Tag Archives: Bella and the Bear

Scottish Fiction presents Beerjacket, Bella and the Bear at The Hug and Pint, 13/12/16

It’s a well-humoured night with a great line up organised by Scottish Fiction at The Hug and Pint as Bella and the Bear take to the stage for their last gig of 2016 following a second successful EP release earlier this April.

Comprised of Lauren Gilmour on keyboard and Stuart Ramage on guitar with both combining for the vocals, Bella and the Bear create a beautiful harmonic sound.

Their experimental soothing vocals interspersed with rap give an interesting mix that takes you by surprise such as in ‘Skeleton’.

Christmas specials are becoming an annual tradition for Beerjacket and with a new studio album nearing completion he steps onto the stage and opens with two new songs.

Despite him apologising for not playing old numbers, these are well received by everyone in the room.

The familiarity of the characteristic riff of ‘Cave’ next however brings smiles to all.

Beerjacket remains seated and unable to see him I close my eyes and let his intricate plucking transport me into the music.

The guitar work is masterful and it is easy to see why he has built up a loyal following dotted amidst the newcomers in the crowd here tonight.

Everyone is singing along by the time we get to ‘Antlers’, which he dedicates to his ill friend Julia Doogan who sang on the album release of this song but can’t be here tonight.

Climbing onto a seat at the side of the audience, he launches into an unplugged version of ‘Eggshells’ that nearly melts my heart.

Then the beginning of ‘Cape’ before something goes wrong, which he laughs off to the great entertainment of those who have seen him before, as his “second song curse” when playing acoustically.

He duly recovers and treats us to renditions to be cherished for a long time, especially of the former.

Asked whether we would like “a new one or an old one” for the encore, someone cheekily replies “one of each” and Beerjacket obliges, first playing the title track of his new album ‘Silver Chords’.

His feel-good neo-folk sound is always a pleasure here and he certainly shows us we have something to look forward to in his new release, which he says is “imminent in the new year.”

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Words: Chris Cox

Ones to look out for at Electric Fields 2016

Electric Fields might well be the most exciting festival north of the border this year, with a line up that draws huge talent from both the local pool and further afield and without compromising in talent have drawn together the most attractive line up we’ve seen in a while.

Last year Electric Fields was a real up and comer with a punch, drawing mainly, although not solely, on Scottish acts the festival saw real promise in a glorious location with my only real criticisms of last year’s festival coming in the form of travel arrangements and food, the latter seems to have been sorted with a mouth-watering list of options displayed, but whether it lives up to billing we’ll wait and see.

This year they’ve taken investment on board and expanded considerably, moving to a two day festival with huge headliners in Primal Scream and The Charlatans, while acts like Wild Beasts, Fat White Family and Field Music add to a strong bill that will pull punters from the whole of the UK.

Add to that a strong Scottish contingent, featuring not only headliner Primal Scream, but also SAY award shortlisted Steve Mason and Emma Pollock, the undeniably talented folk rock chops of Admiral Fallow and the irresistible Tuff Love, among others, you’ve got a festival that’s come a long way.

With that in mind we’ve chosen to take our picks for the festival from those that might not quite have caught the wider public eye… yet.



This little songstress had the potential to be massive, and slightly more than a year on from the first time we covered her she’s progressing nicely. Her live set is slick and breath-taking, drawing on vocalist Charlotte Brimner’s immaculate vocal talents with section that go from rap to beautifully sang acapella sections, from experimental drum assaults to shimmering pop glory. Get ready to be drawn in and left bewitched.



Ultra talented duo Bella and Bear merge cutting edge spoken word sections with intricate, lush folk meanderings. Lauren Gilmour’s voice oozes character and will add a resounding beauty to a buoyant line up.



elara caluna are a band that we have shamefully yet to cover, so Electric Fields should deliver the perfect opportunity, on record their sound merges gothic, baroque and folk influences with electronically generated atmosphere, that we’re excited to finally catch in a live setting.

Sweaty Palms Promo Shot Lo-Res


There’s not many better live bands in Scotland right now than Sweaty Palms, the Glasgow boys deliver a riotous set that has tore many a basement a new one with their loud and dirty, reverb drenched post punk sound. Electric Fields just might not know what hit it when they take to the Tim Peaks stage early in the day on Friday.



