Dream Nails @ Hug & Pint 9/3/21

Dream Nails

Their first visit to Glasgow and only the beginning of their long-delayed tour (COVID, like everyone else) all four of them seemed genuinely pleased to be here. Introducing their new lead singer, who as I understand took over after the recording of the album and seems to have been chosen more for matching morals than vocals. Either way they picked right up and carried on, tot that they really had a choice considering they only have one record's worth of tracks to choose from. They worked through a well-planned set of it, plus their new track Take Up Space. It did feel a little boxy, although that may be because I caught glimpse of the setlist that even had the "buy our merch" banter pre-choreographed. The drummer did show genuine care when she gave away a pair of sticks to someone in hopes of them learning the kit and starting their own. Anyhow, the music was solid - catchy and what you'd expect. Personal fave was the shout along to D.I.Y. It wasn't a life-altering gig but it was certainly enjoyable. And my first time in the small basement space of the Hug and Pint that definitely had its charms (and lovely food upstairs).

​​Brat Coven
A four-pack young punk band with modern feminine anthems, taking on the patriarchy and state of affairs for women. While some lyrics batted you over the head, others were important and definitely worth repeating - repeating fast and loud and over punk rock. Speaking of fast, the whole thing was over in 15 minutes flat.


Count Florida
A three piece that didn't have very much overly standout about them. Not too fast, not that catchy or specifically interesting lyrics. Could tap your foot along and they seemed to be enjoying themselves so not all was lost.

The Lottery Winners - Castle & Falcon 9/3/2021

Lottery Winners 

They assumed the same four instruments (and genders) in the same stage positions, if we're playing Mastermind, as the openers. The Lottery Winners had obviously already won over the surprisingly mature audience (I was below median age). Their charismatic ringleader and lead singer yucked it up all night long, the faux glory-hog act seeming more realistic by the end.

He did share the limelight when the bassist sang lead on Sunshine, instead of her normal co-backup vocals with Rob, the guitarist, but then the singer pulled all the glory back at the end of the tune by jokingly/seriously reminding us that he wrote it. It was all in good spirit and fun though, and the crowd got into the act shouting out what could have been heckles but we were getting it right back in return. Promising early not to do their sea shanty version of Nickelback’s Rockstar, they played only a couple tunes from this year’s EP, the only album I know by them. It didn’t really matter what they played though since the energy and atmosphere more than made up for a lack of familiarity. People were more than happy to sing and dance along, especially during the forthcoming single for which we “shot a music video” on a cell phone. I was honestly shocked when they introduced Frank Turner to the stage for the song Start Again that they did with him. I was then embarrassed (and a little disappointed) when they revealed that that too was a joke. We, the audience sang Frank’s part instead and it was still great. There was a Coldplay into Robbie Williams singalong (don’t ask) and even an on-stage magic trick that turned out to be a surprise wedding proposal (she said yes). As an encore, all but the drummer returned to sing a round with just guitar; apparently the first song they ever wrote together (in a pub). Finally, the drummer returned for one more and sent the happy crowd buzzing off into their weekend. High marks for entertainment!

Overpass

Overpass took to the stage with the chanting of their mates in the crowd and proceeded to impress friends and strangers alike. The singer was strong throated and reasonably confident for a young band, albeit playing on home turf of Birmingham. As a four-piece, everyone played their part, the female bassist holding it down, the drummer unflashy but solid (both of whom were in suits), and lead guitar being the least noticeable on stage but very skilled at his instrument. Playing their few released songs off the pop, I wondered what else they would have in the tank and it included a Joy Division cover that got everyone singing along and a soon to be released new single. Definitely a feel good set from the band that had noticeable Arctic Monkeys vibe on the vocals, and according to my mate, Phil, Catfish & the Bottlemen otherwise. I'd be happy to catch them opening again soon.

