The National @ Glasgow Academy 26/11/10

If New York based Matthew Houck, aka Phosphorescent, is still building a name for himself in the UK then some seven years into his career under this alias he has got his break.

Anyone would be mad to turn down a support slot with the hottest US indie rock band to emerge in recent years, and while he and his four-piece band don’t quite have the same presence of the headliners they do more than justice for themselves.

Houck and co. are not set back at all by the massive crowd assembled to see The National and the audience in turn are comforted by the band’s ease. Houck clad in leather jacket and baseball cap looks remarkably relaxed in his groove as the rest of the band plough through some delightful alt-country.

New album, Here’s to Taking it Easy stand out ‘The Mermaid Parade’ brings their set to a rousing ending, surely capturing a few hundred new fans in the process. Look out for a headline show in the near future, as Houck and co. are hitting their stride some five albums into their career.

To say anyone here is not here to see The National would be a huge misconception the band have surpassed pretty much all their contemporaries and latest album High Violet’s No.5 charting just goes to show the attention they are receiving, not to mention the Academy was sold out months in advance.

Appearing in front a haunting black and white backdrop the band start up with the beautifully arranged, melodic ‘Runaway’ which gives the crowd their first taste of the powerful, heartfelt vocals of remarkably dapper dressed frontman Matt Berninger, who remains the main focal point for the rest of the set.

It is difficult to pick an early stand out, each and every track flows perfectly and injects something into as near a perfect indie rock show you will see. ‘Bloodbuzz Ohio’ sees the crowd swooning into a mass sing-along with every lyric lapped up while the slow building heartfelt anthem ‘Afraid of Everyone’ sees Berninger atop a pedestal screaming ”I don’t have the drugs to sort it out”.

The band aren’t afraid to chat to crowd either as they tell tales of their greatest low point when they stayed at the Glasgow Euro Hostel quickly followed by Berninger screaming “I’m evil” at the top of his lungs during a passionate performance of ‘Conversation 16’.

Despite the new album heavy set it is ‘Mr. November’ from 2005’s Alligator gains one of the most rousing receptions from the crowd and indeed from the band. Berninger launches himself into the crowd, ending up as far back as the sound desk shouting “I wont fuck us over I’m Mr. November” and still returning to the stage for more.

‘Terrible Love’ sees Berninger standing wonderfully profound above the crowd before the band bring the crowd down to a calm soothing sway with oldie ‘About Today’ that ends in a massive crescendo of pure euphoric sound.

As the band explain they are going to do something that they have only tried a few times, and most of those times it hasn’t worked, you can’t help but think “don’t ruin it” but also have that sheer optimistic feeling that at perfect shows like this nothing can possibly fail.

And it doesn’t fail better yet it proves the highlight of the night, as the entire band collect centre stage and take on a completly acoustic performance of ‘Vanderlyle Crybaby’. Berninger looks in his element as leads the crowd in a mass tearjerking sing-along climaxing in enthusiastic chants of “I’ll explain it all to the geeks”.

There isn’t really much more that needs to be said about The National, they fully deserve every ounce of praise and popularity they are receiving. Tonight is all the evidence needed to pin point an exact reason why they are fast becoming the world’s biggest indie rock band.

Gruff Rhys @ Vic Bar Art School Glasgow 23/11/10

Super Furry’s frontman Gruff Rhys takes to the stage at the Art School tonight to a crowd packed full of dedicated SFA fans. The Welsh singer looks perfectly at home a he perches on the front of the stage sporting a jumper and bobble hat behind an array instruments.

Downstairs at the Vic bar isn’t the best venue for a gig, with upstairs more suited to shows with larger audiences with its elevated stage, however everyone is in high spirits to see what for many is their personal musical icon.

Rhys announces casually that the set is going to “start miserable and get less miserable” and he isn’t exaggerating, the set is pretty much downbeat all the way through. Still despite the misery in the content there is no feeling of sadness detected in the crowd.

The singer lifts the majority of his material from his solo work with tracks from upcoming release Hotel Shampoo. Many Welsh language tracks, from 2005’s Yr Atal Genhedlaeth appear, which despite not being understood don’t fail to charm his adoring audience.

The main noticeable absence comes in the form of 2007 single ‘Candylion’, probably down to the lack of a female singer to accompany the track. Still we aren’t short of a duet as Rhys is joined on stage by support H. Hawkline for an encore.

Standout track of the night comes in the form of new album lead single ‘Shark Ridden Waters’ which ups the tempo for a short while towards the end of the set.

Still despite the majority of the set being downtempo the Welshman’s charm leaks through. His refreshing banter could win over any crowd, during the set he comments, “it’s a cold, cold night” but it’s a night that everyone would happily bare to see there him.

Photo: Stuart Westwood

The Tallest Man on Earth @ the Arches 22/11/10

Kristian Matsson is The Tallest Man on Earth, well he isn’t physically, it’s a by no means fitting moniker. Matsson is by no means short but he appears your average skinny indie folkster, however the music he produces is not average at all.

With comparisons to top folk musicians flying all over the shop Matsson is slowly but surely pulling away from these comparisons. This years release The Wild Hunt has received rave reviews and is possibly the main reason why this has not only been upgraded from Stereo but also sold out The Arches.

Matsson comes across as a slightly timid character for most of the set and mumbles to the crowd between songs to various degrees of amusement. An interchange with a fellow Swede in audience has Matsson, after a comment in English, quip: “did you understand that? We can do the rest in English them.”