TeenCanteen deliver sticky cherry-cola kissed three part harmonies backed by talking toms and stomping beats in a new Wall of Sound, and with their debut album due just weeks after Electric Fields we’re excited to see what they have in store.



It appears The Van T’s very nearly were not playing this year’s Electric Fields after the very sad news of the passing The Lapelles frontman and their very good friend Gary Watson, however it now appears their 60s vibing garage rock will rear its shimmering head and we’re more than sure they’ll pull out all the stops to honour Gary’s memory.

We’re also excited to catch Northern Irish drone pop merchants Documenta and the dreamy guitar pop of Manchester’s Horsebeach for the first time.

Stag and Dagger (Part Two), 1/5/16

In the previous coverage of Stag and Dagger our reviewer, Adam Turner-Heffer, spoke of the fun of people’s entirely different experiences of the festival.

Intriguingly enough mine and Adam’s days overlap in only two places, one being rejecting the daunting queue for We Were Promised Jetpacks and the other being the early in the day slot of UNDO.

Still, my day, which for a good portion is spent helping out with flyering for the exciting looking Electric Fields, who today have their own stage upstairs in The Art School, is just as engaging and while I wasn’t particularly enamored by the bigger names on the bill there is still plenty of noteworthy performances.

My day begins at 3pm in the Broadcast basement, well almost, the venue is that mobbed I only manage to catch the end of Lovesick’s from the stairs, still from what I can make out the band possess a real rock ‘n’ roll attitude and their sneery vocals provide an engaging focal point on top of plenty of psychedelic tinged indie rock vibes.

Learning my less from the previous set I get down in plenty of time to see The Ninth Wave, and find myself tightly squeezed in towards the from of the stage.

The band’s melodic guitars and synths refreshingly come off a lot more raucous live than they do on record, as clattering, yet groove infected instrumentals are given a pop edge by Hadyn Park’s distinctive pop rock vocals, which give in to some dream pop tinged harmonies courtesy of Elina Lin.

The Ninth Wave definitely come across at their best when they utilise the male-female vocal dynamic to the max, but this is something that’s an almost ever presents and although the set takes a slight lull for some slower material, they make a big impressive in front of surely the biggest crowd they’ve played to thus far.

Over at the CCA there’s a real hush surrounding Bella and the Bear’s set and the extremely talented duo use this to make their cutting edge lyrics stand out on top of their mellow folk twinkles.

They’re a band that have quite rightly had a lot of praise and I’m ashamed to say this is the very first time I have managed to catch them in a live setting, but I’m sure it won’t be the last as Lauren Gilmour’s voice oozes as much character as it does quality, and their arrangements, which occasionally break out into on the button, yet very Scottish, spoken word, leave a touch of beauty that you don’t often witness at a hectic festival.

Popping up the hill for HÆLOS I am greeted with a set full of soaring cinematic electronic pop, and for a band playing their first ever Scottish show they deliver a set that is as vivid and intriguing and it is euphoric.

The band utilise having two drummers in refreshing way; the two percussionists work off of each other to give a really big and ranged sound, rather than just elevating the volume, which seems to be the result when most acts resort to this tactic.

Still, the band delivers a set that well worth catching, full of interesting pace changes and glitches that emphasise on the soaring potential of it all.

Downstairs in The Art School I witness, what for me is, the set of the day and it comes from Laura St. Jude.

The set begins on a hauntingly powerful note, as a cacophony of sound whirlwinds up to something all the more sombre, as St. Jude’s gentle yet firm vocals possess a certain country quality that all comes with a devastating sense of foreboding that drives the set with gasps that provoke a feel of doomed misery, or even comfort in that same feeling.

The set is honest and unnerving and just draws you in for more; it’s a real testament to St. Jude that she manages to maintain the spotlight even when joined on vocals by guitarist and former Amazing Snakeheads frontman Dale Barclay, and while Barclay’s gruff snarl gives the set another post punk tinged dimension, it acts to build an irresistible chemistry and compliment St. Jude’s angelic delivery rather than outshine it, which I’m sure it would do when paired with many musicians out there.

Bumping into The Ninth Wave and their manager I end up down at the ABC for a short blast of The Lapelles, who possess just the right mix of balls out indie rock attitude and earworm worthy tunes that could see easily see them explode.

The reason it’s only a short burst is that Be Charlotte is due to start any second just round the corner, and the Dundonian youngster kicks of with the flawless accapella intro to recent single ‘Discover’, before a simple yet infectious beat adds a real blast of tantalising energy.

