Bloc Party @ Alexandra Palace - October 24, 2018

This was my first time seeing Bloc Party, a band that were part of the Post punk revival circa 2005 that got me re-excited about music after one of my lulls. And Silent Alarm was the debut album that was core to this sound. I had many of its tracks on heavy rotation along with Arctic Monkeys, Interpol, Editors, The Cribs, The Libertines, The Hives, Clinic, Art Brut, and so on and so on...

This was a solo show for me. I've recently discovered an informal group called Solo Armada for people wanting to meet up with other solo gig goers. I was hoping to spot someone with one of their badges, but no luck.
I thought I might have spotted one when I was in a bar line up, but abandoning a drink to chase after a stranger disappearing into the crowd was a bit beyond me. Maybe next time.

After being fucked over by some Facebook chick who was going to buy my spare ticket - I should have known better when I saw all the hen party pictures on her profile - I made it in a bit later than I wanted, but in time for most of the opener's, Middle Kids, set. I'd checked them out ahead of time and liked their songs, even if they are a bit mellow. Their performance was dull. Four people standing still and playing. The lead singer reminded me of one of those thrift-store-sweater-wearing geeky girls with her guitar strung high and played awkwardly. They could keep growing though; the potential definitley seems to be there.

In the wait for Bloc Party, I found myself standing next to a young woman who was doing all the pre-gig physical arrangements that marks you as a regular gig-goer: layers off and tied around waist, hair in pony tail, etc. I asked her if she was here solo as well, and we chatted for 15 minutes or so. She summed up the evening perfectly: "do you get the feeling every 30 year old male in London is here tonight?" She was spot on. It was a predominantly white male 30-ish crowd of the type that don't seem to go to tons of shows. The ones nearer the front would be more the die-hard fans, but in a 10,000 capacity place (is Ally Pally really that big?) there were far more of the former, trying to recapture their late teens and early 20's passion, and mostly forgetting how. In other words, it was a well-behaved and mostly dull crowd.

Bloc Party's arrival was preceeded by a tape playing Every time is the Last Time, a hidden track off the Silent Alarm album. This show is a revisit of that album (one of 6 in European cities), albeit in reverse order acknowledging a tracklist ending with slow songs that wouldn't work in a live environment. So, the band comes on and quickly gets through the slow tracks. Things start to get a bit more interesting (in live terms) with Luno and build from there. I necked a few drinks and then started to make my way towards the front with each song. Tons of singing along and excitement from the crowd. It was nice, despite my snarkiness as a show like this isn't going to bring out the curious, but more established long-term fans and that makes for an engaged, happy audience. This Modern Love kicks off the really uptempo part of the show, culminating in the last song, Like Eating Glass, before the pause and encore.

more to come....



Setlist:
Compliments
Plans
Luno
So Here We Are
Price of Gasoline
The Pioneers
This Modern Love
She's Hearing Voices
Blue Light
Banquet
Positive Tension
Helicopter
Like Eating Glass

Encore:
Two More Years
The Marshals Are Dead
Little Thoughts
The Prayer
Ratchet
Flux

Air Traffic @ Islington Assembly Hall, London - October 9, 2017

Air Traffic have been performing a handful of gigs to celebrate their only album, Fractured Life's 10th anniversary. This is an added-on date due to the first shows selling out quickly.

I discovered Air Traffic shortly after their 1st album was released in 2007 when I was loving all the British new wave of post punk revival bands and the like at this time. 2008 was a packed concert year for me and seeing Air Traffic open for Elbow in an Anglican Church in Vancouver was one of that year's sweeter musical moments. I vividly remember the opening duo of drums that begins No More Running Away acoustically filling the church. It was uplifting and almost spiritual. Just beautiful.

The other memory is the hard pew Steve and I had to endure, and how the mellowness of Elbow had set Steve nodding off before the end of their set. Still, it was a uniquely lovely show in a unique venue. Air Traffic remain one of only two bands I've gone to see specifically when they are still opening acts. Elbow was just bonus.

When I stumbled across this gig it was pure luck. We had been listening to some of their songs that are favourites and I happened to look them up to see if they had done anything lately. Such great timing. Steve was actually happy to go with me. I couldn't quite believe it but he was singing along towards the end. That was fun to experience.

