The Fresh & Onlys @ Nice n’ Sleazy 10/05/11

Brit pop’s back and it’s go a beard! Well maybe, those bouncy rhythms and effortless vocals that capture the attention quickly spills into 90s American indie rock stylings, fast powerful beats complimented by intentionally lackluster vocals.

This is all in the hands of a support, and Manchester’s Milk Maid deliver a set full of pop credentials, these guys could be very popular in the 90s, all they need is a hit and the kids would lap this up. However there’s no kids here, in fact there’s barely anyone here, surprising considering the clout of tonight’s headliners, Pitchfork love them and everything.

There’s next to no one here hen they take the stage too, Glasgow get your act together! It’s 20 to 10, maybe early for Sleazy’s but still. When The Fresh & Onlys take the stage that give that country kids vibe, covered in hair and plaid, but these guys hail from San Francisco, cool town, no?

Their songs carry you back to the 60s, live a pounding rhythm blasts them forward while vocalist Tim Cohen with eyes fixed to the ceiling. All dreary beauty that should fill a room but Sleazy’s is void of atmosphere tonight.

‘As the set approaches its mid point Waterfall’ captures all the best aspects of this band, lyrics that hit home immediately over inspired rhythm bringing the song home in splendid fashion.

It appears the band are finally getting into their stride after a slow start, ‘Fascinated’ brings in that 60s folk pop vibe and the band’s energy seems renewed as they power through ups and downs before introduction a new song, which impressively keeps up the momentum without having the familiarity, maybe something to look forward to.

That momentum continues as the band get further into their set, getting into their groove, finally everything seems to be running smoothly. Surely I’m not the only one digging this. These guys should have a bigger audience.

The last couple of songs bring a touch of movement from the crowd, ‘Until the End of Time‘ has an almost marching beat and a bouncing bassline which sets toes a tapping and the band into a powerful ending, before bowing out with ‘Peacock & Wing’ and a “thank you, I’ve never met a real Scottish person before” from Cohen.

Photos: Ka Man Hung

Oneohtrix Point Never @ Hung Up!, Sub Club 10/4/11

What can you really say about gigs at Sub Club? It’s dark, its dingey, the lighting isn’t great but damn does the sound hit you. Tonight’s sees Brooklyn based Daniel Lopatin, aka Oneohtrix Point Never, bring his synthy drone to blast the eardrums at the Optimo ran Hung Up! and there is no better setting for this type of music.

As soon as Lopatin starts playing you are hit by a pure wall of sound, there’s a reason why Sub Club is world famous, you’d struggle to find a sound system so perfect for the size of room anyway. It has to be said that OPN is not the most dazzling visually, he spends the set bobbing behind a desk but to his credit he doesn’t need to be, the sound blows you away.

Mentioning the last time he played in Glasgow at the Art School he sites mike troubles but we can’t really fault anything tonight. The sheer power of the noise takes what was already brilliant on latest album Returnal and takes it to the next level explosively.

As Lopatin thanks Jonnie (JG Wilkes) for booking him you are left in a captivated daze. Still, that’s nothing that Wilkes can’t drag you out of as one of half of Optimo gets everyone dancing ecstatically in what is nowhere near the last time.

Hung Up! may not yet have gained the same popularity of Optimo but there is no doubting the talent here. OPN is just one perfect example of the wide array of live talent they attract but the sound in Sub Club accompanied by the never doubted talents of both Wilkes and Twitch will always be up there with the best clubs to go to in Glasgow, the UK and even the world.

James Blake @ Nice n’ Sleazy 27/02/10

Two dates at Nice n’ Sleazy’s separated by a month for James Blake is very surprising, firstly considering the small gap between the shows and also considering the stature and hype the London composer has been receiving. As a result all pre sale tickets for both dates went in no time at all, but the lucky few that got down early grabbed the last few on the door.

Tonight’s gig is surprisingly early too, with Blake taking the stage at half nine and finishing way before a headliner has usually taken the stage at Sleazy’s. Despite the venue’s sold out status there is plenty of room to move at the back of the room but seeing Blake as he sits low over his keyboard proves difficult for anyone past the first couple of rows.

Still, what Blake doesn’t have in stage show he more than makes up for in his music as he plays out an almost perfect set of glitchy electronic gems, with vocals reminiscant of Antony Hegarty. His self-titled album released just earlier this month sees a full airing tonight and it’s easy to see why it is getting the praise it has been receiving.

