Tag Archives: Edwin Organ

Stag & Dagger Festival 2018

Stag & Dagger has been around for almost a full decade, originating in hipster central AKA London’s Shoreditch, which houses many new creatives and upcoming musicians.

The festival had only one year under its fledgling belt before bequeathing Sauchiehall Street as its sister location in early 2009.

Since then the mini-festival has grown in size and scale encapsulating every music venue of note on the street and bringing in a smorgasbord of acts from home (all over the UK) and afar (America & Japan).

Not only does it allow the skint Art School cohort to fill their boots with as many live bands as they can handle, for a mere £25, it’s also offers a good opportunity to venue hop whilst enjoying some promotional beverage prices – all under the guise of supporting live music.

With so many great acts playing and across so many venues it is always inevitable that you won’t get to see everyone on your ‘to do’ list, but that only serves as testament to the quality of the line-up.

After some disruptions to the train service the first act we catch of the day is down in the Broadcast basement, and as has become the norm in these Glasgow city festivals the bands get to enjoy playing to packed out venues as the festivals early comers take in the only music on offer before the bigger spaces open their doors.

This time it’s the turn of Guildford indie punks BlackWaters and as I watch from just in front of the stairwell behind a sea of heads the four-piece deliver a set peppered with hooky pop sensibilities and punk rock intensity that stirs up a frenzy in the sweaty space, with some down the front belting back the words.

The band has a string of singles in their name now, each combining the hectic yet accessible powerpop come punk of the late 70s mixed with coy snarl and indie swagger of early Arctic Monkeys or Blur at their most punk, it seems like recipe for success and they’re hitting the right projectory to ride it.

Next door in Sleazy’s Aussie four-piece Vacations deliver a much more dreamy affair, as the crowd get met with the dilemma of choice for the first time of the day as the other venues start opening their doors, however they manage to hold a substantial crowd as their soaring guitars whip you with a cool breeze on one of the warmest days we’ve had so far this year.

This is the last date on a full European tour and despite their understated demeanour the band seem thrilled to end things to this size of crowd in Glasgow, lulling you with their beautifully shimmering indie rock chops you can’t help be washed away by their optimistic slacker pop.

Back in Broadcast and London/Brighton dream popsters Underwater Boys are demonstrating their undoubted potential with a set of synth washed pop.

Lead vocalist Tom Klar is the focal point as his strained high yet clean vocals cut above the band’s breezy hooks that are only topped in hypnotics by his ever rhythmic bounce, as if he’s channelling his inner Bez, thankfully only in dance moves.

There’s points where the band hit more psychedelic notes and when the three vocals overlap there’s hints of a real glam energy, but it all comes with an overriding Britpop sheen that’s complimented by the fuzzy joys of contemporaries likes of Ariel Pink and Beach House.

With the sun beating down this Bank Holiday and Glasgow not being known for such weather and Glaswegians known for enjoying their time in the sun, I can honestly say I was surprised when I turned up to see Declan Welsh & the Decadent West at G2, only to be greeted at the entrance by a long snaking queue to get in.

Declan Welsh a young stalwart hailing from East Kilbride has a fire in his belly and he want you know all about.

Playing with his band The Decadent West, two of whom are sporting fantastic silk shirts play impassioned post punk, with leanings towards Nirvana and The Clash.

The lyrics are witty and unflinchingly stark that touch upon a range of topics from the Palestinian Occupation to everyday mundanity.

‘No Pasaran’, doffs its cap to the Spanish Civil War of 1930, translating literally as ‘they shall not pass’ and is delivered more as a battle cry tonight, imbuing the set with a political flair.

A song that identifies very similar to early Arctic Monkeys records, ‘Do What You Want’ takes on a much sultrier tone that sees Welsh exhibiting some fine, snake hips dance moves and wouldn’t be out of place in the background of a strip joint in The Sopranos.

Ending the set with‘Nazi Boys’, which is a fiery frenetic beast, with angry guitars and the jarring drawl of “nazi boys of the alt right on reddit in the dead of night/trolling girls and swapping memes, a master race of spotty teens”.

Serves as a song you can dance proudly to, whilst also stomping your disapproval of fascist regimes.

Over at the CCA we pop in to catch up on the joy that is an Edwin Organ set, and today just playing as a duo they seem a bit less fleshed out than previous outings, yet they still manage to capture than same sultry yet wonky vibe with impressive flair.

Edwin Organ seems to have grown in confidence over the last few years and he cuts a much more comfortable figure cracking jokes with the crowd, before delving into another maximal sample or serenading us with that gorgeous soulful, smooth deep vocal that melts you into his set.

Organ has been on the horizon for a fair while now but it now seems to be hitting a point where his unquestionable talents need the chance to mesmerise a mass audience.

On the main stage at The Art School Warm Digits open things up and the Newcastle duo immediately up the octane with a haunting drums, guitar and laptop master class in driven kraut-tinged post rock.

In a live setting they leave no room for breathe as they grasp you and wring your neck with sheer adrenaline, as a selection of vocal sample including Devon Sproule’s contribution on the disco fun of ‘The Rumble and the Tremor’ from last year’s Wireless World are allowed to shine alongside a powerhouse of musicianship.

It’s an engulfing experience that’s made even more impressive that it’s just the two of them, as Technicolor visuals add to the trance-like state that their music leaves you in.

Next we hot tail it over to Sleazy’s to catch Glasgow’s very own Medicine Men who have been gracing Glasgow’s live music scene for a number of years.

Their sound is particularly hard to pin down and seems to morph from one song to the next; yes, they have psychedelic leanings, but there is so much more going on.

Songs like ‘Bruised Peach’ are a glittering disco triumph, with vocals sounding more distorted and akin to Kasabian’s Tom Meighan.

Whilst, ‘Ceiling to the Floor’ is a beautiful love ballad that has Leftfield and Morcheeba nuances over a beautiful synth loop.

Frontman Ian Mackinnon has plenty of friendly between song banter with the crowd where he warns “don’t do what I usually do, try to take it easy, and not get too wrecked and see some bands”.

Final track ‘Out of the Light’, is a sentimental pop tune that sounds like a intriguing mash up between The Polyphonic Spree and LCD Soundsystem and provides plenty momentum to close the set.

At the sticky mess of a venue that is the G2 Edinburgh sweethearts Dama Scout play to a fairly sparse crowd, but quickly expel any indie pop clichés by delivering a set that’s as harrowing as it is sweet, yes there are moments when it’s pure whimsical C86 pop as an enchanted nod washes through the audience, but this trio have much more to them than that.