There are no complaints from the crowd as Matsson apologises for the third time of the evening for an extending tuning, instead he is drowned in chants of “Graceland” calling for his version of the Paul Simon classic.

The cover doesn’t come but disappointment isn’t too high as tracks like ‘King of Spain’ and ‘The Gardener’ capture the crowds imagination as Matsson gives a master class in singer-songwriting.

As the encore hits in Matsson seems to up the pace for the first time in the set as he bobs away through his could be teen anthem ‘Kids on the Run’ before slowing it down again for the beautiful, closer from 2008’s Shallow Grave, ‘This Wind’.

The Tallest Man on Earth may not be all that his name suggests but it appears in the musical world he is getting bigger and bigger. The Wild Hunt has captured an audience and it won’t be long before people forget the Paul Simon covers and the Dylan comparisons and appreciate the singer himself.

Photo: Warrick Beyers

Caribou / Four Tet @ ABC 21/11/10

This simply must not miss event kicks off at 6pm and the beats barely stop ‘til well gone midnight, as we witness easily one of the best shows Glasgow will see this year.

The night organised by Kieran Hebden, aka Four Tet, features a mouth-watering array of DJ’s and electronic musicians topped by the massively hyped Caribou, whose latest release Swim has achieve critical acclaim pretty much across the board.

Set with unenviable task of warming up the crowd are Rocketnumbernine who provide some experimental electronic delight as the ABC slowly fills to capacity.

Nathan Fake is next to take the stage, ducking and diving through a delightful set as the crowd slowly but surely build up momentum, give them credit it’s still only 8pm. James Holden quickly follows as he feeds on Fake’s lead keeping the crowd going at a steady pace before the main events take to the stage.

As former post-rocker Hebden moves in to take the reigns there is a vast push forward from the crowd as they see a familiar face and quickly descend into one hot sweaty mess.

Hebden appears slightly awkward as he bobs away behind his desk but there is a unique charm about the Londoner, even deep in concentration he comes across as likeable. With tracks like ‘Angel Echoes’ and ‘Love Cry’ it’s hard to fault anything about the man.

Starting out with post-rock band Fridge, Hebden took the moniker Four Tet for his more electronic experimental solo exploits and although only recent album There Is Love In You has gain much acclaim in the mass you have to look back at least a decade to pin point his debut. As he ends a rousing set with a cheeky smile and wave you can tell he is joyous at how the night has gone and how far he has come himself.

A slight questionability lies in the air as what has so far been non-stop music is cut to nothing as the stage is set up for Caribou’s live band. But as the band kicks into their set any questions as pushed aside as Dan Snaith and his band lash into a rip roaring set which is made further emphatic by the inclusion of a live band.

The band set up in a cluster in the centre of the stage never miss a beat as they power through a set primarily made up of tracks from Snaith’s latest work which is easily his most upbeat to date. The only gap in the set comes as Snaith announces how close the band were to having to pulling out due to their bassist being hospitalised in Newcastle.

New album stand out ‘Odessa’ packs a punch and is easily the popiest of Snaith’s decade worth of output, whether under Caribou or Manitoba. A real highlight of the set comes from 2007’s Andorra in the form of the wonderful ‘Melody Day’, which sees the crowd and the band lifted to euphoric highs as the Canadian drowns the crowd in pure beauty.

The tech-house throb of ‘Sun’ sets the crowd alight one last time as Snaith and co prove they are well worth every ounce of hype they receive elevating himself to the very top of the electronic scene.

Leaving the ABC there is that unique feeling that you only get from those life affirming shows, and this certainly has been one. Electronic music is alive and well and we’ll be hearing these acts for a long time to come.

If you haven’t had your fill the night is still young and Hebden has made the jaunt down to Hung Up! at the Subclub to carry on the beats way into the night.

Photos: Fran Lightbound

Casiotone for the Painfully Alone @ Captain’s Rest 11/11/10

There is no doubt one-man lo-fi experimentalist Owen Ashworth has come along way since he debuted the moniker Casiotone for the Painfully Alone back in 1997. Now 13 years older Ashworth is retiring these songs.

This will be his last show in Glasgow but the Californian urges us not to worries: “I’m gonna write a bunch of new songs and come and play them for you.”

Casiotone gigs always have a note of sadness; Ashworth’s ‘indietronica’ is renowned for being moving with his short sweet songs tugging the heartstrings of his audience.

In the middle of tonight’s set an audience member heckles “will you keep writing sad songs…? Happy songs?” To which Ashworth replies: “I’ve written a few songs, I’ve been told they’re slightly happier.”

The set is a true delight in typical style. Ashworth’s presence doesn’t set the Rest alight but instead a calm adoration fills the venue as the crowd stand patient in admiring awe. It doesn’t really matter what songs he plays every song is a highlight, a cover of Springsteen’s ‘Streets of Philadelphia’ his own charming style proves a delightful addition.

Ashworth knows how solemn his sets can be and he solves this by joking with the crowd “this is the only part of the set that’s fun” after expressing “I’m doing ok, feeling I could need some vegetables” to which a crowd member quips “you’ve come to the wrong country!” This shows that unique charm that keeps both people coming back to his shows and him coming back to Glasgow.

There is no doubt Ashworth will be back in Glasgow here, he shows genuine love for this city. However, for these songs the road has ended but a corner seems have turned and instead of this being a sad goodbye it feels more like the beginning of something new.