For the full set there is barely a movement from the crowd, as they all stand transfixed at the sounds on offer. His first single and brilliant cover of Feist’s ‘Limit to Your Love’ is easily the highlight of the set, as the bass seems to be lifted to an extraordinary level almost dragging you backwards with sheer power.

Another cover forms the other end of Blake’s musical spectrum tonight as he plays a version of Joni Mitchell’s ‘A Case of You‘ in the most stripped down song of the set. The performance plays the most on his accent and is played over a straightforward piano sound, almost abandoning his usual stylings both musically and vocally.

James Blake plays Sleazy’s again on the 27th March, all the ticket are sold out but there will be limited availability on the door so if you’ve not got a ticket yet get yourself along early, this is the last chance you will get to see him at such a small venue.

Cut Copy interview

Ben Browning, bassist in Cut Copy sat down with us shortly after the bands recent show at the Arches, Copy Copy’s new album Zonoscope is out now on Modular, the band return to the UK over summer for the festival season.

How is the tour going so far?

This tour has been great. There is some real excitement playing the new tunes, and we’ve been as far as Russia already. The cold weather has been only negative.

How have you enjoyed playing the UK with Holy Ghost!? Do you guys get on well?

Yeah of course. We’ve known those guys for years and we love their music. It’s great to see them as a live band. We’re about to do a heap of shows with them across the US. There could be some wild times ahead.

The Arches seemed like an ideal venue for you guys to play, how did you feel it compared to previous shows in Glasgow?

Yeah there was a great atmosphere in there. It was a very unique place. I think the last place we played in Glasgow was at one of Optimo’s nights, and I remember the stage in there being so tiny. I don’t we would have fit on that stage this time around.

This European tour has a lot of dates, do you get to see much of the cities you play in while on tour?

We aren’t getting much spare time on this particular tour. We often arrive in cities early in the morning and have time to grab a coffee and perhaps check out a few record stores. The best coffees we’ve had so far have been in Scandinavia.

Any interesting/amusing stories you’ve got to tell us about going on tour?

I threw a snowball at Mitchell our drummer in Oslo. And our tour bus left Tim and I behind in Copenhagen after our show. Seriously.

You’re playing a number of festivals over the summer, any you’re particularly looking forward to, acts you’re looking forward to seeing etc?

I haven’t had a chance to look at all the shows we are doing yet. Obviously we are looking forward to being in Europe and USA over summer. We are doing some shows in South America in June as well, that should amazing.

You’re albums are charting impressively back home in Australia, are you guys big celebrities over there, if so how is that?

We are not celebrities. My mum thinks I am cool though.

After another great album and a huge tour what is next for Cut Copy?

Lots more touring. After that we will start making our next record, which hopefully won’t take long to record and put out. I can’t wait to start it.

Finally, when are we likely to see you again in Glasgow, hopefully soon?

I’m sure we will be back this year.

Cut Copy w/ Holy Ghost @ The Arches 03/03/11

NY DJ duo Holy Ghost! appear in a jolly mood this evening as they kick off a UK tour supporting Cut Copy. With Alex Frankel acting as frontman drenched in blue light, Holy Ghost! in their full band format launch a drum driven assault on this Glasgow crowd. The crowd is more than in the mood for tonight and you couldn’t ask for a more suited venue for tonight’s events, except possibly the Subclub although you’d struggle to fit this many people in, the DFA duo clearly have high views of the the place: “We usually play Subclub which is our favourite place to play in the world, as DJ’s.”

As a support act Holy Ghost! don’t let down, they may not be in their most comfortable surroundings as a live band but they do more than enough to enlighten the taste buds for what Cut Copy have to offer.

With new album Zonoscope gaining just as favourable reviews as In Ghost Colours did a couple of years back Cut Copy find themselves in that position where people have caught a glimpse of them near the mainstream. Certainly the band’s new wave and disco tinged electronica has it’s eyes on a more popy corner of the market.

As the heat from a brimming Arches hits boiling point the Aussie four-piece cruise through the early portion of there set including track like ‘Nobody Lost, Nobody Found‘ and ‘So Haunted‘ before the tempo is upped with ‘Lights and Music’ as the crowd join in on mass to provide backing vocals.