It’s the way the band constantly keep you on your toes, while still maintaining a quality sound that goes from unnerving three way vocals as a constant vibration rings through the venue to the throbbing post punk of new single ‘Milky Milk’ before hitting us with some angular guitar pop.

It’s hard to pin down what Dama Scout quite do best, but with just an EP and a handful of singles to their name, all of high quality, what direction they go in next will be well worth following them in.

America’s Protomartyr, hailing from Detroit is quite the spectacle to behold; as the crowd pour in to The Art School, it’s very clear that they are one of the most anticipated bands on the line up, with the venue filling up in a matter of minutes.

Ambling on stage, somewhat nonplussed vocalist Joe Casey, quickly instructs the sound desk for “more red and blue lights” once swathed in his chosen colours, he takes a few more sips from his paper coffee cup before breaking in to ‘My Children’, a fascinating pastiche on fading childhood innocence and growing up; it’s a good opener that allows the band to showcase a softer hue whilst building momentum.

Protomartyr are mesmerising to watch, Casey’s presence is extremely laid back, almost detached but the lyrics are delivered in an impressive baritone, almost verging on spoken word, which only seems to lend itself to the band’s, moody, atmospheric post punk vibe, drawing in even the most reluctant of audience.

‘Corpses in Regalia’ from the band’s fourth studio album Relatives in Descent, sounds like Nick Cave riding in the back of an ornate hearse on his way to one of the most opulent disco party hosted by the Nephilim; it’s gothic and it’s great.

‘Here is the Thing’ is a buzzing rush of guitars angry and defiant, with leanings towards The Fall and Casey sounding more akin to Mark E Smith; it’s an impressive symposium of layered guitars and petulant drums.

Not wanting to break character, the band finish the set on ‘Scum Rise!’, a blood curdling ode, full of spite, revenge and darkness.

It’s bleak, menacing and foreboding, which lends to its exuberance, leaving the room in no doubt of the bands impressive instrumental capabilities; easily one of the best performances of the evening.

A quick trot down the hill (somewhat to my reluctance as I was loath to miss Wire) and into the ABC2 I managed to catch a few songs by Shambolics, a four piece that hail from Fife, who had impressively managed to fill the room, even although Glasvegas where playing in the same venue right at that moment, upstairs.

“Thanks for coming Glasgow, I thought you would definitely patch us,” muses front man Lewis McDonald, sounding slightly surprised himself.

The band have been cutting their dreamy, whimsical, sweetheart indie-pop teeth supporting bands such as Cast and songs like ‘Love Collides’ are infused with a sense of seaside romance that’s at once upbeat and infectious.

With obvious leanings towards The La’s, the young band are both part Merseybeat and 90’s twee indie pop, which seems to have gathered them a committed following.

Coming out of the dark behemoth that is Protomartyr you need an escape, to follow that with the full 75-minutes of Wire seems a little excessive and unfair to some of the other acts on the bill.

The escape comes just half way down the hill as the ever animated Stanley Odd frontman Solareye delivers his lauded brand of politically savvy Scottish hip hop to a CCA crowd that lap it up.

Solareye, aka Dave Hook, is one of those frontmen that performs live with an apparent giddy glee that just infectious and his off the cuff observations demonstrate just why he’s one of the best in the game on these shores.

Hook’s solo material is in more glitchy and less rock territory than that of his band, but it’s politically astute as ever and as he bounces around with a beamer on his face you can’t help but be enchanted, he even gives us a spot of beat boxing while a technical fault gets remedied, it seems there’s no end to this guys talents and he’s loving putting it out there.

Following that I arrive at the festival’s smallest venue, and sadly The Priory seems like the forgotten venue as I arrive just before HOME$LICE take the stage on a set time shared with other local favourites West Princes along with the festival’s big hitters.

Still, the band don’t let that phase them and before long there’s a healthy enough crowd to make the tiny basement appear busy as the band sprinkle us with the sunshine that’s almost forgotten at 10pm and deliver irresistible guitar pop glory that has made them one of our favourite acts to come out of Glasgow recently.

They pour out a set built from their latest release Howdy and last year’s impressive Young Creatives; hooky guitar based glory and attitude drenched vocals that get the basement bouncing along nicely.

All that and we’re still left with enough time to see a good portion of Wire, as the legendary band close up The Art School with a behemoth of a set that shows that the post punk pioneers have what it takes more that 40-years past their original formation.

After a quick pit stop in the Saramago bar, we manage to catch the infectious, feel good disco party that is The Vegan Leather; hailing from Paisley this exotic looking, motely crew of students sound and look beautiful.

Walking into the room we are instantly met with a hot blast of damp air, which is coming from the seething mesh of bodies that are enthralled in a disco mosh pit of sorts; The Vegan Leather is a band who want your attention and they intend to get it from the onset.

The art pop quartet emit optimism and fun by the bucket load and it’s easy to see why they have been making waves on the Glasgow music scene over the past year.

Big hair and big noise, the band showcase upbeat indie- electro synths and pounding drums on ‘Shake It’, where ‘Man Dies’ is more of a whimsical sonnet, that’s still angular and edgy.

The set has moments of Metronomy, Art Brut and even Soulwax laced through it and the audience doesn’t stop dancing even for a moment.

“On this next song Marie is about to school you”, forewarns Gianluca Bernacchi and the crowd, not slow on the uptake begin to chant the usual mantra of “here we, here we…” yes you know the one, no further explanation needed I’m sure… Only to replace it with “Marie, Marie, Marie Fu**in, Collins” beaming through a flash of pink hair the guitarist quickly lunches in to singing ‘Eyes’, which she does from somewhere in the heart of the crowd.

‘I Take American’ is a fun stomp through the playground by a shiny plastic dinosaur that’s let’s face – probably pink and covered in glitter; it’s great fun and the crowd sing along in chorus.

Ones to keep a look out for in the near future and if you see them playing in town, please take the time out to catch their next show.

Broadcast was our final destination of the evening having one of the last billed guests on the latest time slot 12:30am.

Former Amazing Snakeheads frontman Dale Barclay tops the bill alongside his wife and fellow member of And Yet It Moves, Laura St. Jude.

The duo have been performing together after what Barclay would call his ‘Gift from the Reaper’, having recently been diagnosed with an invasive brain tumour, the pair have been inseparable and Barclay more focused now on artistic pursuits and creative outlets than ever before (see previous Rave Child interview) with more clarity and vision and poise.