I predicted that the audience would be mellow, but I've been surprised before. This time, however, I was spot on. The crowd was exactly what you'd expect: late 20s, 30-something mainly; many in couples, and not a mosher in sight. This fit perfectly with the singer's banter about getting older. He finished Take Your Hands Off Me by saying "God knows what we were so angry about." The crowd could clearly identify. They laughed when he introduced This Old Town as Bournemouth, and told us it's the town  they're from, were desperate to get out of, and all now live once again.

Chris Wall and the rest of the band were clearly enjoying themselves and he continued the audience interaction with charm. By the end of the set and in the encore we had three big singalongs to Your Fractured Life, No More Running Away and Shooting Star. In fact, when the set ended and the crowd kept up the "No More Running Aways", Wall did a cartoonish slow-motion running escape from the stage and the whole band was brought back as we all kept up the chant. I wondered if this had happened every night, but checked out some videos of other nights and suspect this may have been original. It would be a fitting piece of appreciation on Air Traffic's last night of this particular group of reunion shows.

The sound was great. Not too loud and no ringing ears today. They performed tightly and with energy and joy and it was an enjoyable concert. The penultimate song was introduced with the information it is a newly written track that has just been released as a single and humourously that "Album 2 is riding on it. No pressure." I like it and would be really pleased for more material and to see them get back to doing something they obviously love. Wall thanked a host of people, but particularly the band, singling out their drummer, David Ryan Jordan, as the real impetus behind the reunion. Cheers David!


Setlist:
Just Abuse Me
Never Even Told Me Her Name
Time Goes By
Can't Go Back
Come On
Empty Space
I Can't Understand
This Old Town
Charlotte
I Like That
Take Your Hands Off Me
Get In Line
An End To All Our Problems
Your Fractured Life
No More Running Away
Encore:
The Running Caught Me High
Almost Human
Shooting Star

Pixies @ O2 Academy Brixton, London - November 28, 2016

33 songs is a lot for the average concert. But, I was really surprised at some of the omissions. It made sense when I checked the setlist for this blog entry, and saw the following night's setlist in the same venue. They almost didn't repeat themselves. This would have been awesome for the fan attending both shows, of course. So, I missed Wave of Mutilation, Monkey Gone To Heaven, Gigantic, and some lesser gems like Is She Weird and Subacultcha. But, fortunately I got to hear U-Mass, my favourite Pixies song, to which I lost my shit over. As you do. Because they're touring in support of their new album, Head Carrier, I was expecting to hear the first single which I really like, Um Chagga Lagga. The next night's fans got that treat.

We got a good spot with a view of centre stage, and I spent much of the show letting the Pixies sound/noise wash over me. It was a slow builder, and no one in the band addressed the audience, but slowly you get swept into their sonic sea. The early songs are mostly back lit, obscuring the detail of their faces, as they seemingly take their time letting us into their world. Then the full colour hits and by the first notes of Here Comes Your Man, we are fully welcomed in, with the attendant singalong.

It was great to experience the Pixies' sound live, having loved many of their albums and tracks for years. Some bands are all about showmanship or energy or loudness, but the Pixies' live are all about the sound. And they got it right. It was special, and before a brief encore, the band took a bowing curtain call, which you don't often see at rock shows. Then, just before they came back on, the dry ice machine belched a massive wave over us. As it cleared, it was like emerging from a warzone, grey and surreal. As the Pixies played Into The White in the eerie fog, the new bassist Paz Lenchantin stood silhouetted with her low slung bass and sang almost motionlessly. Then more massive waves of dry ice buffeted us. It was by far the most I've ever experienced and then that was repeated half a dozen times. This final destination was a fittingly atmospheric representation of the enveloping aural journey we'd been taken on.

Setlist:
Where Is My Mind?
Nimrod's Son
Break My Body
Brick Is Red
Winterlong (Neil Young cover)
Blown Away
Mr.Grieves
La La Love You
Ana
All the Saints
Here Comes Your Man
Motorway to Roswell
Magdalena 318
Tenement Song
Classic Masher
Head On (Jesus and Mary Chain cover)
U-Mass
I've Been Tired
Velouria
Havalina
Snakes
Caribou
Rock Music
Baal's Back
Isla de Encanta
Oona
Planet of Sound
All I Think About Now
Hey
Gouge Away
Debaser
Tame

Encore:
Into the White

Jane's Addiction @ O2 Forum Kentish Town, London - June 13, 2016

Sometimes I go to concerts to experience a band live and get to know them a bit better. But tonight, I went to relive a piece of my past. The early '90s to be precise. Right before alternative music broke into the mainstream, Jane's was paving the way, like NIN and a few others. This music feels very personal to me; it was mine before I had to share it with the rest of the world. And when we did have to share it, in that post-Smells Like Teen Spirit world, Perry Farrell was the main curator through Lollapalooza.