Another Sky, Ailsa Tully - King Tut's - 8/11/21

The main event and reason I was there was for Another Sky who were likened to Radiohead or Everything Everything, comparisons that aren't wrong but don't accurately describe their sound. It starts with the deep, yet feminine singing vocals from their lead - a voice like none that I can place, it is very strong and as good as it sounds on record, it blew me away live. In fact, the entire band matched or beat the album (and I really like 'I Slept On The Floor.') The drumming is so much more interesting than straight keeping time which kept me on my toes, and the stocking foot drummer on his. Not to be outdone the lead guitarist was completely barefoot (with long hair and a beard I was happy he didn't have hobbit feet.) The bassist was wearing shoes as was her lead vocalist counterpart, who also doubled on the keys and guitar depending on the song. Last year I fell in love with Fell In Love With The City and it was great as the opener. Other standouts were the one-two of Riverbed into All Ends and the singalong of Only Rain, though the highlight may have been set finale, Brave Face. Everyone seemed enamoured in the perfect-sized nearly-full King Tuts so it wasn't hard to get them to return for the encore (that was already on the set-list - chilled Tree into powerful Avalanche). I'm convinced, and others agreed, that it wasn't just the excitement of a real live gig but that this would be a cut above anytime.

Ailsa Tully was bubbly between songs but along with her other guitarist and drummer they played a rather samey set. Considering I didn't find the first song all that engaging by the end of 8 of the same I was ready to move along, though one in the middle did have the drums hit a little harder so it was slightly better. The crowd seemed to enjoy it - or maybe they were all just happy to be back seeing live music for the first time in a year and a half.

Tim Baker - Hare on the Hill, Bristol Jan. 31, '20

Nico Paulo

Stepping into The Hare on the Hill I found myself entering a very intimate show already underway. In fact, I nearly trod on Nico's toes as she was stood by the bench seat in the corner of the pub playing her set. With it being ticketed entrance only, the entire bar's attention was fixated on the entertainer, and by proximity me as I intruded on this. The positive to come out of this was the great vantage point that I held for the rest of the night, even if it meant guarding the door for all other latecomers. This being a music blog I should speak about Nico who played some delicate songs on her guitar, with her whisper-strong voice. She was endearing and won over the crowd easily, myself included, even having walked in never hearing her name, let alone her music before.

Mark J. Lee

A dapper, local English musician playing some pretty standard country music. He'd been on the bill so I'd briefly checked him out beforehand and knew that it wasn't really my style, however I'm happy to report it was better live. Especially happy considering there wasn't really anywhere else to go during the set.

Tim Baker

Finally the reason I had rushed home from work abroad and then driven down to Bristol. Tim took to the "stage" with a few different instruments scattered around; a couple guitars, a banjo, and perhaps most importantly, the pub's piano right up against the wall beside him. Starting out expectedly with a few from his first and only solo album thus far, Forever Overhead, he then veered from that (and away from any setlist). Dance is a brilliantly romantic opening tune, both on record and live, that he started with on the piano, while then doing renditions of already-excellent All Hands and Spirit. The thing about a talent such as Tim is that he's not going to play the songs exactly the same way as the album, and dating back to the Hey Rosetta! days no two sets are exactly alike, but you can be damn sure that it's going to be a touching, engaging, and entertaining show. The way that he brought the heartbreak of The Eighteenth Hole alive made you feel it in your chest, while the other kind of heartbreak with respect to the disbanding of Hey Rosetta in Don't Let Me Go Yet touched close to home. But there was joy too - Bandages has the perfect singalong and this rapt crowd was tickled to oblige. Speaking of singalongs, opener Nico seemed to be pulling some strings behind the scenes as Tim tried to make the set list up on the fly and she was roped in for a couple of songs, both as backing vocals and percussion. All of this added a lovely touch to the already cosy show. After a couple of "that should have been the finale" moments felt by both the crowd and Tim (he said so much himself) he was forced to actually close - but how? "May as well play Welcome," suggested Nico, and so he did, to everyone's delight. Early into the stripped back version he messed up the lyrics, quipping "I've played this song a thousand times - actually more than a thousand times!" but we were forgiving and overjoyed anyhow. (And told him as much during a chat afterwards while getting my record signed while he was pinned down in the corner of the pub.)

Menzingers, Spanish Love Songs, Mannequin Pussy - Asylum, Feb 14, '20

Mannequin Pussy

The first to take the stage on this unbelievably stacked bill at The Asylum. We were sure to get there early and yet MP had already just taken the stage, and plenty of people had made their way in for it. A good thing too as all these early-comers were rewarded with a sweet, enthusiastic set of punk rock. Solid as their recordings are, it was agreed that the live set takes that up a notch even. Didn't even think to snap a pic I was so caught up in the show.