Since returning to his hometown of Glasgow (from Berlin where And Yet it Moves were based) Barclay has wasted zero time on inaction.

He has been playing several gigs, and has even put together the Cain’s Collective comprising of; Laura St. Jude, Dale Barclay, Steven Thomas (poet) and Kelsey Black (painter) and Paul Barclay (Photographer); together the group have been putting on events and generating a creative output cohesively.

The set tonight is a stiff middle finger in the face of fear, a belly full of bile, truculent and seething with a hunger for the here and now.

Opener, ‘No Way back to Lunch’ sees Steven Thomas join the group, as he howls at the moon, a good opener to show the crowd the visceral, raw mechanics are very much part of a functioning, well-oiled machine.

Memories with the burdened howl of “take it by both hands and shake it if you need it” is a startling reminder to make the most of what you have and is at once invasive and rousing.

Closing the festival on ‘Mark Swan’, a track by And Yet It Moves, again seeing friends, companions and contemporaries grace the stage with Barclay really giving the show a sense of what is happening is very much a family affair, open to those who want to make the most of what you have and find beauty in the raw and primal of everyday life.

A gift from the Reaper indeed, at the end of a beautiful night.

More Photos

Words: Ang Canavan/Iain Dawson
Photos: Stewart Fullerton

Emubands Christmas Party with Static Union, Skjør, Edwin Organ, Shredd at Tut’s 13/12/17

The fantastic Emubands throw a party featuring a few Scottish great hopes tonight and we couldn’t be anymore excited.

It’s been quite the year for fuzzy garage trio Shredd, scooping Best Newcomer at the SAMAs earlier in the year followed by releasing quite possibly their finest moment yet in ‘Flight of Stairs’ – it seems quite apt that these boys end the year in style with a set worthy of any Christmas party.

Vocalist and guitarist Chris Harvie leads the charge through a plethora of sweet saccharine punk rock numbers such as set highlight ‘Cobra’ which funnily enough, leaves us wanting more in 2018 from Shredd.

Edwin Organ brings an ostensibly eccentrically pleasing manner to proceedings, his awkward and enclosed body language only makes his whole aura and stage presence feasibly more interesting and curious as he darts through finely sliced syllabic jams such as ‘Serenade’, which hoots and howls akin to Wild Beasts finest moments yet cunningly breaks a beat or two like those slightly well-known chaps in LCD Soundsystem.

Where Shredd soar with high intensity Skjør just as delicately delight with a brittle lo-fi haziness which encapsulates around Tut’s quite remarkably tonight, Vic Galloway proclaimed the Edinburgh quartet as darlings to watch this year and on the evidence provided through the ceremoniously slick ‘Self Control’ or disco jangly ‘Living Without You’ – we would hardly argue against Skjør, that’s for sure.

Static Union brings the encore and icing on the Emubands Christmas party cake with a generous helping of genuine, honest and at times scintillating musicianship and songwriting. Equivocally important to the remainder of the naughty tens as Belle and Sebastian were to the 90s and 00s, tonight we see just why Scotland has sat up and taken note of this wonderful quartet.

‘Last of our Kind’ juxtapositions chaos and order harmoniously, with a genuinely sombre reflection on hope and anxiety – Static Union’s approach to crafting a very good rock song is curating some consistent and haunting results – ‘Last Resort’ for example floats under a psychedelic wave of blooming keys and airy guitars.

As revellers begin to empty back on to the cold streets of Glasgow, there is whisperings on the way down the infamous venue stairs that perhaps, just maybe – one of the acts who played here tonight will one day have their name enshrined on the Tut’s stairs next to some of the esteemed artists to have graced this stage.

More Photos

Words: Chris Kelman
Photos: Brendan Waters

Tenement Trail 2017

Down early for 2017’s edition of Tenement Trail and Edinburgh’s CHEAP TEETH play to a busy but relatively relaxed Broadcast basement.

At points their music lends itself to the restrained atmosphere with subdued alt rock vibes, at others they move to gruffly sneered indie chant alongs.

There’s glimpses of the band blowing you away with powerful flourishes, however for the most part it’s lackadaisical, stoner tinged rock with a hint of lad generation about it, nice start to what promises to be a busy day.

Tenement Trail is synonymous with mad dashes to get to see as much as possible and with the forewarning that entry will depend on capacity of venues and with fifteen minute walks between some venues you have to time your journeys accordingly.

Early in the day the mad dashes aren’t so much of a problem, but the basements of Broadcast and Sleazy’s do reach capacity a few times before the bigger venues open their doors.

Fauves are next door and keep the chilled vibes to a packed basement theme going, but add a touch more sunshine to proceedings with their warming dream pop back drops, casual presence and off kilter charismatic vocal delivery.

It’s a set full of charming passages and uplifting highs, as the keys force you into a woozy sway, the guitar licks some tropical heat in and the vocals range, from high hooky sections to soulful dream filled beauty, has you engrossed.

In Broadcast Savage Mansion take the stage to Kurt Angle’s theme music, and before the urge to chant “you suck” becomes unmanageable they are off, upping the ante with their churning pop sound.

At points it’s proper hooky power pop as Craig Angus’ drawl journalistic lyrics sets them apart from their peers.

The delivery may be thick and fast, but Savage Mansion deliver the kind of set you can easily imagine crowds bigger than this chanting along to before losing it to super fun chorus hooks.

The first major movement of the day finds us down in Flat 0/1, and the tight squeeze of a venue hosts Tamzene, whose haunting vocals are backed only by gentle piano chords and a touch of backing vocal creating a mesmerising misery that entrances the crowd.

The Highlander, now based in Leeds, has the kind of voice that could pack a real punch and blast an arena, but here she uses it to caress and distil that power and deliver some truly beautiful ballads and lullabies that leaves the room silenced.

Sam Fender has a cheeky lad Geordie presence about him and as he croons “I’m a millennial” over an overly prominent bass drum, you get the impression he could be playing to packed venues bigger than Sleazy’s basement before long, the fact last time he was in Glasgow someone said he looked like Justin Bieber is enlightening, as it’s pretty difficult to make him out in the rammed pub, but gives the impression he has the image to go with tunes.

His vocal range is displayed emphatically here, even touching on his lookalike’s pop chops at points, while he can do edgy indie rock blasts and huge festival sing-alongs too; musically there’s an overriding glitchy electronic vibe that carries Fender’s sound further than your average rock band, while they are perfectly capable of going full on rock band or stripping it back too.

Three spaces of The Garage are used today, and each one of their spaces, while ideal for viewing the stage, sound a bit sparse and baron, while their policy of pat downs at 5pm at a communal fun festival is a bit intrusive.

