This should have been the second New Years Revolution gig I attended in Tuts this January but having unfortunately missed out on Junk Pups and Lloyds House last Friday, I was pulling out the stops to make sure I didn’t miss out again. Like the First Footing gig at the hug and Pint a few weeks ago, this gig was proof positive that the Glasgow music scene is in rude health with so many quality young bands around.
It’s a sign of my age that the kids of two friends are bass players in two of the bands who are bright shining lights in the current Glasgow scene. First off Dylan from Junk Pups who were playing a few streets away in The Variety while I was at Tuts, Dylan also cameoed as The Shop Assistants Alex Taylor in the recent TV dramatisation of Andrew O’Hagan’s Mayflies book. And tonight Morven Kemp provided bass duties in the opening band in Tuts for the evening, Tina Sandwich.
This was supposed to be a quiet evening, a couple of beers and a few bands then home. It was great to see a friendly face behind the bar (stand up Kirstin from yet another shining light in the Glasgow scene, Sacred Noise), and then turned around to see a couple of unexpected friendly faces in the bar. What ensued was a night of catch ups, fantastic music and, if I’m honest, one or two too many Blue Moons…
I predict that by the end of the year Tina Sandwich will be rightfully headlining gigs like this in King Tuts. The band display such a raw visceral energy, they have a vitality in their performance that is palpable from the off, and with a vibrant stage presence that has the crowd eating out of the palm of their hands. The scene was set for an energising and ebullient start to the evenings entertainment. Their set may have been short, but everything about it was perfect, the band setting the bar high for all who followed. Right from the anticipation raising introduction from guitarist, Calvin, the band went on to display a heavyweight title winning performance. And that short but perfectly formed set had a bit of everything, the ’77 punk attitude displayed by the likes of Poly Styrene, with an edge of the underlying sleaze of the NYC punk scene thrown in for good measure, a set made up of rollicking party starters and beautiful introspective quieter moments that feel inspired by early 80’s indie guitar bands. And what a band. You’re onto a winner when you have someone fronting your band with the unfettered sass of Tilly, making forays into the front rows and totally immersing herself in the performance, but add to the the searing riffs and guitar licks from Calvin, a thunderous bass that vibrates through your soul from Morven, a study of concentrated perfection from Stewart on synths and keys, and as for Liam on drums, I don’t know what gives him his energy, but he belted those skins like a demon possessed A perfect start to the night. Beep beep, your ride is here Tina Sandwich, and its a ride straight to the top.
I initially bought my ticket for this gig on the strength of the headliners and Tina Sandwich who I’d first caught live supporting Pizza Crunch in the self same venue. I was later delighted at the addition of another of Glasgow’s fine alt guitar/indie bands in the shape of the wonderful Lemon Drink. As I’ve now come to expect from a Lemon Drink gig, everything about their performance was slick and precise, a lesson in seemingly effortless laidback cool, I always think that particularly about Lauren on bass… That doesn’t come without a lot of thought, effort and practice going into every performance, these efforts certainly pay off. Starting off the set with Lights Out, swiftly followed by audience favourite Sip Sip, the band slipped into fifth gear straight from the word go, I was pleased to hear their now (in)famous party piece still in the set, in the form of their superb cover of Dua Lipa’s New Rules, and alongside that, newer song Patsy Kensit about creepy middle aged Twitter trolls (more or less). Their set ended in triumphant style with the addictive earworm that is Demon Child before closing out their set with the bitingly acerbic but equally addictive single A Song For You. Great things ahead for this band if they continue on this path.
It would be unfair of me to comment on Berta Kennedy as I was absent for large parts of her set, what I heard sounded smooth and professional, but I’ll leave the reviews or comments to people who were engrossed by her set.
I have been attempting to get to a Brontes show since they first arrived on the scene, each attempt was frustrated or aborted through a combination of diary clashes, work, and life in general. Finally though I managed to catch the band who released one of my favourite songs of 2022 in the form of First Hand Arrogance in the flesh, and I’m glad to say it was well worth the wait. The anticipation had been building for some time so when the band kicked off the first few bars of Raelios it felt like the lid being removed from a pressure cooker, releasing a wave of euphoric energy. Brontes guitarist Jon must go to the same place for his boost of vitality and dynamism as he writhed and gyrated his way though the set. Talking Heads/Tina Weymouth bass vibes were coming my way (I’ve just realised I seem to be obsessed with bass guitar sound) with the rest of the band, pardon the pun, totally in the groove and displaying a suave elegance while their smooth indie rock with a side order of funk soothed the soul and satiated the need for live music vibes. I’m so glad I finally managed to tick this band off my gig list, but I hope this is just the first of many. Brontes set closer First Hand Arrogance provided a voraciously peerless end to the night cementing the fact that the music scene in Glasgow is in good hands with bands like these plying their trade.