I never saw Jane's Addiction live and missed the first couple of Lollapaloozas as I wasn't in the country, but I was at the 3rd one, and the 5th one. I had friends who'd followed them around on tour, inspired to be in bands themselves. I was a particular fan of Nothing's Shocking. Honestly, I found the song and video for Been Caught Stealing ridiculous and cartoonish. But this album was special as it was released after I already loved them and was eager for more. Reliving the album in full in concert was a bit like discovering it the first time, unwrapping the CD. Yeah, they're still pretty awesome, was the exact feeling of relief I felt on both occasions.

The first thing that I was impressed by was the gogo dancers on scaffolding, gyrating behind the band on the opener, Stop! How perfectly Jane's, and how perfectly Ritual. So few bands do more than just show up, stand there and play. I really should have known to expect more from these inveterate showmen!

The band looked like they were having a good time with plenty of smiles and interaction. They sounded good and looked dapper and showy with just the right dash of maturity to acknowledge the 25 years past. I don't think I could have taken Perry in braids and a sundress.

The truly jaw-dropping moment of the show came at the end of the first encore when they play Ted, Just Admit It... Two girls in bondage gear thrashed around at the end of long lines dangling from the ceiling on either side of the stage. And yes, they were hooked through the skin, in the old native american sun-ritual way. The song's phrase "Nothing's Shocking" was surreal: I was genuinely shocked, and yet I would have been less shocked in 1990. Is this a function of aging? I don't know. I saw the Jim Rose Circus Sideshow back in the day (an act that benefited from Perry's promotion), but it's been so long since I've seen a band that want to play provocateur with their art. I miss it.

The evening wrapped up with a stripped back performance of Jane Says, encouraging the sing-a-long atmosphere everyone knew was coming. The band were all at the front of the stage with bongoes and acoustic guitars, with all the go-go dancers, satyrs and suspension girls joining them, making for an intimate finale, complete with theatrical bow.

Setlist:
Stop!
No One's Leaving
Ain't No Right
Obvious
Been Caught Stealing
Three Days
Then She Did...
Of Course
Classic Girl

Encore 1:
Mountain Song
Rebel Rebel (Bowie Cover)
Just Because
Ted, Just Admit It...

Encore 2:
Jane Says

Weezer @ O2 Academy Brixton, London - April 5/16

This concert has been a long time coming. I was a fan from the first, back to '94's Blue album. And Island in the Sun is probably my favourite pop song....Of. All. Time. Weezer seem to play a lot of festivals, and as you may know from reading below, I avoid festivals unless they are really really packed with amazing bands I can't bring myself to miss. Then, finally, back in 2008, Weezer were playing Vancouver and I was on the verge of buying tickets when I checked out the date with my brand new (at-the-time) boyfriend, Steve. Uh-oh. Same date as his best friend's wedding, of which he was the best man, and of which I was his date. Can't really wriggle out of that one. Many swear words were invented and tested out that day. It's probably a good thing I didn't know then it would take another eight years for this to finally happen. But it has. And it was great.

It wasn't great in exactly the way I thought it would be though. Based on the many mellow songs Weezer has, I was worried it would be a more sedate show than I really like. Sure lots are poppy and make you want to move, but not in a moshing kind of way. But fans mosh to Weezer. There was a definite crush up front, not helped by some idiotically placed permanent barriers on the O2 Academy floor. Maybe I was a little less sweaty than I would be after an Against Me! gig but I jumped up and down a whole hell of a lot. Many songs live are more energetic than off the albums, Island in the Sun being a prime example. The prettiness of it got lost somewhere between the fans screaming along and the less sparse, simple arrangement of the recording. The perfection of the "hip, hip" moment, produced perfectly on the record, was just an approximation on this night, but it was enough for me.

I heard plenty of North American accents, as we wound our way from the bar towards the stage. The crowd looked to be about 75% geeky college boy, which makes sense. No bad asses in sight, and a few cute, if straight-laced, girls. I'd say most in their mid to late 20s, but it's harder to tell as I get older. But, they seemed a good deal younger than that when Weezer closed the main set with the Sweater Song and a violent grappling of a jumper ensued after someone held theirs aloft. They will have a good story as to how they lost a sweater during that song at a Weezer concert, but the garment, I'm sure, is history.