Regardless this doesn’t deter Van Ives, who we forgo the temptations of Stevie Parker for as more the festival starts to spread out a bit; the duo fronted by former Bella and the Bear man Stuart Ramage, who were formed out of playing around with old video tapes, utilise clever samples, keys ranging from gentle to twinkling with a heavy hit of bass, all topped by passionate soulful vocal delivery and subtle guitars.

Ranging from grand, orchestral sounds to glitchy experimental organic beauty, with the occasional soaring section of pure pounding glory, the band do plenty to keep us excited.

As they close on ‘Pyramid’ with just a soft rhythm behind Ramage’s vocal it’s enough to have you shivering, before a soaring scape comes in the bass shudders the room and you’re left with a sense of something special just round the corner.

Wuh Oh is a different vibe completely as the whole set, minus a minor sound mix up, has a fluidity the emits through the man onstage; shimmering funk pop samples move freely into seemingly improvised key movements before the samples kick back in.

This is the kind of music that could so easily be played straight through a laptop, after the painstaking crafting process that is, however its credit to Pete Ferguson that he’s introduced his own live elements and all the while remaining an endless focal point of hyperactive sleaze filled dance moves.

The music hits apocalyptic heights, introducing elements of hip hop and a shuddering bass, all the while keeping a haunting refrain and of course never losing that level of liquid flow that emanates through the whole set.

After a break that unfortunately means missing Tongues and Emme Woods, we find ourselves back on it for the end of Anteros’ energetic pop rock set in a busy ABC2.

From the short burst we get a hit of high octane pop fun and a singer that possess an old school punk presence, strutting about the stage sneering and purring out tracks that emit as much attitude as they do pop chops.

ST.MARTiiNS start off on a quiet haunting number before upping the pace with warm soaring guitar lines; the vocal delivery exudes a dark pop glory, hooky yet shrouded in a sultry gothic shadow that lingers throughout their sound.

Still despite this dark element, their sound is full of bouncy rhythms and shimmery licks that are a lot of fun creating an almost oxymoronic feeling to their sound, it’s like being out in the sunshine but without the daylight and they’re all the more intriguing for it.

As they grow into their set they engulf the basement, and while we may try to categorise their sound they’re just bloody good.

As I arrive upstairs in The Garage’s Attic Bar, minus any pat downs this time, I find a whispering, shuddering wonky sound hit me as Edwin Organ’s soulful delivery comes backed by a cacophony of electronic touches and emerges basked in quality.

This is the kind of act that you can never predict and as he runs off stage to find his Mac charger mid set he hits us with surprising bravado before slipping back into a luscious maximal beauty of another track, the set continues with some trippy lounge feels, more dance floor teasing flurries and that smooth vocal; this deserves more than just the smattering of people gathered in this small room.

To my surprise/disappointment I get into The Priory’s tiny space for Calva Louise (disappointment as this place should be overflowing), but even with the small amount of people gathered in front me catching a glimpse of the band proves a task.

Sadly the volume levels in the basement aren’t up to full so the band’s hooky gothic garage pop isn’t as powerful sounding as it should, this is in no way down to the band who play through bouncing pop tracks and haunting fast screeching numbers with much more confidence than most bands would with only one track in the public domain.

With an addictive singer who delivers on chirpy pop to gritty garage delivery just as well, and a sound that just transmits energy into their audience, Calva Louise is a band that will make packed out basement shows their irresistible staple.

The Big Moon take the honour of being the biggest acts I see today, well in the biggest space anyway, and play to a sizeable crowd in The Garage’s main venue, and grasp people in with an attitude drenched pop rock sound that, woos with a charming presence and holds on with some finely crafted, bombastic tracks.

I only catch the last few numbers, but as the singer prowls the front of the crowd on ‘Bonfire’ you can see why they have gathered such a crowd – delightful sun touched stuff.

Arriving in Broadcast for The Great Albatross you’re hit by how sparse the basement is, but as the set progresses a few more filter in.

Unfortunately you can’t talk about this set without mentioning the outright disrespect for both band and audience from those gathered on the side bench, who shout over the band and drunkenly chant football songs when asked to quieten down, the band try their best to ignore this but it leaves a lingering awkwardness that’s hard to ignore.

That aside when the band are in full stride they produce tracks of unabashed beauty that are drowned in the sadness their recorded work possess in abundance, their live sound feels just as special, as once those causing the noise are dispensed the tracks soar through the basement like a cosy alt rock cushion, melting you down and charming you back to life.

Next door there’s a bigger crowd, but it’s saddening to see Sleazy’s not packed to the brim for Spinning Coin, who ounce for ounce are one of the best bands on the bill.

They’re one of those bands the just exude warm fussy vibes, it’s all lo-if pop sunshine, whether sneered and fast or slow jangly and sun kissed its all just coated in an addictive drizzle that keeps you swaying and hooked in for more.

They’re such a joy that whoever takes the lead vocal duties, whether it be Sean Armstrong’s dulcet indie pop tones, Jack Mellin’s gravely garagey pop delivery or Cal Donnely’s shouty attitude drenched vocals, it’s all got the same pull.

The band go past their allotted time slot, but after a chant of “one more tune” and them closing the venue for the night they get the go ahead for one more and recent single ‘Raining on Hope Street’ makes for a more than welcome encore.

Following that we’re left with a small gap as the venues start closing their doors meaning getting into the final few places becomes more and more difficult, but the time we get to Tut’s there’s already one-in-one-out for Catholic Action’s set, which is still more than 10-minutes off starting.

Still, it’s no surprise as this is a band that have been slowly garnering attention and acclaim for a while now, and with their debut album just a around the corner what better way to introduce it than a closing slot at Tenement Trail.

The four-piece take the stage to Billy Joel’s ‘Piano Man’ and from then on it seems like single after single as the band roll through glammed up indie rock tracks that prove bigger earworms that we expected from a few recorded listens.

We have said in the past that Catholic Action are “the only guitar band in Glasgow who are doing anything at the moment” and more recently suggested they may be the saviours of the British guitar group, and while the former was 18-months ago, and bit of a knowing extreme, with the later they may well still be – they have all the pop chops to be huge, while lack all the dross laddish vibes that have dominated the mainstream guitar band for too long.

Catholic Action produce fun, well crafted tracks that have everything right, with a bit of luck for them and some for ourselves this will just be the end the beginning and the start of something big.