A quick birthday wish for bass/guitarist Tim Hoey gives the band a quick breather before hitting back into a set of every growing tempo. Vocalist Dan Whitford is visibly drenched in sweat by the time they hit into the bleepy, cowbell adorned house brilliance of ‘Pharaohs & Pyramids‘.

As debut album classic ‘Hearts on Fire’ reaches for the ceiling and the crowd now in full on dance mode it appears tonight can’t get too much better. Unfortunately the band have to be off, a quick encore of ‘Out There On The Ice’ lift every once more and sends them off into the night to find someplace else to dance, sadly there’s no afterparty which is shame as both acts are just as good, if not better, in DJ surrondings.

Words: Iain Dawson
Photos: Stewart Fullerton

Glasser @ The Captain’s Rest 20/2/11 + interview

Cameron Mesirow aka Glasser has been getting nothing but praise since her debut LP, Ring, came out in September. From before the album’s release she had been getting comparisons with a whole range of enviously talented female artists and since being thrown in at the deep end, supporting The xx on their UK tour as her first tour outside of California, she has done nothing but thrive.

Tonight she visits Glasgow for the first time on her own headline European tour and the prospect of a hot and sweaty Rest tonight has most people appetites wet.

The somewhat bizarre image of Glasser’s three-piece band emerging on stage in matching boiler suits is only topped when Mesirow takes the stage herself in rather kooky stage attire complete with helmet like headwear and garnished with pompoms.

The dress is eye catching to say the least but it is what has brought the crowd along tonight, it is the material from Ring, which gets full airing tonight. The almost tribal sounding, double drummer attack on album standout ‘Apply’ gets the set going and from then on Mesirow and co. look set to cruise.

Mesirow’s quirky almost trance driven dances fluctuate between instrumental sections only for her to regain focus from nowhere to fill the room with her angelic voice. Mesirow bobs, ducks and sways around the stage, amid glitchy synth croaks giving the occasional yelp drawing attention but it’s always a pleasant surprise when she draws back into her mesmorising vocals.

There is a touch of nerves kicking about this evening, the delicate beauty of the songs seems to have the crowd pushed a step away from the stage, almost as if they fear they might break it. This doesn’t seem to worry Mesirow as she banters about her grandfather being from Glasgow adding, “everybody thinks I’m Irish” before going into the delightful ode to her best friend, ‘T’.

Tracks like ‘Home’, ‘Glad’, ‘Tremel’ and ‘Mirrorage’ finish off the rest of the set each emphasising the talent Merisow has in putting together mystical elctropop gems.

As Merisow shyly reemerges, minus headwear, she explains she never intended to do an encores on this tour, stating they’ve played the whole album which receives a heckle of “play it again” that she giggles off before gaining composure.

She explains she is going to do an a’cappella performance of a folk song called ‘Let No Man Steal You Time’, which receives another shout of “can I steal you time?” which receives a blunt “no”. The song itself goes some way to justify that “no”, as the haunting splendor of her vocals silences the whole room, leaving everyone expects Mesirow herself breathless.

Before the show tonight we had caught up with the genius behind Glasser, Cameron Mesirow, to talk about the tour and what she thinks about all the comparisons and praise she has been getting.

Q: This is your first headline tour in Europe, how has it been so far?
A: The shows so far have been ok, I’m not going to rave about them but it’s been a pretty good tour in terms of how we’re all feeling. Hopefully Glasgow will show up those down in England, it seems like a good crowd down there already.

Q: This is your first time in Glasgow, have you had a chance to see much of Glasgow while you’ve been here?
A: Not really, we took a little walk to Òran Mór and tried a few different whiskeys’, we were told that is what they are famous for, that’s all we’ve seen just the walk from here to there. I’m kind of excited to be here anyway, my grandfather came from here, he wasn’t a performer like my parents but his name was Cameron like me.

Q: Could you give us a description of your sound for anyone unfamiliar with it?
A: It sounds just like The Rolling Stones basically! (laughs) No it’s really hard to know how to classify, it’s electronic music that doesn’t sound like electronic music.

Q: There have been a lot of comparisons being banded about with a lot of varying different female artists, what do you make of this?
A: I think what stands out the most is that the comparisons are female, I doesn’t seem to matter what the music is like as long as there’s a female vocalist

Q: How have you reacted about the across the board positive reviews Ring has been getting?
A: I have barely seen a review myself I try not to read too much about it.

