February, 2012

It’s miserable tonight in Glasgow and there’s a good few top touring acts are in town, but none of these things have stopped people from packing out Stereo to see possibly the most excited guys to be in Glasgow this evening The War On Drugs.

The four-piece Philadelphia act wash over the crowd like a cool breeze, the label ‘indie rock’ which has been placed onto them couldn’t really be more misleading, despite it being in some ways accurate.

Surf enthused indie splashed with vocalist Adam Granduciel’s distinctive croak, drawing the odd similarity with Dylan, all drenched in glorious feedback move to driving classic 80s American indie basslines and a tendency to flicker into impressive guitar spasms, giving another cheeky nod to the surf, before hitting you with some dreamy soundscapes, it can’t be said these guys aren’t versatile.

Granduciel’s vocals aren’t all delivered in that Dylanesque croak, atop the more expansive tracks his voice drops creating a smooth calming effect only interrupted by stuttering guitar squeals which pull you away just enough when the beautiful lo-fi indie rock threatens to engulf you.

The War On Drugs have a way of sending their audience into a trance, the mind wanders elsewhere, but don’t think this is disconnected with the music, as soon as the songs ends you are pulled away instantly to the next tracks cutting harmonica beginning.

Broken, at times ineligible speech comes from the stage as Granduciel’s tendency to mutter suggests he should stick with the performing, comments about meeting The Waterboys, “they’re from here, I think”, are met by silence; clearly he means Scotland but the possibility of confusing Glasgow with Edinburgh, or maybe a lack of enthusism for The Waterboys, who knows?

Still more dreamy lo-fi grooves take minds off that, maybe everyone is lost due to the heat in the room, it certainly does me no favours, between tracks chat of “what’s happening in Scotland these days?” is met by confusion, but the mention of a trip to Sleazy’s sparks a reaction, and the description of Buckfast as “that thing with mulled wine” tickles the audience some what.

Unfortunately tonight in is uncomfortable in its glory, this is in no way the fault of the band who deliver an encapsulated musical display, but sadly the miserable weather combined with the heat in the room and that typical Sunday night feeling combine to leave something amiss.

Still, I would definitely recommend seeing these guys again, maybe in a less congested and warm atmosphere, or maybe it’s just that I’m pretty ill.

Words: Iain Dawson
Photos: Ka Man Hung

As the crowd begins to form in The Captains sweaty basement, it appears that the gig has been somewhat undersold, however, Any Color Black are used to small venues and they appear confident on stage.

The duo blaze through pulsing tracks such as ‘Hot’ and ‘Touch Me’ pushing their danceable sound with the command of well versed musicians.

Aside from this ability, it is the powerfully brooding atmosphere that they create that makes them such an exciting, yet underrated, live band.

The crowd is slightly more established by the time We Have Band take stage but it is still nowhere near capacity.

The underwhelming turn out doesn’t seem to bother the London based four piece, who have embarked upon the tour to promote their edgy new album Ternion.

The gig starts with percussion man Darren lauding Glasgow’s gig goers before rolling into the subdued funk of ‘Honeytrap’ accompanied by Dede’s serpentine dancing which is strangely hypnotic.

From this opening track it’s clear that WHB are passionate about their music as they attack their vast range of instruments with a maniacal frenzy, making full use of their new live drummer.

It is this punky energy that drives Ternion, and as the band re-crafts the album’s percussion heavy sound on tracks such as the thrashy ‘Visionary’ and ‘Watertight’ the crowd fizzes excitedly.

Although the gig is intended to primarily promote their new material, the band have carefully punctuated their set with perfect renditions of debut album favourites.

Tracks such ‘Love, What You Doing?’, ‘Divisive’ and ‘You Came Out’ keep the fans happy as Dede and Darren swap beats, synths and vocals while Thomas riffs behind them.

Finally, after a melodic rendition of ‘Where Are Your People?’ the band file off stage through the tangle of cables while the crowd pleas with them to stay for just one more song.

Of course, as with every other gig, they return in a few minutes to launch into what is probably their best single; ‘Oh!’, the track is an ultra crowd pleaser, setting the audience alight and inviting everyone to sing along.

One girl, who informs every one that it’s her birthday, is invited on stage to dance showing that WHB are a simply about having a good time.

As the closing notes ring out, it remains somewhat of a mystery as to why they aren’t massive.

It is fan focused gigs like this that help restore faith in good, genuine music.

Words: Catriona Reilly
Photos: Stewart Fullerton

For two acoustic guitarists who started their musical career in a thrash metal band, it is no surprise then that Mexican duo Rodrigo Y Gabriela (real names Rodrigo Sanchez and Gabriela Quintero) incorporate a blend of Latin folk, rhythmic rock and flamenco-styled melodies at breakneck speed into their unique genre.