Charlotte is an artist it’s difficult not to pay attention to, her performance and set is so engaging and diverse that it’s hard not to be impressed as she switches from gob smacking vocals to cutting edge spoken word to triple percussion assaults that simply silence the crowd and create an awe filled atmosphere.

There’s so much to this girl’s set, just as you think she’s edged onto something that’s a bit too experimental for the masses she pulls another Radio One banger out the bag and in turn demonstrates she’s got all the chops to get to the very top, but isn’t just a straight up pop singer either.

Over at The Art School Stanley Odd are back after a wee break from gigging and they pick up where they left off with consummate ease; Stanley Odd have for a while been one of the most entertaining live acts in Scotland and tonight is no different as Solareye bops around the stage with a gleeful look on his face delivering that distinctive politically charged hip hop we have become familiar with.

The band moves from driving gltichy electronics to huge beats with soaring chorus’, executed flawlessly by Veronika Electronika, to heartfelt speeches to the most moment catching freestyles imaginable, they even manage to leave everyone talking about them despite leaving their most famous track to date, referendum anthem ‘Son, I Voted Yes’ out of the set instead finishing on a new number, which has the packed room chanting “it’s all gone tae fuck” well beyond the end of the set; only in Scotland would you get this kind of reaction to this kind of new material.

Downstairs and I catch a portion of Smash Williams’ compelling electronics that give way to a snarled yet almost folky vocal from Stuart Dougan, I don’t manage to catch much of them today but, from this glimpse, alongside the splattering of material they have available online and the strong catalogue of bands behind the duo, surely any upcoming release is one to look out for.

Over at CCA and Sheffield’s Slow Club begin on a gentle piano led track that simply allows the beauty of Rebecca Taylor’s voice to soar effortlessly over the room, before engaging with the audience in her thick Yorkshire accent with a warm humour that contrasts their beautiful emotive material refreshingly.

There are moments during the set where the crowd seems stuck to the spot, entranced by Taylor’s immaculate delivery, but it’s credit to the duo’s delightful indie pop dynamic that when Charles Taylor takes lead or indulges in harmonies with Taylor the set is just as engaging.

Slow Club are a band that know exactly how to tug on heartstrings and sound immaculate doing it, but equally know how to reign an audience in with amusing banter, keeping their set light and entertaining; they have a new album out this month and tonight along with the consistency of their last three releases suggest it’ll be one well worth checking out.

Following this set I grab a few drinks and hang around til late on to catch Sweaty Palms in action at Broadcast, no one really remembers what happened in this half an hour, but what they do remember is that it was a riot, a phenomenal riot catalyzed by a band that are destined to make waves much much further than a basement in their hometown.

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Words: Iain Dawson
Photos: Paul Storr

Bella and the Bear – ‘Still Cold’ [Black Sheep]

Building on 2015’s astounding success and multitude of much-deserved accolades, Bella and the Bear once again deliver in spectacular fashion with powerful new single ‘Still Cold’.

Accolades aside, anyone familiar with Bella and the Bear will already know of their captivating, unconventional harmonies and insightful yet bare-to-the-bone lyrics – the complementary, additive marriage of these two uniquely talented individuals.

‘Still Cold’ seems a bolder statement than any previously made by the duo; the idiosyncrasies are still there, but a more assured awareness of their talents sees them buried just deep enough to captivate, while the immediate melodies charm you into repeated listening.

Put simply, ‘Still Cold’ is the purest celebration of human connection through music you will hear all year.

Alongside the single comes b-side ‘Haunt’, a piano-led tale of dissolution, which does just as the title suggests, as well as live track ‘Rain’, a punchier affair that sees more of the poignant spoken word heard on earlier releases.

The final track is a genre-defying remix of ‘Haunt’, which sees any phantoms left behind in the original given free rein to explore.