Q: How did you enjoy making the album?
A: I think with anything you’ve wanted to do for a long time and feel intimidated about doing there’s a lot of brow beating and questioning, if you’re doing a good thing or not. I can’t say it was the happiest experience that I just skipped though but I do feel good about it.

Q: You’re playing Primavera in the May, the line up looks amazing, anyone you fancy seeing while you’re there?
A: I’m really curious to see Pulp, is Suicide playing? I think Suicide are playing and I’m really excited to see Echo and the Bunnymen, I think they’re playing Ocean Rain, which is my favourite.

Q: What sort of stuff do you listen to while you’re on tour?
A: We listen to all kinds of things in the van, today we listened to Micachu and the Shapes who I’d never heard before, Sam Cooke, Lil Wayne, some techno from Berlin, D’Angelo so lots of different stuff.

Q: Finally, are you going to get out in Glasgow after the show?
A: I can’t go out because I’ll loose my voice, I have to go home all the time after the shows, I’m trying to be a professional.

Photo: Stewart Fullerton

Twin Shadow @ Captain’s Rest 27/1/11

It’s rare you see someone appear as laid back as support act Chad Valley, last time he played in Glasgow he played to next to no one now he’s at a sold out Rest, so it’s a pleasant change for him, nice to see he’s put in the effort.

Banter flies comfortably back and forth exchanging comments surrounding his appearance in the Guardian, the G2 crossword being good and Sudoku not being cool, only to find Joe Strummer died while reading the Guardian and having to dedicate a song.

The music doesn’t let down either as his beautiful take on chillwave sets toes a tapping from the off. Dabbling through his sound experiments, throwing in a touch of disco here and there he provides a delightful start to the night.

Still, it is Twin Shadow people are here to see and the Dominican born artist, full band in tough, in not going to let down. George Lewis Jr., who adopted the persona Twin Shadow following a move to New York, exudes charm telling the crowd they are “exceptionally good looking” can’t go really go badly.

Twin Shadow has been receiving nothing but praise since last year’s debut, Forget. The album breaks down genres confidently and borrows brilliantly from a selection of different movements it’s easy to see why the show sold out way in advance tonight.

Early highlights like ‘Tyrant Destroyer’ capture the audience to perfection as Lewis and co. drag a packed Rest along for a new wave tinged ride as they take the record up a notch and unleash it on the crowd almost forcing everyone to get their dancing shoes on.

“What do they put in the water in Glasgow that they don’t in Manchester?” Lewis questions as he watches his captivated crowd, he even has the confidence to quip: “You have that here too? Annoying guy at the front” taunting a somewhat over eager fan.

‘Castles in the Snow’ is arguably the highlight of the night as he takes one of the most emotionally touching songs on the album and brings it into this upbeat live environment perfectly.

Lewis apologises for having no time to hang out after the show and as the encore approaches they come to the dilemma of leaving the stage. Lewis states: “I’m not going to lie to you, it’s physically difficult to leave the stage, emotionally yes! Physically no!”

They finish off the set with ‘Slow’ and ‘Tether Beat’ tying together an attention grabbing set that really hits the floor running for the new decade, leaving the crowd in the mood for some more dancing, whether they’ll find anything that matches this is very doubtful.

Photo: Euan Robertson

The Walkmen @ Oran Mor 19/1/11

The Walkmen are now into their second decade as a band and after years of consistently quality releases they are finally getting the spotlight they have earned. Tonight they play a packed Oran Mor in this Celtic Connections showcase, and although they don’t really fit in the traditional mould for the festival not one person is complaining.

Support this evening comes from Glasgow’s own Laki Mera, who performs a charming set of indie electronica that easily caught the ears of a few new fans tonight.

Tennessee’s Mona is some thing different altogether, the classic rock four piece has been hyped ridiculously at the start of this year. On first impressions they clearly think they’re better than they are and that impression sadly doesn’t let up.

They give that ‘we want to be stadium rockers’ vibe and I’m sure would be more at home supporting Bon Jovi, as they try to encourage the crowd to sing-along it becomes all too cringe worthy for my liking so I have to wander off.

Looking around the crowd tonight it’s clearly not cool to like The Walkmen, there’s not a scenster in sight instead a more mature audience fills the venue, surely a positive impression on the quality of the band if anything.