On the second show of their current tour, Rod and Gab are preceded by Ryan Sheridan, a Monaghan acoustic guitar rocker who used to ply his trade on the streets of Dublin, but has quickly grown in stature with album The Day You Live Forever.

Sheridan has no problem warming up the Glasgow crowd with tracks like ‘Jigsaw’ and his stompy cover of ‘Seven Nation Army‘.

Rodrigo y Gabriela finally appear, backed with members of The C.U.B.A- a suitably named Cuban band- with whom they recorded their latest offering, Area 52.

Released at the start of the year, the Spanish speaking pair gave a Cuban-styled twist to nine previous tunes, recorded on the Caribbean island itself (”an amazing place” comments Gabriela in her thick Mexican accent).

Their catchy guitar melodies-that they have become so synonymous for- during the opening few songs are sadly engulfed by the powerful trumpet and saxophone.

However, that would be the only fly in the ointment in what turned out to medicinal music for the soul.

With The C.U.B.A behind them- drums, brass section, bass and keys- Rod and Gab rattle through song after song with boundless energy, Quintero- dawned with long pink tie- bounces between feet like she was taking part in some guitar work-out programme and Sanchez often stands wide-legged, not dissimilar to the stance of an 80’s rock icon.

Certainly Rod proves to be more of the showman compared to his counterpart, humorously breaking off at times into famous guitar riffs such as ‘Sweet Child of Mine’ and ‘Superstition’ by Stevie Wonder.

Both show their depth of talent when performing solo, Gabriela- who typically plays more of a rhythmic style- uses the wah-wah effect effortlessly along with her drumming technique to create a modern Hendrix-type sound, verging on Shooglenifty’s celtic-rock genre.

Meanwhile Rodrigo even had the time to plonk himself down in front of a pedal steel guitar midway through the show and end the evening with a black electric guitar (sacrilege in some fans eyes) to highlight his all round excellent ability with the stringed instrument.

The show is not complete without a mixture of some crowd-participation before ‘Tamacun‘ (probably the best song of the night) and drum, bass and piano solos from the equally talented The C.U.B.A.

It had been two long years since Rodrigo Y Gabriela had played here last, and after performances to the standard of this one, fans will eagerly await their return.

Words: Ben Bookless
Photos: Allan Reid

New Jersey self-proclaimed “Beach Combers” Real Estate are one of the most understated, but highly impressive acts to come out of the jangly beach boys-inflected “hipster” indie scene.

On the course of their two albums and two EPs they have churned out a consistent rate of excellent songs that proficiently succeed at crafting a unique and refreshing sound.

Clearly the band are being increasingly recognised as such, as tonight’s almost-full Arches seems worlds apart from a over-packed Captains Rest two years ago, where they were heard more than seen, but the set is just as effective.

Tonight sees the band on fine form, as they seem to overcome the occasional sound issues that this unique-but-occasionally-flawed venue throws up, performing a well-balanced combination of new jams from last years excellent ‘Days’ and highlights from the excellent self-titled debut that we all fell in love with in the first place.

The big difference between the two records is the sound production, which is reflected tonight; gone is the DIY-tinged ragged guitar tones in favour of a cleaner, reverbed sound which works perfectly in the tunneled venue.

Half the crowd appear to be of a casual newcomer nature, which takes some winning over from the band.

But once such bangers as ‘It’s Real’, ‘Municipality’ and ‘All the Same’ are stormed through, the audience are appropriately enamoured with the band.

They treat us with older fan favourites ‘Fake Blues’ and closing on the excellent ‘Snow Days’ (though ‘Suburban Beverage’ was missed) leaving the stage with rapturous plaudits in attendance.

Words: Adam Turner-Heffer

Tonight’s gig is a bit of an odd one, two touring bands who as of yet have not really collected an audience outside of their locale, or at least they haven’t in Glasgow, and a local support who was only booked that afternoon.

So, all in all it’s a pretty shambolic affair, perhaps fitting them that Shambles Miller should kick things off as the acoustic singer-songwriter charms and amuses the ‘crowd’ (we’re lucky if they gets over 15 people at any point in the night) in equal measure.

Shambles doesn’t seem too phased by the lack of turn out as he jokes about playing to smaller audiences before handing round his one flyer.

He exchanges chat with tonight’s headliners from the stage about a Frank Turner cover, spins out his own tracks before borrowing some words from Jay-Z to tie things off.

Next up are the ever so Welsh Masters In France, who produce an interesting indie rock set which creates a certain intrigue among the gathered audience.