Words: Andy Gregory

EPs of 2015 (10-1)

20-11  –  10-1  –  Tracks & albums

10 Turtle - Push10 Turtle – Push

Jon Cooper aka Turtle’s EP Push is titled as ambiguously as the music that inhabits it. It’s clean, but somehow gritty, it’s beautifully mixed and it happens to be just a great show on how to write ambient electronic music. ‘The River’ sounds like it should be accompanied by big waterfalls and David Attenborough’s voice, and there is no circumstance where this would be the result of music, which is anything other than enchanting. (Greg Murray)

9 Bella and the Bear - A Girl Called Bella9 Bella and the Bear – A Girl Called Bella

The second official EP from Ayr-based duo Bella and the Bear saw them return with a fresh outlook and a compelling sound. Their traditional acoustic sound offers immensely intricate and beautiful lyrics paired with engaging rhythmic guitar and powerful, while their Scottish roots are portrayed proudly through spoken word, which creates a rougher edge to the EP. There is a timeless feel to A Girl Called Bella, a sense of wonder and excitement paired with quiet melancholy; a rare find.

8 Sweaty Palms - Hollywood Wax8 Sweaty Palms – Hollywood Wax [FUZZKILL]

Hollywood Wax is a dark yet jaunty garage tinged tape that captures your attention and slowly grows til you’re hooked. Sweaty Palms draw from a host of styles, but have successfully managed to corner their own as Robbie Houston’s snarled vocals possess an unrelenting garage energy that combines with the band’s eerie hypnotic power, while a touch of joviality means they’re rightfully labeled ones to watch.

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4 Tuff Love - Dross7 Tuff Love – Dregs [Lost Map]

The first of two Tuff Love EPs, Dregs is an easy listening pop filled record with subtle undertones. Tuff Love describe their sound as “aggressively melodic” and over five tracks the listener is transported to a softer world filled with light drum and guitar beats mixed together with the duo’s soft harmonies. Following on from other EPs Junk and Dross, Dregs welcomes the idea of upbeat and infectiously catchy songs, mesmerising lyrics and gentle vocals, perfect that these songs now all feature on a full-length. (Lorne Gillies)

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6 Outblinker - Pink:Blue6 Outblinker – Pink/Blue [Good Grief/GabuAsso]

Outblinker’s first offering was delivered in the form of a two track EP that really packs a punch. The quintet combine crunching riffs alongside mesmerising synth into a 23-minute experience that you won’t forgot in a hurry. ‘Pink’ eases the listener in before unleashing a cathartic cacophony of battling sounds and timbres, whereas ‘Blue’, with its eerie tones and hypnotic synth, offers a more cinematic approach. (Jess Lavin)

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5 Bill Wells & Aidan Moffat - DILF_77 Would Like To Chat5 Bill Wells & Aidan Moffat – DILF_77 Would Like To Chat [Chemikal Underground]

Dilf_77 Would Like To Chat immediately dances into life and it’s a real change from Moffat and Wells’ usual bleak affair. Wells lays down a disco arrangement that just screams Nile Rogers alongside Moffat’s trademark bloke-ish vocals. Moffat described these tracks as “too unique” and “too cheery” to be included on a full album, and he’s not wrong, but you don’t miss the bleak bluntness that defines this partnership. This EP stands alone giving a glimpse into a sanguine side of the duo seldom seen.

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7 Tuff Love - Dregs4 Tuff Love – Dross [Lost Map]

It’s no surprise Tuff Love feature twice here with tunes packed with disjointed instrumentals, fuzzy thrills and distorted melodies Tuff Love are no strangers to the DIY ethic, the two-piece always manage to capture their raw and unpolished vibe without ever sounding shambolic – Dross being no exception. The EP perfectly captures the essence of the band’s tight live performance showcasing Julie Eisenstein and Suse Bear’s velvety vocals as they create stunning harmonies that soar over expertly plucked strings. (Jess Lavin)

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1 Hector Bizerk - The Bell That Never Rang3 Hector Bizerk – The Bell That Never Rang

Hot on the heels of 2014’s sister EPs, The Bell That Never Rang  further cements Hector Bizerk’s reputation as the Scottish purveyors of rhythmic exploration and the honest and grim truth. While they have been developing this style for a few years, ‘Skin & Bone’ marks an evolutionary step as they adopt a pop chorus, while on ‘Rust Cohle’ Louie’s words are more biting and on target than ever. These EP’s have proven their ability; it is only a matter of time until a full-length album achieves the same effect. (Liam Gingell)