From the second the band hit into oldie ‘Everyone Who Pretended To Like Me Is Gone’ heads start a nodding and they pretty much don’t stop the entire set. Frontman Hamilton Leithauser snarls into the mike with entrancingly heartfelt enthusiasm throughout the early point of the set, which includes ‘In The New Year’ and newbie ‘Angela Surf City’.

Leithauser’s electrifying presence is easily the most enticing thing about The Walkmen’s live show, as you feel he means every word he sings. Announcing they are going to sing a song about a Harlem street where they all stayed together the set takes a more chilled turn, ‘138th Street’ is followed by arguably new album standout ‘Blue As Your Blood’.

‘Victory’ sees the pace boosted again, before Leithauser tells us a girl had told him “this place is very good for sex/drugs parties”, Oran Mor doesn’t seem the likely place but a guy in the crowd replies “some room in back” keeping up the illusion.

‘Juveniles’ closes the set before the band reemerge to perform a rip roaring rendition of possibly their most well known song ‘The Rat’ and ending on the heartfelt bliss of ‘We’ve Been Had’.

The Walkmen may not be the most euphoric live experience but they have that charm that has seem them build a loyal fanbase over the last decade and now, after all their consistency, they are just starting to see the fruits of their labour.

Photo: Ingrid Mur

Saint Etienne @ ABC 16/12/10

It was 20 years ago the Saint Etienne first gave us their brand alternative dance pop, 1991’s Foxbase Alpha may not have been their most successful on release but now there is no doubt about its status as their best, a fact this is clear from tonight’s setlist.

However, there is time for Swedish trio The Radio Dept. to woo an, at the time, sparse audience with some chilled out dream pop. TRD have been going nearly as long as tonight’s headliners and despite not gaining as much commercial coverage they have received much critical acclaim perhaps no more so than with latest album Clinging to a Scheme.

Tracks like ‘Heaven’s on Fire’ and ‘Never Follow Suit’ form highlights of a beautiful yet short set, and as the band leave a fuzz filled stage one by one you can’t help but hope they return to play a headline slot in the near future.

Tonight though is about Saint Etienne, and the trio originating from Croydon don’t let down. Sarah Cracknell and co may not have the youth they once had but there is no argument that their songs are still relevant today, so much so that Girls Aloud could easily release these tracks and no one would bat an eyelid.

They open up with the disco driven ‘Who Do You Think You Are’ before a projection of wonderfully fun looking scenes from the ‘60s. The electro beats of ‘Burnt Out Car’ keep the constant pop bliss oozing until Foxbase Alpha tracks kick in with the captivating ‘Spring’, which was remixed brilliant by Air France earlier this year.

Christmas fever has certainly hit Saint Etienne this year. The release of album A Glimpse of Stocking, a selection of festive merch and Cracknell’s constant chats of the season shows excitement is clearly apparent. It appears now Cracknell has two young children the Christmas period is just as exciting for her as no doubt it is for her children.

The band’s first single, Neil Young cover ‘Only Love Can Break Your Love Heart’ proves the set highlight, as the former dance chart no.1 sets toes a tapping and demonstrates why Saint Etienne were equally as important in the dance movement as they were in the sugar coated, C86 pop scene.

After a couple of encore’s including another dance chart no.1 in ‘Nothing Can Stop Us Now’ and a wee Christmas ditsy in keeping in the theme, the band call it an evening. A surprisingly early finish isn’t met with much disdain as Saint Etienne prove once again they and their music can capture an audience just as it did a couple of decades ago.

Photo: Stewart Fullerton

The Yummy Fur @ Stereo 15/12/10

“Never playing this city again, it’s the new Edinburgh” John McKeown quips after reemerging for an unexpected encore. Strangely enough his statement may be correct, albeit not for the lack of cheering for an encore, but because this is to be the last ever Yummy Fur gig, whether we believe this or not is questionable.

The Yummy Fur reformed to much excitement in the Glasgow scene back in late 2009/early 2010, a sold out Sleazy’s gig was followed by trips to London and a first ever visit to the States.

Now, less than a year on the clock they have decide to retire the band again, not that McKeown or indeed Paul Thomson, whose quiff tonight is phenomenal, will become strangers with duties in 1990s, Correcto and of course Franz Ferdinand to tend to.

The show at Sleazy’s was an undoubted success however tonight has disappointingly undersold but this does not stop the boys putting on a top show. The set is as close as you could get to a best of The Yummy Fur set and tops the previous show in that respect despite the crowd not being quite as cosy.