So, my impression is that Weezer live are a massive and bouncy sing-a-long band, even though the band themselves are pretty low-key. I thought that the show would be more centred on the new, White album, as it only dropped 4 days ago, and the show seemed to be promoted in that light (and it's a bit of a trend to do whole albums these days), but we only got 5 out of the 10 new tracks. My favourite new track Do You Wanna Get High? was my least favourite new live song of the bunch which was weird, but there were so many other highlights it was fine.

Setlist:
California Kids
My Name Is Jonas
Hash Pipe
Back to the Shack
L.A. Girlz
El Scorcho
The British Are Coming
Pork and Beans
(If You're Wondering If I Want You To) I Want You To
Do You Wanna Get High?
Cleopatra
The Waste Land (Instrumental)
Thank God for Girls
Say It Ain't So
The Good Life
You Gave Your Love to Me Softly
King of the World
Island in the Sun
Undone- The Sweater Song
Encore:
Beverly Hills
Buddy Holly

Full Set recorded by fan, Vaso Proiou:


Or watch on youtube, with comments and song timing marked.

Faith No More @ Roundhouse, London - June 17/15

My friend couldn't make this gig in the end, and found someone who wanted the ticket. Turned out good for me, 'cuz Seaghan (who came over from Dublin for the show) was a massive FNM fan and a good concert pal.

The openers were The Pop Group, post-punk pioneers active from '77-'81 and then reformed in the past few years. I'd never even heard of them, so when I read up on them before the gig, I knew I had to check out this band that paved the way for Gang of Four and PiL. Roddy introduced them, and it was definitely that echo-y, sparse post-punk sound, I dig. "We Are All Prostitutes" was a highlight.

This was Night One of two Faith No More were playing in London, and unlike at the NY show, the gimp made an appearance to much cheering.

The show had the same great energy as the NY one, but they mixed up the setlist with 6 different songs which was awesome. Got to hear more of the new album live and some older faves. We Care A Lot was a more straightforward rendition, as there was no Rahzel, but Patton did pull out his trademark megaphone to good effect for the night's closing song.

I noticed more snarky banter with the crowd. Is this a big city thing, or a FNM thing? But Patton had no problem letting us sing the Midlife Crisis chorus. Patton's voice was amazing, showing much of his range. The whole band seemed to be enjoying themselves and invigorated by having new music to play for us. It was a great show, and I'd definitely see them again if I get the chance.

Setlist:
Motherfucker
Be Aggressive
Caffeine
Evidence
Epic
Black Friday
Richochet
Midlife Crisis
The Gentle Art of Making Enemies
Easy
Separation Anxiety
Last Cup of Sorrow
Digging the Grave
Matador
Ashes to Ashes
Superhero
Encore:
Sol Invictus
Everything's Ruined
We Care a Lot

The Pop Group Setlist:
Thief of fire
Citizen Zombie
She Is Beyond Good and Evil
Hell is Empty
King Stupid
We Are All Prostitutes
Nowhere Girl
St. Outrageous
We Are Time

Faith No More @ Webster Hall, New York - May 14, 2015

The last time we were visiting Vancouver, I saw that Faith No More were playing there soon and 'isn't that just my luck?; as soon as I move away from a city, a band I've wanted to see forever shows up? Steve said to look up where else they are touring and when I mentioned New York (a place neither of has been yet) he said "why not?" It was a crazy whim, but led to an awesome week, starting off with this concert.

Webster Hall is a 1500-capacity venue and, no surprise, was sold-out. They did two nights here (we were at the 2nd night), and then came back to NY later to do Madison Square Gardens. Maybe they didn't realize the demand a tour supporting their new record, Sol Invictus, would generate.

Le Butcherettes opened and were energetic, fun and edgy. The lead singer, Teri Gender Bender is a born showman reminding me of Nina Hagen in a blood-red outfit with dramatically jerky physicality.

Steve was a trooper but after the opener, left me to the sweaty floor on the edge of the pit, and stationed himself at the bar.

Right off the bat, the stage and the band was a visual feast. Boys in white linen, flowers everywhere, the stage bathed in a series of solid-coloured lights...blue, red, white, yellow, purple.

My god. What a show. It totally lived up to what I imagined a FNM show would be like. I'd seen Mike Patton with Peeping Tom in 2008, so I knew how compelling a front man he is, but the whole band was so "on" and energetic. There was a little New York-baiting banter, but it always seems like everything Patton says could be dripping with disdain as he cocks an eyebrow and stares down the crowd. Roddy Bottum shared vocal singing and banter duties and was positioned at the front left of the stage. I particularly loved their back and forth on Superhero.