2 The Van T’s - Laguna Babe2 The Van T’s – Laguna Babe [Bloc+]

Laguna Babe is just a tremendous EP from the Van Thompson twins. There’s a real grunge attitude that underpins the new sound of the band, somewhat of a leap from the acoustic stuff of a couple of years ago. It seems after the musical journey they’ve been on they’ve arrived at the type of Pixies-esque tunes they were always destined to create. ‘Growler’ is an incredible opener that will hook you enough to ensure you cannot pull away from the rest of the EP and, as a whole, it is just a right good record. Last year was a great year for The Van T’s, but all the evidence suggests 2016 could be even better. (Jay Henderson)

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3 Dune Witch Trails - Waving At Airports1 Dune Witch Trails – Waving At Airports

Waving at Airports sets the scene perfectly for Dune Witch Trails to continue their ascendancy within the thriving landscape of Glasgow and beyond. It almost sounds a bit like a grittier sounding Japandroids – even typing that made me smile at the thought. There aren’t many bands that could pack so much feeling and so many sounds into less than 10 minutes, but Dune Witch Trails manage to do just that. Each song is just the right length to showcase many great ideas without ever becoming tedious, helping make Waving At Airports our number one EP of last year. (Andy McGonigle)

20-11  –  10-1  –  Tracks & albums

Bella and the Bear – A Girl Called Bella

A Girl Called Bella is the second official EP from Ayr-based duo, Bella and the Bear.

Having played at numerous festivals throughout Scotland, Bella and the Bear have returned to their newest EP with a fresh outlook and a compelling sound.

Their traditional acoustic sound offers immensely intricate and beautiful lyrics paired with engaging rhythmic guitar and powerful vocals.

‘Skeleton’, ’Little Boat’ and ‘Paper Planes’ all include excerpts of spoken word creating an impressively unique sound, which blends effortlessly with the strong vocals from the duo.

Their Scottish roots are portrayed proudly through the spoken word and create a rougher edge to the acoustic scene.

‘Magaluf’ carries a different sound with elements of jazz and funk, however Bella and the Bear manage to maintain their captivating rhythms throughout each and every track.

There is a timeless feel to A Girl Called Bella as it includes a sense of wonder and excitement paired with quiet melancholy.

The position of the tracks paired with the expertly chosen elements of spoken word make this EP a rare find and highlight why it isn’t one to miss.

Words: Rebecca Gault

Bella and the Bear, Stanley Odd at CCA, 2/10/15

Their first EP proved to be a splendid mix of soul that gained much acclaim earlier this year; after a summer of memorable performances and a SAMAs best newcomer’s nomination (which they have since won) under their belt Lauren Gilmore and Stuart Ramage take on Bella and the Bear’s next chapter with new EP A Girl Called Bella and also the showcase of their short film to spur on this special time for the duo.

With the doors pushed back the seats fill up quick as 2/6 of hip hop group Stanley Odd open up the night.

With just an acoustic guitar, a fair difference to their usual set up, they start with ‘Chase Yirself’ and already the stripped back performance captivates the audience.

With some banter and stories to tell frontman Solareye (aka Dave Hook) gets a great response from the audience, with his distinctive dialog rapping about people, politics and circumstances that our society know to well.

Assumingly most of the audience they have never seen Stanley Odd perform with this set up, but it goes down great and adds a personal touch to start the night for Bella and the Bear.
The lights dim and for a few seconds we can prepare ourselves for something exceptional.

“Once upon another time, there was a girl. A girl with dark eyes and a brave heart. A girl whose imagination danced. She created a place where dragons were friends and elephants sang her to sleep.”

Gilmore’s voice eases over the sound of the melancholy guitar introducing us to A Girl Called Bella.

A strong narrative with the debut of their new EP they tell the charming tale of Bella and the fairy tale world that she has made her own through the use Bafta award winning Ian Henderson’s vivid and enchanting cinematic piece.

As we see Bella creating, exploring and paying no mind to those around her, Gilmore and Ramage start to introduce us to the sweet sound the EP.

Sitting on the recurring old chic sofa the duo can entrance us with the intricate refined styling of the guitar with raw soulful vocals; they have an authenticity to their sound and mesmerise us with their flawless lyricism.

Once Upon a Time had wholesomeness to it much like Bella’s innocence- but A Girl Called Bella beckons our attention with a poignant sound with more truth and realism to the stories they tell us.

The film grips the audience and is emotional, even if that isn’t the intention.

With the occasional spoken word, Bella and the Bear sing about culture, society, anguish, sanguinity and power as we see a young Bella grow up.

With their story nearing its end, guest performers make a notable appearance before A Girl Called Bella comes to a close.