More Photos

Words: Iain Dawson
Photos: Stewart Fullerton

Ten acts to check out at Tenement Trail 2017

Tenement Trail is back for another year and as they spread a ridiculous amount of bands over 10 venues and over nine hours we made some hard choices for who we think you should go see:

Catholic Action
King Tut’s, 11.15-11.45

This one promises to be a packed one so get yourself along early, not only cos Catholic Action are the last band at the whole festival and have a whole time slot to themselves, but also cos they’re one of the hottest property’s in the UK just now. The Glasgow four-piece are less than a month away from releasing their debut album and from the exuberant, glam tinged guitar pop the have unleashed to date the full could be the thing that ushers them to the huge audiences that have been edging to for a while.

Flat 0/1, 9.45-10.15

With a live set that goes from Ty Seagall channeling garage pop to full on heavy riffage Shredd have carved out a reputation for themselves as one of the best live acts in Scotland just now. Expect to see the band being surfed over your head at some point; expect to have the time of your life.

Spinning Coin
Nice N Sleazy, 9.30-10

Spinning Coin’s DIY pop aesthetic has you falling in love with it from the instant you hear it. From luscious melodies to hazy garage, the somewhat Glasgow indie supergroup adds to the right amount of nostalgia and nods to their home town to have you flustered and the lovingly crafted songwriting does the rest.

The Great Albatross
Broadcast, 9-9.30

Wesley Chung’s subtle and beautiful acoustic tracks have been brought to real life as a full five-piece band now puts together The Great Albatross. His recorded material is a transfixing road trip of coherent splendor, however live there’s something vital about the tracks that give them a true glory.

Calva Louise
The Priory, 8.15-8.45

Based in London, but hailing from France, Venezuela and New Zealand, Calva Louise is a band with a high octane, punk attitude of a live show. They may only have a limited amount of music available online, however their surfy shredding, garage rock riffs and squealing guitars make them a live prospect not to be missed.

Edwin Organ
The Garage Attic Bar, 7.45-8.15

Variation is key to Edwin Organ’s sound, still everything he touches comes out golden, his slick, but not unbearably polished production gives his head nodding organic left-field electronica a real desirable sheen. At points it’s super catchy at others a welcoming hug that fuses soul and jazz elements with obvious dance knowledge.

Nice N Sleazy, 7.30-8

I’ve not had the opportunity to see ST. MARTiiNS in a live setting as of yet, but their luscious dreamy pop sound has me more than looking to change this this weekend. From our previous reports you could see a set of tropical sunshine or sultry wonder, but either way this duo are definitely ones to keep your eyes peeled for.

Emme Woods
The Garage, 6.30-7

Emme Woods is a talented and witty songwriter with an addictively gruff vocal that transforms her live show from a punk show to a pink swilling blues-rock powerhouse. She also has her wee dog on stage with at all times, you had us at Bubbles!

Wuh Oh
Nice N Sleazy, 5.30-6

While Pete Ferguson aka Wuh Oh’s recorded material is a headily eclectic array of catchy samples, glitchy synths and a peculiar yet entrancing set of time signatures, his live performance takes up a notch both musically and in his bewitching presence; it’s playful, infectious and will get you dancing well worth catching.

Stevie Parker
Broadcast, 5-5.30

Reports would suggest that Stevie Parker’s live show is an immersive, mesmeric experience and that’s what we fully expect from her recorded material, a delicately crafted emotional repertoire powered by Parker’s rich haunted tones that soar with enviable ethereal qualities.

Electric Fields, Day 2, 2/9/17

Arriving on site again to find the sun out again is a glorious sight and we’re just on time for the Vitamin C hit that is Sacred Paws; the duo are so infectious and likeable, their chirpy harmonies and Rachel Aggs’ signature tropical guitar style just feels like it’s good for you.

Whimsically dancey, like a low-key afternoon party under the bright sunshine they are uncomplicated and carefree in their delivery of both sound and performance; you might find yourself somewhere between a calypso paradise and a trippy dream. Featuring witty syncopation, the question and answer pattern to a number of their vocal segments creates a real classy show.

They are the perfect band for this time and weather, the latter obviously there’s been a bit of luck for but the fact there’s a healthy crowd down early for them can only be a positive getting people moving in the early day while others chill on the grass letting the warmth wash over them.

Saturday sees the Redeemer stage rebranded the Big Pink, and as we wander in Birdhead are filling the tent with punch packing sound that attracts a fairly solid turn out.

Pulsing guitar and electronics are punctuated by powerful drumming as the duo deliver a sound that sounds as big as many five-pieces would, it’s apocalyptic at times but always has a pulsating drive behind it the keeps your feet and head going, the rare snarled vocals keep up the same intensity level, while latest single ‘Custom Muscle’ has the band hilariously pointing out, after noticing kids in the audience, is about “treating your body like an amusement park”.

Whyte Horses Experience seem like another band well suited to a main stage afternoon set, sky soaring pop vocals on slightly psychedelic backdrop hit nicely despite the sun having disappeared, their multi-coloured poncho wearing waving mimes at the front of the stage make an odd focal point but still it’s pretty fun stuff.

Back at the Big Pink I get my first Vic Galloway introduction that becomes a regular feature of the day, after that Edwin Organ delivers gloriously wonky chilled out electronic tracks, with a vocal the soothes and settles with a real beautiful edge, his soft yet elegant tones contrasting that of the broad Glaswegian “cheers” he utters after the opening track.

His voice is full of soul and musically there’s a real original feel to it, for the short burst we get (we’re hitting heavy crossover time now) there’s none that go out to full dance floor fillers but there’s no doubt they’re capable of it.

Clashes aside Aldous Harding seems to take an age to emerge, when she finally starts the set she apologises and states she can’t explain but she is playing a guitar that’s not hers.

Still you’d be hard pushed to complain such is the delicate beauty of her voice, which just hangs in a dreamlike state over the crowd as her gentle picked guitar and subtle electronic touches create a backdrop that compliments the mesmerising nature of what she is capable of.

After the first track there’s another change of guitar and more issues, she apologises and you really feel for her but it seems luck isn’t on her side, yet it’s testament to her quality that the crowd stays with her rather than source some other entertainment.

When she does play there’s a nuanced charm that’s hard to match, a warm yet sad beauty that eases you into another world, yet when you look at her subtle performance there’s a real intensity to her face that suggests she’s in another place too.

The sun is back out for This Is The Kit on the main stage, and Kate Stables’ mellow alt rock possesses a slowly bouncing rhythm that’s lovely to lie back on the grass to.