Getting to experience Midlife Crisis, Evidence, Everything's Ruined, We Care a Lot, From Out of Nowhere and Epic live was a mind-blowing treat.

Being a Peeping Tom fan, another bonus was Rahzel coming on stage and doing We Care A Lot with them. His vocal tricks and beatboxing perfectly matched the pounding tune, and he added a whole new rap to the mix. A fitting NY treat.

Setlist:
Motherfucker
Be Aggressive
Caffeine
Evidence
Epic
Sunny Side Up
Get Out
Midlife Crisis (video)
Everything's Ruined
The Gentle Art of Making Enemies
Easy
We Care A Lot (with Rahzel) (video)
King For a Day
Ashes to Ashes
Superhero
Encore:
Matador
From Out of Nowhere (video)

Le Butcherettes Setlist:
Burn the Scab
Demon Stuck in Your Eye
The Devil Lived
Boulders Love over Layers of Rock
I'm Getting Sick of You
Shave the Pride
Bang!
The Leibniz Language
Your Weakness Gives Me Life
Henry Don't Got Love

Muse @ Pacific Colliseum - April 1/10

Muse have been on my list to see live for about three years. Just about all the other bands I discovered around the same time along with the British Post-Punk Revival explosion I've now seen: Interpol, Arctic Monkeys, The Killers, Editors, The Fratellis, The Kooks and Maximo Park. I knew Muse were massive in Europe and reputed to be an amazing live act, but where were they?





The only time I remember seeing a Muse date near here was Sept/07 in Seattle. I didn't go to Seattle to see them then and I still have yet to travel that far for a gig. I figure everyone eventually ends up in Vancouver. Well, according to their site, the last time Muse were in Vancouver was at the Commodore on September 24, 2004! That's a five and a half year absence. They've played a handful of shows in Toronto, Montreal and Seattle on their tours since then, but we've been waiting a long time. Welcome back, boys.

So, was the wait worth it? Oh, yes. Even with the high expectations I had from their rumoured greatness live, I was not disappointed. The sound quality in the Pacific Colliseum was excellent, and Bellamy is a damn good front man, but the undisputed star of the night was the set design. I'm including some pics that may capture how impressive it was. Three skyscrapers on the stage that are both movable platforms and video displays, and a light show second to none was an admirable backdrop to a great night of music.

I'm not a fan of the increasingly overt influence of Queen on the band, so those moments during the night were lowlights for me (United States of Eurasia, piano solos). The highlights, beyond the phenomenal stage set, were my old faves Starlight, Supermassive Blackhole, Time is Running Out, and the new tracks Uprising and Resistance. I confess to avoid the crowds, we skipped out before Knights of Cydonia, but I bet that rocked too.

I also have to mention one fan who enthusiastically and single-handed got the entire place doing the wave while we were waiting for Muse to take the stage. Thanks man.


Setlist:
Uprising
Resistance
New Born
Map of the Problematique
Supermassive Blackhole
Hysteria (with Back in Black riff)
Nishe
United States of Eurasia
Feeling Good
(Drum Jam)
Undisclosed Desires
Starlight
Unnatural Selection
Time is Running Out
Plug In Baby
Encore:
Exogenesis Pt.1
Stockholm Syndrom
Knights of Cydonia

The Killers @ UBC Thunderbird Arena - April 24/09

Feeling a bit tired tonight, so skipped the openers. This was my first time at Thunderbird Arena. Apparently it's been renovated in preparation for the Winter Olympics. Sorta like the PNE Forum, but nicer. We didn't have great seats, near the back on the right side, but all seats seem to have a decent view due to steep seating. The only reason I'm sharing these moans is because some of this may have coloured my impression of The Killers show.

I'm glad I got to see them, and the show was okay, but it certainly didn't blow me away. And I thought the sound was a bit muffled, particularly on one of my favourite songs, Read My Mind. And while I'm not a huge fan of the Jumbotron, it certainly would have helped those at the back more fully appreciate the show.

The set decoration was pretty fun: palm trees, and a great layout of lights, where hundreds of lights in a grid pattern blanketed the backdrop and some of the stage fixtures, like the monitors in front. These were different for every song and sometimes during it, giving each song its own visual wash of colour.

