King Tut's

The Little Kicks – King Tut’s Summer Nights

Live music, Music Review

In March of 2017 Aberdeen’s The Little Kicks released one of the year’s best albums, Shake Off Your Troubles. The record is perfectly mixed giving equal space to moody synths, shiny guitars and evocative harmonies, while drums and bass oscillate between buoyant and restrained with precision, sonically defying line after line of hauntingly honest and vulnerable lyrics. The band are renowned for their irresistible incarnation of melodic indie rock with a mature disco twist. Delivering on such a meticulous studio sound can present a challenge at times, trying to balance the intricacies of performance against the unknown variables of a live setting. Yet without much fanfare The Little Kicks seem to have mastered both studio and stage over the last few years, consistently proving to be the most enjoyable band on a club or festival line-up. Having graciously stolen much of the limelight when they last played Tut’s for 2018’s New Year’s Revolution festival back in January, they return to the iconic venue to headline as part of its Summer Night’s series.

With each band on the night contributing just 30 minutes of music, impressions are limited. The first of 3 supports is First Tiger, a band from Glasgow who draw on wide ranging influences to produce an equally diverse, thoughtful and full-bodied style of Scottish indie pop music. There’s a hint of southern rock – but think more early Kings of Leon than Lynyrd Skynyrd – it’s a little off the mainstream with some added late night vibes. It’s pleasing to see a good turn out from the outset, and especially to see different members of the audience singing along with their respective favourites.

Second support Zoe Graham is an outstanding songwriter, guitarist and front person. Sometimes flying solo with keyboard and loop pedal in tow, on this occasion she is a 4-piece ensemble and making the most of it. Blending catchy melodies with some jazzy accompaniment and her unique economy of words, Zoe captivates her audience with lucid musings on suburban life with friends and lovers. Hacket & Knackered is a polished, upbeat number that finds both crowd and band grooving away under the same spell.

Bringing just a touch of glam to proceedings, the charismatic Hamish Swanson leads The Vignettes through a high energy, bass-driven set of witty disco punk songs (formerly new wave; see Adam Ant, Squeeze etc) without ever really taking time to breathe. They raise the tempo and temperature in the room before flitting away like a handful of burnt out sparklers, leaving their indelible mark on the night.

When The Little Kicks take to the stage there’s no time to spare, no time for chat, they dive straight in the deep end with the eerily beautiful Before We Were Friends, the synth-heavy dance outro to their last album. Steven Milne is in fine form, his vocals hover sweetly above waves of chiming guitar, occasionally soaring to heights Robert Smith would envy. Don’t Get Made, Get Even features one of the most beautifully melodic bass lines you’re likely to hear this side of 1979, with sun-drenched harmonies lifted straight out of Laurel Canyon to match. The crowd is seduced by the guitar-soaked charm of heavyweight Bang The Drum Slowly and are completely entranced by the pulsating You And Someone Like Me. It is dance music, after all, why would anyone resist?! Closing the set, as they do, with Heartbreak Pts 1 & 2, the band are called back for a final song and give a breathtaking and tender rendition of Heartbreak Pt 3 (Hold On), stripped down to just 1 guitar and 3 voices. In only 30 minutes they’ve managed to showcase a generation of pop music, giving a masterclass in songwriting, through their undeniable talent and dedication both as composers and performers. 30 minutes is such a tease but for devoted fans and those just discovering their music, it’s better than nothing. In fact it’s better than just about anything a Thursday night in Glasgow could offer.

Gengahr – King Tut’s

Live music, Music Review

On a dreary Monday night in April Gengahr bring warmth and vibrancy to King Tut’s and, with two equally effervescent bands playing before them, the intimate crowd is treated to a steamy night on the dancefloor.

It’s not customary to talk up support bands but tonight is one of those rare nights of extraordinary value and every act is out to make the best impression. Indigo Husk bound onto the stage like children to a waterslide. Dressed as a bunch of early 90s skater punks they masquerade behind an air of casual inadequacy and slacker cool. But they’re actually brilliant! Energetic and technically proficient with a swag of clever upbeat tunes, delivered with an irresistible vigour and enthusiasm.

Low Island are a more politely polished but no less enjoyable outfit. Tidy drums and guitars layer over dense bass lines. At times it becomes a little synth-heavy but they really know how to work it, countering with passive vocal melodies that are almost too ambient to be lyrical. Lead singer Carlos Posada possess an effortless falsetto of enviable clarity that sparkles and illuminates their lush sonic landscape gently like a fine crescent moon. Hypnotic single The Whole World Tucked Away leads into Holding It Down effectively closing out the set just as it gets going.

Showing appreciation with all the energy they can muster this late on a Monday night, the crowd welcomes Gengahr like old friends. Both band and audience are in the groove right from the outset, which is never fully indie rock nor disco, but stands somewhere eternally sunny between the two. Bright, jangly guitars fall side by side with slick melodies and lyrics, at once delicate and beautiful as on the unfortunately titled Fill My Gums With Blood, becoming progressively more harsh and distorted. It’s a nice performance but something is missing; as the applause ends quickly after each song there’s an awkward pause as if some interaction is expected but never materialises. The songs alone are delightful and mostly joyous but the lack of banter renders the set a bit flat by the end of the evening. Even still, no-one can dispute the quality of the music and the band’s passion for playing it. Where Wildness Grows is simply stunning and would have been a satisfactory finale, had the band not wanted to play an encore. Instead the rough and raucous Carrion sends punters on their way into the night and back to the less inspiring reality of cool, spring rain.

Is This How You Love?

Heroine

I’ll Be Waiting

Bathed In Light

Before Sunrise

Embers

Dark Star

Pull Over (Now)

Mallory

Burning Air

Fill My Gums With Blood

She’s A Witch

Where Wildness  Grows

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Carrion

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.