Spanish Love Songs

Following their awesome, and undersized headliner last year at The Flapper (R.I.P) these new-emo American guys 'n gal were back in a deservedly bigger room, albeit in a supporting role. The way they play I'd be happy to call them a co-headliner though. With a well-picked setlist of many of the best from 2018's Schmaltz as well as highlights from the new-release Brave Faces Everyone (and probably a smattering of older stuff but I'm not yet as familiar with the back-catalog). The crowd was massively enjoying it and nearer to the end of the set as Buffalo Buffalo began the pit really got moving. Did they steal the night? Don't ask me, I'm a big ol' biased SLS convert.

The Menzingers

Now veterans of the 21st Century punk scene, The Menzingers came on with a polished set to prove it. In the very nearly sold out big room of The Asylum on a Friday, Valentines Day no less, there was a palpable excitement in the crowd. Mind you it did take a few songs for the sound to work in and the set to really get going but by the latter half it was in full swing. When one of my songs of the year (2019) in Anna dropped it was riveting. What a show! I'd happily go back and watch this one again, front to back.

Split Milk Society, Amy Louise Ellis - Sunflower Lounge Jan 17 '20

Spilt Milk Society
Having seen these guys nearly a year earlier to the day in the same spot I was looking forward to the set. It was really odd though have them come out of the gate with a very different sound to what I was expecting. I had a difficult time getting into it and they carried on like this, presumably it's a new direction, for the majority of the show. Only with the final couple of songs did it start to sound like something that I could get into. Interesting changes, I suppose.

Odd Soul

This really was an ecelectic bill as Odd Soul played a jazzy brand of soul. As they admitted, it was a lot of their old standards that made the setlist and even resting on their laurels, with a few hardcore fans scattered amongst the crowd, it was just alright. I was hoping to get grabbed and carried away and when I still ended up stood in the basement of the Sunflower I was a little disappointed.

Cherry Cherry
A five piece playing some "modern indie rock" I believe I stayed for the whole set, but writing this less than a month later I can't recall anything standout.

Amy Louise Ellis

This young chanteuse sure has the pipes. Though the first couple of songs, set over her friend's electric guitar, didn't blow me away there were a couple near the end the really showed her voice off. The Lauren Hill (or was it The Fugees?) cover was also excellent. Raw, local talent that just needs to find her place.

Pkew Pkew Pkew, No Bro, Eamon McGrath - Horseshoe Tavern Jan.10 '20

Pkew Pkew Pkew

The reason for the night came onto the stage like a hometown crowd should - to cries of joy. It wasn't some intense, outpouring or anything - they did play this exact venue less than a year ago - but the ovation from the full, but not sold out house was strong. Similarly, the set was very enjoyable and appreciated but they are not setting new highs with their small-town Ontario tales of drinking, skating, and hanging out. The crowd did get into it and by third song, I Wanna See a Wolf, I was compelled to join the fray. To our credit we moshed the entire way through, enjoying strong tracks like Asshole Pandemic and 65 Nickels, with an incredible amount of body surfing too. There were 3 or 4 people going up at a go, one of whom decided to test the strength of the plumbing pipe that runs across the ceiling; fortunately for us all it held. Near the end there was a song or two not from either of their album releases which didn't quite get as much love as the well known tunes. After 45 minutes of short, ripping songs they waved goodbye, with their perpetually grinning bassist departing last. But in the preorchestrated world of concerts, even without much of a roar (more of an expectant pause), they returned to the stage gushing their thanks to us. They did a couple, finishing with Glory Days, which was the correct call if you ask me, and sent us out into the early morning hours sweaty and happy.

NOBRO

Man, or should I saw "Woman!" - what a treat this was. This four-piece, using secondary percussion including bongos and electronic drums were stellar. They also had a great guitarist though the singer was stronger with vocals, naturally, they all did some instrument swapping along the way. Even as the second band on the bill, after a snoozy (good snoozy) opening from Eamon these gals got the pit moving so kudos to that. For the finale they really decided to kick out the jams. One to watch, I'm glad I got to catch them on their way up.

Eamon McGrath
Accompanied by another fellow, also playing acoustic guitar they went through a solid folk set that even had the filling-in crowd respectfully quiet. A standout display of songsmanship was seen on especially on Guts.

Barasso 

Warming the way jsut before PPP! this four-piece, all-male francophone band played some bludgeoning punk rock. It wasn't bad but was all a little samey (I hit the john). At one point they bantered, in English, "we're singing in French but you don't care do you? It doesn't matter."