In a typical turn of events in the Glasgow gig world, I could have been in (at least) two places at once tonight with two of Glasgow’s best new(ish) bands playing at the same time in different parts of the city. I’d bought a ticket to see Brenda supporting Pozi in The Hug and Pint before Junk Pups announced they were supporting Sister Madds at their single launch in Nice n Sleazy. I did do some research on the possibilities of seeing both, but time travel isn’t yet a thing…
Let’s just say, the Glasgow music scene is in fine fettle with bands like Junk Pups and Brenda winning new followers every day alongside bands like Watermachine, Tina Sandwich, Sacred Noise, Brontes, Big Girls Blouse, Pizza Crunch, Casual Worker, Pedalo, Parliamo, Static, Bin Juice, the aforementioned Sister Madds, Dark Amadeus’s and Goodbody to name a few. I read a Guardian article yesterday about the behaviour of Royal Blood in Camperdown Park using it as an analogy for signalling the death of “real” music, whatever that means. The article stunk of desperation from a so called music journalist who claims to once have written for NME. Perhaps this was when it was a free rag more akin to Smash Hits asking pop stars of the day their favourite colours. Anyway, the live music scene in Glasgow is alive and well and filled with vibrant “real” music.
I will admit to having bought the Pozi ticket purely on the strength of Brenda supporting, having known nothing of the headliners, and still knowing nothing when I arrived at The Hug and Pint. Nor was I aware that there was another support band in the shape of Hound, a name I’d heard but not experienced live. I missed the start of their set but I’m pleased to say what I did see reminded me of sunny breezy alt rock akin to upbeat 90s Weezer tunes, with a final song that turned up the heat and displayed the urgent NYC punk energy of The Strokes and The Walkmen. Looking forward to more from Hound in the future.
Pozi was an extraordinary proposition, a three piece band with no lead guitars, the trio consisting of bass guitar and a lead vocalist playing violin. I wasn’t sure what to make of it at first, but I was soon enthralled by the dynamic sound and energy coming from the compact Hug and Pint stage. The thunderous post punk/goth like bass pulsed through my body, the violin bringing an added level of texture to the sound as all three members took their turn at vocal duties. The bass and Rosa’s vocal bringing one of my favourite bands, Cranes, to mind on occasion. Definitely tagged as a band I need to investigate further.
One of the things I love about Brenda is their enthusiasm for just about everything and their general approach to music. I’ve seen plenty of bands who turn up, ignore everyone else then fuck off again. An arrogance not unlike that of Royal Blood. Not so Brenda. Flore, Litty and Apsi all getting down and grooving along to both Hound and Pozi, and just generally having a great time.
So what of Brenda’s set? After all, they were my reason for investing in the evening’s entertainment. If you’ve ever seen the band live, you’ll know a Brenda gig can sometimes be a ramshackle affair (last night a buzz from the bass causing them consternation), however, it is ALWAYS an event to remember, and it ALWAYS brings a smile to my face. When they took to the stage the crowd had thinned somewhat, escaping the dark sweaty cellar to take in some fresh air between bands, however after Sleepwalk and as the trio launched into their infamous track, Pigs, the place was filling up and the positive reception for the band increased song by song, the audience clearly drawn in my the retro sound of the Korg synths, alongside the witty repartee from Flore, Apsi and Litty. The latter perhaps regretting her choice of shiny red “Free Britney” catsuit, and its precarious zip… part of a tale told before Slave Dad, which ended in a disturbing mental image of Flore’s dad walking his dog in similar attire.
The between song banter from the band is part of what makes a Brenda gig special, their self deprecating manner (“we lost a few during that one, but don’t worry the next ones a banger”) really engaging the crowd and despite the heat, you could feel the warmth felt by the crowd for Brenda rippling through the venue. The music is a joy to behold too, the sound of the band underlined by Flore’s Korg synths, and Apsi’s drums, with Litty swapping between guitar, bass and synth. At times the synths channel early Depeche Mode and there are guitar riffs that seem to take their lead from The Cramps, but above all, the sound of the band is uniquely Brenda, a fact attested to by the incredible harmonies demonstrated by the bold and engaging trio that provide the delectable icing on the luscious cake. The mid point of their set saw them perform their recent three singles back to back, starting with the remarkable High Horse, freshly released on the day of the performance, then Flore’s song about failed relationships, Microscopic Babe, with its witty chorus, “bits of joy you are giving me are much too small, microscopic baby” (and check out the “ out there” video recorded in LA) followed by the Apsi written and sung banger, Cease and Desist.
The end of the set came way too soon, leaving me wanting more, but still evidently satisfied, if my wide grin was anything to go by, as I headed to the bar for a refreshing summery pint of Schofferhofer.
I’m already hotly anticipating the bands album launch gig in The Glad Cafe in July, and of course the release of the album itself, one of my most eagerly anticipated albums of 2023. In the meantime, as I walked along Great Western Road towards the underground station, the sight of a remarkable sunset in front of me adding to the joyful feeling brought by Brenda that all was well with the world.
