished as ever; musically they’re rarely less than perfect. On Goodbye Enemies, Hello Friends the simplicity of the four piece band really draws a spotlight onto the vocals, particularly the swelling harmonies of Adam Morris and Andrew Corse. There are times too when the music takes centre stage, as on the back half of epic closer Heartbreak Pts. 1 & 2 which starts out with Steven Milne’s gentle vocal melody and delicate piano, before growing into an all out dance assault that the audience finds utterly irresistible. Hard to believe the night isn’t yet over when The Little Kicks walk offstage to a rousing ovation.

It would be fair to say then that any of the bands on tonight’s bill could have headlined this event. Nevertheless Boohoohoo have generated a load of hype over the last 12 months or so with the release of their Debuthoohoo  EP and single Fire released by local indie music champions Last Night From Glasgow. Their set opens with the dual vocals of Ricky Richardson and Liz Kyoko powering through kinky disco number Now Is The Season. Banter centres around the band’s need to dance off their festive excesses as they storm through the first half of their set, easing only to catch their breath during a tender rendition of Cyndi Lauper’s Time After Time. From there on it’s full steam ahead as the band and their audience become further ensnared by the funky bass, beats and flute. The dancefloor becomes busier and bumpier, and the singalongs ever more impassioned until the band declares they are spent and everyone is sent on their sweaty way, out into the weekend.

Awkward Family Portraits – King Tut’s New Year’s Revolution

Live music, Music Review

For many in Glasgow this King Tut’s New Year’s Revolution marks the beginning of their new musical year of discovery while for others it’s simply a reason to get out of the house during the long nights of winter. Whatever the motivation KTNYR has become a staple of the Scottish musical calendar and 2018 marks the 8th successive year it has run. The 16-day festival programme promises to deliver the best emerging talent in the country where punters can “uncover their favourite new band” and sample the freshest sounds on the scene, night after night after night. 4 acts every night at an average ticket price of £8 is a bargain for music fans; the festival’s Golden Ticket is incredible value, allowing entry to every gig for those with the stamina.

This year the opening night features 4 young acts, each picking their own path out of the Scottish folk camp, and draws a sizable crowd of all ages, reflecting the diversity of sounds on offer.

First up, easing us into proceedings is Montrose singer-songwriter Rhona Macfarlane, whose emotional and reflective storytelling casts a gentle spell over her audience. Her brief set features songs from recent EP The Tide with plaintive vocals and darkly mellow guitar being lifted by elegant cello and viola accompaniment.

Kicking the night up a level in both tempo and volume is the trad-influenced collective The Hur. While their traditional and folk music backgrounds are evident in duelling fiddle and flute ornamentation the underlying songs, upbeat with catchy choruses and strong harmonies, are essentially pop music. Their song craft is distinctly that of musicians raised in the Scottish and Irish folk tradition with leanings towards contemporary indie-folk acts like Dante, Woodenbox, State Broadcasters and early Washington Irving. They’re happy to credit their inspirations too, squeezing a Bon Iver cover in between original songs while demonstrating a blend of musicianship and stage confidence that endears the audience and has them clapping and stomping along at all the right moments. Their latest single Against The Light closes the set with great momentum.

While The Hur present as a band eager to impress and grow their reputation as an energetic live act, the follow up performance by Hugh Kearns is as understated as talent can get. The gifted multi-instrumentalist and songwriter delivers his music with a calm confidence that is often portrayed by more mature artists. Beginning his set as a bluesy one-man-band, it’s the introduction of his sister, Lily, on guitar and vocals that allows him to step up to the piano and really showcase the strength of his songwriting. The honky tonk and jazz elements of his playing shine through here, giving his songs an authentic country flavour and exhibiting a scholastic appreciation for roots music that should be embraced by Americana audiences everywhere. His choice of cover, John Prine’s Angel From Montgomery, tells you the kind of songwriter Hugh Kearns aspires to be, and performances like tonight ‘s suggest he’s on the right path.

The opening night headliners, Awkward Family Portraits, have come a long way in the last 12 months after kicking off 2017 with a support slot at KTNYR. For such a young band (they celebrated their first birthday just back in August) their character is well defined. It’s an unexpected sound from such fresh-faced players; elements of swing, vaudeville, hillbilly and skiffle come together through a quaint collection of songs, delivered with sincerity and relentless enthusiasm. Latest single Shoulder Biting Joe is a creepy little number that plods along beneath Julen Santamaria’s brooding narrative. The bulk of the set keeps a cracking pace, easing only slightly for duet Cold which gives due attention to Millie Kidd’s divine harmony. The combination of Kidd’s steady drumming and Andrew Herrington’s flawless bass plucking keeps the night rolling and the crowd moving. There’s dancing from start to finish and plenty of smiles going round, especially on stage. There’s no doubting the band and audience are enjoying themselves; the audible disappointment as the house lights at last come on is a fair indication. It’s been a brilliant start to the musical year at Tut’s, as promised. Has anyone uncovered their favourite new band tonight? Almost certainly.