Touches of brass add a nice element as the band benefit hugely from the sunshine, at points the brass and rhythm take centre stage as jazzy overtones come in before the band settle back down and the soft vocals come back in.

After Aldous Harding ran over a quick changeover at the Discover stage goes successfully and thankfully Shogun is playing his first gig since his jail time, following getting arrested before he was scheduled to support Nas a few months ago.

He’s not lost anything though, as he spits with a venom that has made him one of the most hyped MCs in the UK right now.

Kami-O’s beats have a subtly that sets a trippy bounce and Shogun delivers lyrics that deal with heavy subjects brilliantly and at such breakneck pace that you can’t help but be impressed; look out for him he may be a bit make or bust, but he’s certainly most likely the first Scottish MC to break the mainstream.

Spotting a child at the back he apologises for swearing and yells “alright wee man, you’re the youngest guy to ever see me play, tell your pals you’ll be popular” to much hilarity, by 15-minutes in he states he’s gonna get sweaty and the set takes a huge upturn in pace getting the crowd and even the security guard bouncing along.

Back at the Big Pink Future Get Down enter the stage in full beekeeper suits and immediately set the pace high with a powerful cowbell enthused, whirring yet funky dance vibe, with a chanted vocal that falls somewhere between Mark E. Smith and James Murphy.

There’s such an array of sounds on offer it’s easy to get overwhelmed by the five-piece, but it’s just as easy to get yourself hooked on a groove and go with it; these guys are loads of fun, we’re paying full attention for what’s next.

Over at the main stage bouncing ska is always the order of the day with The Beat featuring Dave Wakeling.

Revolutionary baselines are played in 2/2 rhythms shining against the pulsing reggae tempo; true to their serendipitous sound, they lay their performance bare out into the open air.

Carla J. Easton (TeenCanteen, Ette) closes the Neu Reekie tent and delivers a set that is less poetry, more a keys led singer-songwriter set, but she delivers a delightful stripped back set of sugar coated pop songs in her own unique vocal twang.

It’s tippy toey twinkling stuff and has a real timeless quality as Easton brings the same irresistible pop presence she does with her bands, and while a lot of the subject matter may be a bit cutesy for some, that’s exactly how they’re supposed to be.

All of Easton’s projects seem on a real upward trajectory right now and it seems the future is bright for, whether than be herself or with a band remains to be seen but expect something big soon.

Over at Big Pink Wuh Oh delivers synth and laptop created soundscapes of glitching beauty and tumbling terror in equal measure, all the while dancing like some demented puppet.

His engrossing dancing acts as a focal point that similar acts lack in a live setting and while it’s the music that’s getting him the hype it’s these eccentricities that will see him advance further as a live act.

Directly after Stillhound start off on some jazzy flourishes, before a twinkling synth lead takes over and soft lovelorn vocals create a dreamy gloss to begin a set that gradually increases in tempo as urges you unconsciously into a gentle groove.

Later on they’re joined by vocalist EMILIE, who brings a smooth soulful voice to the band’s glimmering bleepy soundscapes, but we have to dash as we’re dragged into another clash.

That clash turns out to be the unmissable PINS who’re all garage rock attitude, a sneery chanted set full of powerful tracks that incorporate psych and surf vibes into an addictive pop package.

Every member of the band carry off this effortlessly cool vibe and yet it’s still difficult to take your eyes off vocalist Faith Vern who bops about maintaining a presence that cuts as much addictive cool as it does sheer punk attitude.

Smoothly surreptitious, Glass Animals set the scene for an atmospheric performance; it’s soft yet bold, the tunes are smooth, but still impressively sharp in creating crowd-pleasing sounds that resonate long into the night.

It’s all odd ball indie pop, upbeat and plenty of fun as singer Dave Bayley gyrates about the stage in hyperactive fashion, all while a giant golden pineapple spins at the back of the stage; easily accessible stuff that is already well on its way to being a household name.

Sam Gellaitry headlines the Big Pink tent, and manipulates samples to perfection to curate a sound that’s as lush as it is huge.

The Stirling youngster is getting hype the world over and on this evidence it’s easy to see way; the way he commands his kit seems masterful and considering he’s only 20 it’s hard to see him not mastering his craft to much higher levels.

It’s been a long time since I’ve seen Real Estate, some six of so years I considered them one of the best indie bands on the planet, and from today’s evidence nothing appears to have changed.

Their set is warm and welcoming with dreamy nonchalant vocals from Mark Courtney, but their sound is also one of the fullest you’ll hear all weekend; Real Estate are a spot of sunshine once the sun’s gone down, they’re a touch of warmth after it got freezing outside, they’re a band that can’t fail to put a smile on your face.

The Jesus and Mary Chain has got the lackadaisical vibe down to a fine art; they make it look so easy to sound so on point.

Wavering eight beat notes stack up on top of clashy one-stroke chord progressions, leaving you finding it hard to resist the urge to sway along.

The tracks are pretty yet somehow captivatingly dishevelled, and while they lack the riotous atmosphere their reputation from their legendary 80s shows were said to possess, they have matured into a stong live act.

Back at the Discover stage Foxygen up the ante with a pompous set of sheer fun, with a frontman in Sam France that chants like a preacher and fits the part to a tee.

There’s a ten strong band on stage and they utilise every ounce of it to create a huge sound that’s dramatic, charismatic, at points full on cabaret and always just pure entertainment.

In terms of breaking a genre, Dizzee Rascal is as big as they come and 14 years on from the seminal album that thrust grime into the mainstream, Boy In Da Corner, he’s more than got it.

On stage he’s a hugely commanding presence and even tracks from his sixth album, Raskit, released earlier this year, pack a real punch although aren’t quite creating the waves the likes of Stromzy and Skepta are doing.

The new album gets a solid airing but it’s tracks from his early records like ‘Fix Up, Look Sharp’ and ‘Jus’ A Rascal’ that get the set rolling, as the set grows on his proper mainstream material like Calvin Harris numbers ‘Dance Wiv Me’ and ‘Holiday’ get an airing to a huge reception, but not quite as big as closing number ‘Bonkers’, which sets the packed crowd to fever levels.

We’d much rather he stuck with the proper grime material, but ultimately it’s these numbers that many have come to see, you may have witnessed me holding my face is disillusion as the T in the Park favourite “here we fucking go” rings round the audience, but what we have to remember it’s these people that ultimately allow festivals like this to happen.

Still, there’s no such nonsense at the Discover stage as Arab Strap close the festival properly, indeed Aidan Moffat appears to take great pride in being the last band to actually play a song.