Visually their film is outstanding; it captivates the vision and imagination with a blatantly strong and sincere performance from both Gilmore and Ramage.

With dangling umbrellas filled with fairy lights above the stage and with a band in tow, Bella and the Bear make their way to the stage to a momentous amount of cheers.

With some older songs like ‘Red Dragon’ and ‘Trapped’ played, we hear them in a way like never before with the band adding an edgier element to the songs we have become so familiar with.

It’s not hard to see the definite bold passion and love the duo share on stage with each other.

The band leave the stage after some songs and we get to experience the familiar intimate and connected set that never becomes old.

A night of buoyant surprises and changes, Gilmore takes to the piano and Ramage showcases his vocal capability unlike any other songs; they have mastered impeccable musicianship skills and with their bond it is all the more enjoyable to watch.

They have so many people to thank, and so much gratitude to everyone who turned up tonight; Lauren Gilmore tells us that a year ago Bella and the Bear did not exist, they had never wrote a song together, and it really comes to light what has happened the last few months as they play the first song they ever wrote together ‘Leave It Out’.

It’s been a whirlwind couple of months full of success so far, but tonight is really just the kick-start of Bella and the Bear’s evidential future triumphs.

With hard work, talent, originality and a real authenticness Bella and the Bear have entered the music world and become irreplaceable in the Scottish scene; expect great things in the next year from Lauren and Stuart.

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Words: Olivia Campbell

Hector Bizerk, Pronto Mama, Bella and the Bear at Tut’s, 6/6/15

For reasons that more or less amount to me not being competent enough to find a working cash machine near King Tut’s, I miss a lot of Bella and The Bear’s opening set, but it’s clear when I eventually arrive at the venue that the already bustling crowd adore what they’re being treated to: an acoustic boy/girl duo with a guest saxophonist for some additional textures.

With their excellent voices and well-rounded, folky song writing, I hear enough in the first few seconds of being there to confirm that I should kick myself for not being present from the beginning.

Their soulful alt-rock bellows in a totally different way to the openers, but on some levels there are similarities and Pronto Mama do well to convince the audience that they’re the perfect fit for the middle of this evening’s line-up.

They crash through their set with barrels of drive courtesy of drummer, Martin Johnston, and swagger with the confidence of an experienced band that are effortlessly tight.

‘You’re Only Human’ from, ravechild’s number 1 E.P of 2014, Niche Market, encapsulates Pronto Mama’s composition skills, particularly in the mathy breakdown, which keeps on the right side of the thin line between sounding amazing and fucking with time signatures just for the sake of fucking with time signatures.

Bella and the Bear and Pronto Mama are both exceptional, but when Hector Bizerk swirl onto the stage to the sound of an old-timey waltz, they make it absolutely clear why they’re the headliners.

Audrey Tait begins a new song on acoustic guitar and vocals whilst Louie hangs his head in silence, waiting as the song chugs along, ratcheting up the tension.

I’ll admit that hip-hop has sometimes been a genre of music which has failed to pique my interest – in particular the old-school hip-hop Hector seem to be influenced by – but when eventually ‘The Waltz’ has built up enough, Louie drops into a rap assault that is so savagely badass that the entire atmosphere in the room warps to fit the unique, frenzied brand of excitement that Hector Bizerk create.

Afterwards, ‘Party at A & E’ provides the first familiar song of the set, and it sounds both reckless and calculated, mirroring the hectic possibilities of a night in Glasgow.

To the side of the stage Pearl Kinnear paints on a canvas as a non-musical member of the band, but the more immediate attention is drawn to tonight’s hype man, who dances and waves an emblazoned flag to help keep the audience jumping along.

It’s been a pretty intense year as the band have released four EPs inspired by their city’s crest, and played in America to the crowds of South By South West, but confirming that Glasgow is still their best crowd, tonight seems like a pretty sweet cherry on top of an impressive cake (excuse my bad metaphor).

The Waltz of Modern Psychiatry is the LP Hector Bizerk are launching, and it is so named because of the stage show Crazy Jane, which the group wrote music for.

Amongst the fan favourites is a new song from the album ‘Yes, I Have Autism’, a solid indicator the band’s song-writing abilities are consistently getting better and better.

This twinned with their insane live show makes clear that Hector Bizerk’s momentum isn’t going to wane any time soon.

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Words: Greg Murray
Photos: Tim Gray