Tonight is clearly on to please a hometown audience, the band seem unprepared as cues get confused and after attempting to start ‘Deathclub’ for the fourth time McKeown quips “I knew six hours practice was too much”. Nonetheless the set is thoroughly entertaining if it is more for its content than its preparation.

The highlights of the set come in tracks that a Glasgow crowd hadn’t heard in over ten years; tracks like dark tinged ‘Canadian Flag’ and the electronic brilliance of ‘Shoot the Ridiculant’ really capture those assembled. And as the band demerge for their encore to play the snarly sing-along ‘Policeman’ and oldie ‘Chinese Bookie’ everyone is left more than satisfied.

The Yummy Fur don’t need to do much to prove their worth within the Glasgow scene, you just have to look at their collective CV’s. Still whether this will be the last we see of them is questionable, and with the projected remaster and release of their discography in the new year potentially giving them a new set of fans, we may not and hope not to have seen the last of them.

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.

Crystal Castles @ ABC 19/10/10

Tonight the ABC sees a vast change from Robyn’s pop charms of last night, but yet again the venue is packed full albeit for an altogether more riotous experience.

LA based noise rock favourites HEALTH return to the Glasgow as support after a recent headline slot at the Arches and play to their biggest Glasgow crowd to date.

The Californian four-piece look more than at home as they power through a set of high impact, hair swinging post-punk. You could be forgiven for dismissing them as metal on first glance but images should not be thrown aside as their powerful industrial beats could penetrate many a dance floor.

Then it’s the turn of tonight’s headliners, Crystal Castles may be like marmite but no one in attendance can argue that the beat driven assault launched on the ABC tonight does not deliver.

A combination of constant smoke machines and seizure inducing strobes throughout the entire set produce a uniquely apocalyptic vision as the duo’s leader Alice Glass struts around the stage only visual as a silhouette for the majority of the set.

It isn’t long before Glass makes the first of many voyages into the braying crowd, as the tiny cropped singer approaches a sea of hands greeting her in a scene approaching the opening sequence of George A. Romero’s Day of the Dead.

Despite her rarely being in full vision Glass’ presence cannot be brought to fault, she is a constant blur of energy, as she screeches through tracks from new album Crystal Castles II, jumping from raised object to raised object while jumping around like a crazed nymph.

The atmosphere in the ABC tonight feels more like a rave than a gig as the crowd on whole jump wildly with hands raised throughout. Each and every song from latest release ‘Baptism’ to old favourite ‘Alice Practice’ are met with the same unrelenting wave of euphoria.

Crystal Castles may have once been laden with the new rave tag but the Canadian duo have outlived that scene and ousted the memory of it. Their live show has gone from strength to strength and even the shyest gig goer would struggle not to dance to this explosive live experience.

Photos: Fran Lightbound

Robyn @ ABC 18/10/10

A delay of about half an hour hits into Robyn’s set tonight but this is quite happily eaten into by DJ duo Rebecca & Fiona, who appear to having the time of their lives as they dance around the ABC stage.

Still it is one person everyone is here to see, as Robyn speaks an intro track and the stage gets drowned in strobe the excitement in the room hits fever pitch. The quirky Swede emerges in an ever so kitsch outfit, which cuts down throughout the set to a much simpler but no less cheeky attire.

Opening with R&B enthused ‘Fembot’ sees the singer taking a step further into a scene she has be known to dabble, as she takes on the persona as the ultimate robot diva.

Most of the material tonight is new to Glasgow as Robyn is promoting her three album Body Talk series. With the second part just out and the third due later this year she seems to be pushing even further into the pop spotlight.

Latest single ‘Hang With Me’ hints at Robyn’s pop capabilities before we reach the set’s club section. The heavy bass hits in and ‘We Dance To The Beat’ delivers exactly what it says on the tin.

The Stockholm born popstess is certainly in the mood this evening and any doubts about the set’s energy dropping are quelled as she wolfs a banana in the midst of wild dance.

‘Love Kills’ continues the dance vibe, injecting a little clap along for the crowd before stepping into the upbeat electro Röyksopp single ‘The Girl and the Robot’, which sees Robyn reverse her robot persona from set opener ‘Fembot’.