It seems these guys are destined for bigger things, it’s a shame tonight doesn’t really pick up, their small entourage seem to enjoy the set though as they dance without a care of the dozen or so skeptical punters.

Another band that are destined for bigger things than tonight are Outfit, we’re told that they’re a pretty impressive live prospect but it’s hard to live up to that in a dead room.

That’s not to say Outfit aren’t captivating, they are, the Liverpool five piece produce chilling music that washes over the venue with a little cowbell addiction to boot.

Still, the quirky music doesn’t lift the mood of the audience, or maybe there’s too much tension in the room, being only one dancing, being the centre of attention is quite daunting, and the two girls with Masters In France have long gone.

It’s a shame through there’s a great promise with these guys, I certainly hope this doesn’t put them off Glasgow and they make a return when they have built a bigger reputation or return when there are people to actually win over.

Words: Iain Dawson

The fairly meteoric rise of Pulled Apart By Horses has been an encouraging if slightly surprising one.

It’s always been reasonably hard to pin down what exactly is the Leeds quartet’s sound really, which is to their credit, but also somewhat strange.

Given the proud ‘Sold Out’ banner that greets punters on the way in to Tut’s tonight however, clearly whatever it is they are doing, they are doing extremely well.

There is a fairly consistent garage rock sound throughout Pulled Apart by Horses’ material, giving a healthy dollop of post-hardcore and even indie rock to establish a fairly distinctive sound, they stay intriguing and fresh.

The jury is still out as to how successful this combination really is, but one cannot fault their performance one iota tonight.

Kicking off a two week tour, the band rip through their now relatively extensive set with a real, undoubtable vigour that carries them pleasantly through and transmits happily to the ever appreciative crowd.

Lead vocalist Thomas Hudsons gleefully screeches his way through song after song while the rest (including a drummer who looks like Lol’s evil stepdad from ‘This is England’) confidently pound away at their respective instruments to excellent effect.

Highlights include a rip-roaring version of fan favourite ‘Moonlit Talons’ and new single ‘V.E.N.O.M’.

All in all a very convincing performance from the ever growing Leeds quartet.

Words: Adam Turner-Heffer
Photos: Ka Man Hung

Self-proclaimed ‘experimental pop’ outfit Kill The Waves open with a very pleasing glitch beat which is accompanied by a subtly wailing guitar line, creating an immediate wash of ambience across the room.

As Tim Kwant’s vocals enter the beautifully complex equation, there are no doubts that this band are here to play beautiful music.

“Another thought floats by and by your dream, the world into the sky, the pages burn under the sun, another word that wont be sung” - the first utterings ‘The One That Could Have Been’ is a beautifully understated poetic gem of a line which instantly evokes a feeling of nostalgic loss for a daydream nation.

The band continue to weave layers and loops on top of each other with the ease of a band that have been playing for many years but still maintaining a naive fragility that is echoed through Kwant’s passionate words.

The band end their set to applause that should have been far more enthusiastic and deafening, this is a band who have played with the likes of Pantha Du Prince, Glasser and High Places recently, and it will come as no surprise if they are mentioned in the same breath as these artists in the next few years.

As tonight’s headliner Blouse arrive on stage the crowd seem surprisingly unenthusiastic, with sparse applause and minimal cheering for one of America’s finest dream pop bands (and of that there are many).

Lead singer Charlie Hilton announces that she is “excited to be playing in Glas-gow” which is met with some giggling from the band over the misguided pronunciation.

After an awkward exchange with the crowd, they burst out with their sound, opening with the haunting ‘They Always Fly Away’ which includes a bossy bass line which is contrasted with Hilton’s alluringly vacant and detached sounding vocals - reminiscent of Nico, albeit with a less Germanic intonation.

Their sound is so startling pleasant as they play their shimmery dreamy brand of shoe-gaze, creating a strange hypnotic atmosphere, with a feeling that we are being transported back in time to an eighties loner’s disco - glitter abound.

This music is by no means diverse, Blouse stick to a sound which they are comfortable with and it is certainly something that works for them, never have I seen dreamy soundscapes performed with such effortless beauty.

They end their set with two of their stronger tracks ‘Into Black’ with its infectious groove and sway inducing melody and the much blogged about ‘Videotapes’ - an unashamed pastiche of underground eighties pop.

These two tracks alone should have been enough to make the crowd show some serious emotion, or at the very least some awkward semi-drunken dance flicks, but no, the crowd remained tough, showing very little emotion and not nearly enough appreciation.

This, the only thing that could have put a negative spin on an otherwise flawless live performance from Blouse.

Spread the word good people and sway to Blouse, they really do deserve it.

Words: Alan Laidlaw
Photo: Amanda Smith