The Killers launched right in to Human and then This is your Life off their new album, "Day & Age". In fact they played the first seven songs off the album, mostly in the first part of the set, sprinkling in some early songs and the Joy Division cover Shadowplay, complete with stills from Control, the biopic on Ian Curtis, which is a nice nod to one of their post-punk influences.

Other than the obligatory shout out to Vancouver, Brandon Flowers dedicated one song, I Can't Stay, to Nardwuar and nanaimo bars, making me guess they were interviewed earlier in the day. This song was a departure from my impression of The Killers, adding a full on Vegas show feel, complete with a sax player, and caribbean percussion. Very loungey. And hopefully very ironic. The palm trees didn't help at this point.

A Dustland Fairytale, apparently the new album's third single, brings the set to its first apex, soft teasing parts, followed by catchy and building crescendos. This song looks and sounds like its fun for the band to play, and I guess they'll be doing this live for a long time, maybe as a break from some of those hits they'll have to keep playing whether they like it or not.

This was followed by the highlight of the night, for me, Sam's Town. A super slowed-down and haunting version begins with desolate Las Vegas images projected behind the band, the stage awash in red. And with perfect timing, just as Flowers sings the final words of the line "But I know that I can make it / As long as somebody takes me home", up pops a motel "Welcome" sign. Take me home, indeed. I got shivers.

The main set is rounded out by a trio of hits, thrilling the now hooked and engaged audience. All but a few people are on their feet and dancing or singing along. At least the Killers got the set list down perfectly. Even from a distance it's clear that Flowers is an energetic and interesting front man, skinny in all-black, like the rest of the band, he bounds and dances around, across the stage and up on the monitors, occasionally playing a bit on the keyboard behind the stylized "k" centre stage. But, from our seats, it still felt a bit like watching a show on a 14" TV.

We ducked out before the encore, so we stood a chance at getting back home on the bus without being squashed, but it's pretty likely they played Bones, Jenny Was a Friend of Mine, and When You Were Young, as their setlist has been pretty consistent so far on this tour.

So, an okay show. Certainly got me listening to the new album more, which is slowly growing on me.


Setlist:
Human
This is Your Life
Somebody Told Me
For Reasons Unknown
I Can't Stay
Joyride
Bling (Confessions of a King)
Shadowplay
Smile Like You Mean It
Spaceman
Losing Touch
A Dustland Fairytale
Sam's Town
Read My Mind
Mr. Brightside
All These Things That I've Done
Encore (Probably):
Bones
Jenny Was a Friend of Mine
When You Were Young

Glasvegas w/Rich Hope @ Richard's on Richards - Jan 11/09

I was torn about seeing this show, until I saw that the opening act was Carl Barat (formerly of The Libertines, and Pretty Dirty Things). Separately I might have passed, but these two on the same act was worth checking out, to me.

Got there early so as not to miss the opener, and found out immediately that Carl Barat wasn't going to be there. Another example of Canada Customs protecting us from criminals wanting to corrupt us through music, no doubt. So, I was pissed to begin with.

Local rocker, Rich Hope, who've I've seen 2 or 3 times, was the last-minute stand-in, and did a good job winning over the crowd and getting us ready for an evening of rock, despite the fact he was seated with his guitar and the percussion was his foot on a tambourine. He pulled it off.
Glasvegas made us wait, and it wasn't until the sold-out crowd started getting antsy they finally showed up. They began the night with the slowly building Flowers and Football Tops. I was immediately glad I'd come to check them out despite the Carl Barat disappointment.

Glasvegas have a big sound on their debut album, and it was immensely satisfying to hear that richness translate to the stage at Richard's. The creeping, surging guitars and booming scots accent was well-matched to the almost blinding lights, backlighting the band, and along with the smoke machine, creating a transporting rock experience.

It was a short show, with no encore, but it felt right, and is understandable as they only have one album and an EP to draw from. I'm sure there were NO complaints from the gentleman directly to my right. The last song of the night, Daddy's Gone, was drowned out by him singing at the top of his lungs. The turned heads didn't bother him one jot. And in the spirit of the night, I wasn't bothered. It was a testament to the adoration this band can create in its fans. The Glasvegas experience is one you definitely shouldn't miss if you get the chance.

Setlist:

Flowers And Football Tops
Lonesome Swan
It’s My Own Cheating Heart That Makes Me Cry
Please Come Back Home
Polmont On My Mind
Geraldine
Ice Cream Van
Go Square Go
Stabbed
Daddy’s Gone
Encore:
(None)