The crowd matches the performer all night in terms of energy and this is no more evident when Body Talk, Pt. 1 single ‘Dancing On My Own’ fires out whipping the crowd into frantic excitement as Robyn displays the top end of her pop gems.

‘With Every Heartbeat’ is easily Robyn’s most recognisable track, her UK no.1 thus far, but it is a credit to the singer’s other tracks that no noticeable change is taken from the crowd, not that any more energy can be extracted from the excitable audience.

Robyn is at that bizarre stage where she has yet to reach the heights of mass stardom, trendy kids secretly adore her but there is a silly taboo with something this accessible. As a result, the crowd this evening is an odd mix and for many a first gig, explaining the mass head for the exit before the encore.

Upon returning to the stage Robyn and co not quite hit the heights of earlier but that is a difficult thing to fault them on. ‘Konichiwa Bitches’ and ‘Be Mine’ give welcome calls back the time when Robyn first him the mainstream and end the set on a reminiscent but no less pop fuelled brilliance.

Pop stardom may be where Robyn wants to be or not but it is certainly where she ought be. The set from start to finish is full of sugar coated pop and dance floor fillers and if Body Talk, Pt. 3 lives up to the first two then it wont be long before she is playing to screaming fanatical kids in their masses. So, make sure you set her while she’s still at a relatively modest venue.

Photos: Debbie McCuish

No Age / Male Bonding @ Stereo 9/10/10

A double bill of DIY brilliance is promised tonight as highly rated trio Male Bonding come out in support of Radiohead favourites No Age.

After a set from local boys Paws it is the formers turn to take the stage to an already overflowing Stereo. From the off the vocals are way too low in the mix, however the band soon shrug this off as they enter their stride.

Bassist Kevin Hendrick swaggers around in a confident fashion as they break into ‘Franklin’ from the Londoner’s superb debut album Nothing Hurts. Throughout the set Hendrick’s more traditional punk sneer contrasts well with guitarist John Arthur Webb’s sometimes shoegazey vocals as the two trade fronting places.

DIY punk ethos form a basis tonight, Male Bonding take to this full heartedly as poor sound quality is got over through sheer volume. Not that the band lack quality songs, album opener ‘Year’s Not Long’ forms the strongest example of this tonight.

It is safe to say most in attendance tonight are here to see No Age, and the duo have moved on somewhat since they last appeared in town on their tour with Los Campesinos! and Times New Viking.

Now a sampler joins them onstage adding a soundscapey feel to the raw sound they made their name with. This is not the only step away from their roots, they also have their own projectionist working a display throughout the show. This displays some interesting images but Stereo’s pillars and equipment don’t give much space for full-scale view.

The LA duo also are hampered with poor sound but the band make this work to their advantage as it compliments their raw and extremely loud set. The dtrong yet strained vocals of drummer Dean Allen Spunt work well as the set evolves more in a musical daze with one song flowing into the next.

Spunt is no shy cookie either as he proclaims his love for Glasgow over an emphatic soundscape before giving a quick shout out to his favourite Glasgow vegan hangouts, including tonight’s venue.

‘Fever Dreaming’ forms an early highlight as the band cut loose and hit us hard and fast in one of the standouts from latest album Everything in Between. While ‘Valley Hump Crash’ forms a great example of the new dreamy side of the band’s sound.

After a set comprised of mainly new material a rapturous finish is in order and the band truly deliver. The chirpy guitar of 2008 single ‘Eraser’ is easily the best received song of the night. The band then disappears only to reemerge as the recognisable duo and dig deep into their catalogue to perform Wierdo Rippers favourite ‘Boy Void’.

Sound may be an issue that is being constantly raised with Stereo but tonight’s set forms a classic example of how this problem can be worked in your advantage. The bands on offer tonight have grown up playing small dingy venues and through experience have a produced a sound that, delivered at break neck energy, works on any level.

Phot0: Gordon Ballantyne

of Montreal @ QMU 4/10/10

For anyone who has never seen of Montreal live you are certainly missing out! The Georgia based act light up the stage with their frantic freak pop while bringing a few actors along for the ride to add a theatrical tint to a wonderfully entertaining show.

The band emerge dressed in all white with chalked faces under an intense strobe and start playing a sinister intro. Meanwhile a combination of a fish and gas mask has wandered on stage holding a couple of heavy looking guns.

Just before things get too sinister, but not less weird, frontman Kevin Barnes appears dressed like a time confused, trendy transvestite and the band launch into new track ‘Coquet Couette’.