It’s just plain old Scottish misery, but it perfectly encapsulates the national with Moffat reciting poetic street stories in his dreary tone, while the band led by Malcolm Middleton’s guitar soar ever higher.

Arab Strap may not be the most buoyant end to a festival but it feels huge, and when they drop the chorus for ‘The First Big Weekend’, after some improvised build up from Moffat, it’s like nothing could be huger, it’s a track that embodies the Scottish temperament perfectly and would be a perfect end to the festival were it not for the band being given an impromptu encore; nobody’s complaining though.

It’s hard to imagine how Electric Fields could have done this any better; the set up, the programming, the food, there being barely any toilet queues, the atmosphere are all superb, but most important of all this is a festival that delivers wall to wall quality music, creating a perfect balance between mainstream appeal and up and coming talent.

More Photos

Words: Iain Dawson/Rachel Cunningham
Photos: Allan Lewis/Erin McKay

Ones to Watch: Electric Fields 2017

Electric Fields was one of the highlights of last year’s festival season, a bargain price and some stellar acts combined with a fully fledged but also kid friendly festival atmosphere to make it a festival that won’t have many people saying no to.

This year they look to capitalise on the absense of T in the Park, albeit the Glasgow based replacement TRNSMT seems to have been a huge success, but not quite the same market as Electric Fields in aiming at.

This year’s headliners, the even dependable and super popular Frightened Rabbit will have everyone crying, cheering and singing along while Dizzee Rascal will almost undoubtedly bring the party closing Saturday night’s activities.

Add to that a stellar backing cast of superb acts that make up the mainstage stage and other stage headliner affairs; over the Atlantic Band of Horses would headline a festival of this size, while The Jesus and Mary and Arab Strap’s reputations are formidable.

Our ones to watch are coming from further down the bill looking at local up and comers and smaller touring acts.


Marnie (Main Stage 16.15)

Glasgow based Helen Marnie may be better known for her work Liverpool electro-pop maestros Ladytron, but her solo work is every bit as glimmering. Her latest album Strange Words and Weird Wars is a breezy joy that thrills on a pop level without ever becoming too easy.

[soundcloud url=”https://api.soundcloud.com/tracks/297083424″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]


Anna Meredith (Discover Stage 18.30)

Last years SAY Award winner is a special talent, the composer, performer and musician seem to emerge into the pop world out of the blue with her Varmints album last year, an all encompassing release that saw jazz and electronic sounds combined to make a record of bewildering propositions that is even better experienced in a live setting.

[soundcloud url=”https://api.soundcloud.com/tracks/274875521″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]


And Yet It Moves (Redeemer Stage 19.00)

And Yet It Moves have been bubbling away for over a year now, evolving, engulfing and enhancing with each visit, they seem a different band at every visit. The now Berlin based band led by the powerful live presence of Dale Barclay are set to take the festival stage as their own, expect something haunting, something powerful, something that you won’t forget in a hurry.

[soundcloud url=”https://api.soundcloud.com/tracks/292328706″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]


Modern Studies (Discover Stage 14.30)

Steeped in rural folk, chamber pop super group from Perthshire-via-Glasgow-via Yorkshire Modern Studies paint delicate experimental landscapes that hypnotise and engross. They’re a band that promise lots and seem set to deliver, Electric Fields may provide the stage their beautiful recorded music needs.

[soundcloud url=”https://api.soundcloud.com/tracks/332075815″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]


Savage Mansion (Redeemer Stage 16.00)

One of the biggest prospects of Scottish guitar music at present Savage Mansion are band that individually have cut their teeth in a collection of impressive acts, but seem to have came together to create something that captures the moment with sultry beauty. The four-piece deliver fuzzy guitars, bouncy drums and catchy basslines coupled with Craig Angus’ (formerly of Poor Things) coolly delivered, conversational vocals that give an effortless pop aesthetic and chilled out reflection that recall the like of Parquet Courts and Mac DeMarco.

[soundcloud url=”https://api.soundcloud.com/tracks/315086271″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]


Aldous Harding (Discover Stage 15.15)

Compelling and theatrical New Zealander Aldous Harding has the sort of bewitching live show that will leave you lost for words. The recently signed to 4AD performer’s show can be as powerful as it is delicate, and her captivating charm and atmospheric tracks will be well worth getting along for.

[soundcloud url=”https://api.soundcloud.com/tracks/222723655″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]


Sacred Paws (Main Stage 13.30)

Another SAY Award winner, this time the current holders Sacred Paws bring a fun energy to any stage, Rachel Aggs’ undeniable talent and unique tropical guitar sound has been a fixture of her work for years now and Sacred Paws are every bit as exciting as her other projects Shopping and Trash Kit. Add Eilidh Rodgers’ playful percussion and interweaving backing vocals, plus a touch of subtle brass you’ve got a band that can bring the sunshine to any festival.

[soundcloud url=”https://api.soundcloud.com/tracks/290052682″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]


Whyte Horses (Main Stage 14.30)

Enigmatic psych group Whyte Horses have a eclectic array of influences, filtering through a modernist take of fuzzy tropical sounds, Krautrock vibes, 60s girl group pop, psychedelia and much more Whyte Horses present a spirally sound that will sending you away to dreamy hypnotic daze while having all the pop presence to keep the energy flowing. Initially imaged as the band to complete the catalogue of band leader Dom Thomas’ Finders Keepers label the band have evolved into something that simply can’t just remain a side project.

[soundcloud url=”https://api.soundcloud.com/tracks/319250142″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]


Edwin Organ (Redeemer Stage 15.00)

Variation seems to be key to Edwin Organ’s game, still everything he touches seems to come out golden, his slick, but not unbearably polished production gives his head nodding organic left-field electronica. At points it’s super catchy at others a welcoming hug that fuses soul and jazz elements with obvious dance knowledge, expect to get lost in this one.

[soundcloud url=”https://api.soundcloud.com/tracks/295306464″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]


Brat and the Bonemen (Discover Stage 12.00)

We don’t know much about these guys and have heard very little, but what we have heard for the Dumfries & Galloway based act suggests that they’ll be an explosive live act that expel a raucous distorted post punk energy that will be brimming with attitude.

[soundcloud url=”https://api.soundcloud.com/tracks/283343010″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

And some honourable mentions go to This Is The Kit, Skjor, Stillhound, Future Get Down.

And here’s some of the bigger acts on the bill that we think are definitely worth getting down for: Glass Animals, Real Estate, Foxygen, Nothing, Car Seat Headrest, Shogun, British Sea Power.