The camp theatrical antics continue throughout and matched up with an impressive background projection they provides a wonderful alternative for those bored of watching just some folks playing instruments.

It is clear of Montreal know their stronger tracks as the stage antics are somewhat set aside when the band hit into songs, from their rousingly trippy 2007 release Hissing Fauna, Are You The Destroyer, like ‘Gronlandic Edit’.

Various costume changes of bright coloured lycra and skeletal masks are gone through while the band work through tracks like ‘Enemy Gene’ and ‘Sex Karma’ from new release False Priest.

However, it is in the older songs that the true charm of the set is found. ‘Bunny Ain’t No Kind of Rider’ find Barnes at the peak of his powers. ‘She’s A Rejector’ injects powerful bouncing bass that pushes the crowd into an unrelenting sing-along while a blood drooling pair cackle around the stage in straight jackets.

Then the set takes a darker turn as Barnes disappears off stage and returns covered in golden cloth with a rope round his neck and performs a disturbed little number while animated war images project behind him.

This distressing image quickly gives way to screeching synths and Barnes, cloaked in a new skirted outfit, erupts into the pop bliss of ‘Heimdalsgate Like A Promethean Curse’. Pop gems ‘Plastis Wafers’ and ‘For Our Elegant Caste’ from 2008’s Skeletal Lamping sandwich the clap-along ‘Suffer For Fashion’.

Before the band disappear off stage we are treated to a couple of dancing pigs and are drowned confetti to the chirpy funk sound of ‘A Sentence Of Sorts In Kongsvinger’.

After the band disappear a solitary pig stays on stage and whirls the crowd into frenzy for the band to emerge again and exit of a victorious note.

Instead of the expected cover song of Montreal fans have come accustomed to (no Nirvana or Franz Ferdinand tonight). The band instead delve further into their back catalogue than at any point in the night choosing the joyous silliness of ‘The Party’s Crashing Us Now’ from 2005’s Sunlandic Twins.

While of Montreal’s hyperactive, uber-trendy indie rock may not everyone’s cup of tea, it’s hard to argue with the amount of fun they dish out live. A wonderfully dramatic, thoroughly entertaining set overshadows the poor setting and leaves everyone waiting for the band hit Glasgow again.

Photos: Eilidh McMillan

Grinderman @ Barrowlands 28/9/10

Tonight sees, what is still to some a Nick Cave and the Bad Seeds side-project, Grinderman visit Glasgow for the first time and this early into the tour they are in a rousing mood.

Promoting second album Grinderman 2 Cave and co have managed to distance themselves from the Bad Seeds material by coming at it from a different angle.

Cave’s usual avenues of song writing have been cut off, no love or religion under this alter ego! The result is a much more raw, raunchy rock ‘n’ roll sound, far removed from his heavily ballad ridden Bad Seeds work.

Grinderman has gradually moved away from being just a side project since the release of their self-titled debut in 2007. This is further emphasised by the easily sold out crowd at the Barrowlands tonight, a bigger venue than the Bad Seeds played on their last visit to Glasgow.

Opener tonight ‘Mickey Mouse and the Goodbye Man’ sees the four-piece start in an explosive fashion before pushing into the Cave speciality explicit charms of ‘Worm Tamer’.

A quick breather is given to the band when Bad Seeds stalwart Warren Ellis blows his amp, prompting Cave to input “Warren’s blown up his third amp of the tour”, which is incidentally only four days old.

The mere mention of Ellis’ name provokes the crowd into a spell of Warren worship. A number of adoring fans in the audience proclaim their love for the bearded multi-instrumentalist, to which Ellis quips “I’m looking for a good divorce lawyer”.

The oozing sexuality of Grinderman is no better shown than in the stand out tracks from their debut album. It is these songs also that prove the set stand outs, ‘Get It On’ and ‘ No Pussy Blues’ convey opposite sides of Cave’s sex driven lyrical world, but both rouse the crowd into massive sweaty sing-a-longs.

‘Man in the Moon’, ‘When My Love Comes Down’ and their self-titled track create a strong and dazing yet moving encore. The complaint anyone could have is the lack of Bad Seeds tracks making appearance, however this does not seem to bother most in attendance, further justifying the testament that Grinderman is a stand alone band in their own right.

Grinderman 2 is out now on Anti-.