T in the Park, 10/7/16

Day three arrives and there’s no reprieve on the weather, meaning not only is the arena the muddiest I can remember attending, but that we’re a good half hour late on the gates as flooding has caused health and safety concerns.

These precautions seem more than granted, but unfortunately it does mean I only get to catch a small portion of Tongues.’s set, and hold ups do sadly affect the size of crowd the Glasgow four-piece could potentially have pulled

Still, what I do catch of their set is the band’s now familiar huge, bursting synth sound; singles ‘Religion’ and ‘Heartbeat’ sound like they would be equally at home on the bigger stages with thousands dancing along, while the rest of the set touches on Hot Chip tinged twinkling synth ballads that move into sky soaring electronics.


Following Tongues. on T Break is Glasgow based producer Edwin Organ and he keeps up the electronic vibe, with an array of head nodding organic synth sounding synth tones.

Playing as a trio the set comes as a welcoming hug for you to pick yourself up to for the final day of music, the band combine elements of soul and jazz with the singer’s melodic warbled tones; this is a set you can really get lost in, there’s certainly something special on the horizon.


Edinburgh ‘tropical pop’ foursome Indigo Velvet continue my streak at T Break and they’ve amassed quite a following; their sunshine kissed indie rock is a real foot stomping fare that more than leaves the large turnout happy.

The band possess a real confident swagger and a more than unique look, two of them have the hair of lions for god sake, and this along with some solid, fun filled tunes sets them apart comfortably from a lot of their contemporaries.


The fourth band I catch are at T Break again, and it’s at this stage that I should note there are a number of acts I would have liked to have caught at other stages; FIDLAR, John Grant, Maximo Park etc., however conditions under feet have quadrupled the time it takes to get from A to B so I’m back at the festival’s local act showcasing tent for one of Scotland’s most hyped up and comers, The Lapelles.

The East Kilbride five-piece are baby-faced to say the least, but woah does their live set pack a punch, these are indie rock anthems that really could hit the stratosphere.

On the road these guys are on they appear to have been earmarked to make it to the top, and judging by the crowd reaction they could be well on their way; they’re young, enthusiastic and have enough potential to see it through too, all the best to them.

A quick jaunt over to BBC Introducing and WOMPS are midway through single ‘Live A Little Less’ and are pounding out their lo-fi grunge tinged sound with a knowing presence.

Ewan Grant’s engaging songwriting sits at the centre of their sound, and while his material as Algernon Doll is still missed, WOMPS more than pack enough energy and craft into their set to keep your eyes peeled for; dingy the hair though… and maybe the shout outs to Bathgate too (it appears all drummer Owen Wicksted’s school pals have made it along).


Dunfermline’s FOREIGNFOX keep everyone partying back at T Break as the five-piece is perfecting the soaring, post rock indie anthem a la Jetpacks, and seem to be pretty much hitting the nail on the head.

Jonny Watt’s heavily Scottish tones are emphatic and the band’s soundscape filled sound is engulfing; it’s easy to see them emulating their heroes pretty soon.

ISLE, grown out of the ashes of Monogram, are an alt pop duo with a real punch of a sound; a pounding array of effects, welcoming twinkled samples and a whole cacophony of other things going on are all placed into a remarkably catchy composition that settles into simple but effective sections before letting go once more.

Musically it’s a real master class from the Borders duo, with this kind of sound it’s easy to go over the top, but what ISLE do produce is slick and hugely entertaining.


Declan Welsh has drawn a solid crowd at T Break and the young man seems to be revelling in it.

His spoken word/poetry sections are enchanting and the songs come with plenty of attitude as Welsh delivers with a real conviction; the sound and overall message in his music is emphatic and well worth believing in, this boy deserves to have more folk listening to him and he will have very soon.

Waiting it out at T Break for the last band of the night we see a big criticism of the stage; the band that plays last very rarely plays to anyone at all due to clashes with the festival headliners.

This is true for Sweaty Palms as the Glasgow five-piece fight for prominence with Jeff Mills, LCD Soundsystem and the Chilli Peppers; perhaps you would have thought T in the Park would take a lesson from the BBC Introducing showcase stage, which finishes much earlier in the night.

Still there’s no humour lost in the situation from the Palms with singer Robbie Houston snidely thanking DF Concerts for putting them on, who seem in no way deluded that this set is a big deal for the band in any way at all.

Their set is the same all encompassing dark, sneery post punk frenzy that you get from these guys every day of the week, but this could well be one of the smallest audiences they’ve played to this year.

Sweaty Palms may be the best act on the T Break list, but you can’t blame the punters for catching the some of the biggest names in music just ten minutes away.


Following this I head over to catch all but the first few songs of LCD Soundsystem’s set and despite nearly everyone I’ve spoken to today saying they’re going to end their night here, we find a crowd smaller that you could fit in the Barrowlands for what is for me the only big big draw of this year’s line up.

Whether the band care is questionable, but what they do deliver is a set full of forward thinking, encapsulating disco tinged anthems that get the hairs on the back of your neck standing up and you belting the lyrics back out to your pals.

By the time the set ends on one of the most defining songs of recent times, ‘All My Friends’, you’ve forgotten how quiet the sound is or how few people are actually here, you’re stuck in the moment celebrating that the band’s short-lived hiatus has ended.

More Photos

[soundcloud url=”https://api.soundcloud.com/tracks/265693933″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

Words: Iain Dawson
Photos: Cameron Brisbane

Edwin Organ – ‘Charlie’s House Cut’

‘Charlie’s House Cut’ is Edwin Organ’s super-fucking-catchy new single and it sort of sounds like something James Blake might release if he felt comfortable letting his audience know that he’s capable of silly dancing or experiencing happiness.

“This song is an ode to the unfulfilling night out – To paying £10 entry on a Wednesday night, only to find the dance floor empty. You take solace in that fact that you don’t have to queue to take a leak. You stand there in awkward silence with Darren whose all white shirt and whiter lines. This sweat box is his domain.”

So there you go.

In the first ten seconds it finds time to convulse erratically in several different directions (maybe like a questionable night out?), twinning slick-but-not-unbearably-polished production with an evidently hyper style of songwriting.

‘Charlie’s House Cut’ quickly finds itself a groove and bobs around excitedly in it, punching out a hallucinogenic synth line and sensual, bodily rhythms.

Variation seems to be the name of Edwin Organ’s game, and he plays it pretty damn well.

[soundcloud url=”https://api.soundcloud.com/tracks/260190585″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

Words: Greg Murray