Tag Archives: United Fruit

Restless Natives: Future of the Left, Rolo Tomassi, United Fruit at Saint Luke’s, 14/5/16

Tonight, the penultimate night of the inaugural edition of Glasgow’s new music and arts festival Restless Natives, sees a line up befitting the festival’s intended eclectic programme.

Stylistically, the three bands playing at the still relatively recently church-converted venue tonight are fairly diverse, but all three share a similarly noisy and abrasive tone to their respective sounds.


For local cult heroes United Fruit, tonight is a celebration having finally released their second album, Eternal Return, after a long production and release effort, the band’s first new full-length in five years.

So, understandably tonight’s set draws largely from this newly released material, which has seen the band emerge from their hiatus with a more mature songwriting approach, coupled with a soaring, uplifting sound.

They are easily the most melodic act of the night, as new songs ‘Nightmare Recovery’ and ‘Taste I Can’t Give Up’ show, but all the while retaining frontman Iskander Stewart’s trademark cynical snarl.

The band seem visibly relieved to finally be playing live again, knowing the “new” material is finally out there for fans to start enjoying on their own, with the crowd’s appreciative bobbed heads and occasionally mouthed words as testament.

UF still get time to slip in a couple old fan favourites, however, ripping through Fault Lines singles ‘Go Away, Don’t Leave Me Alone’ and closing an impressive set with on ‘Red Letter’.


Rolo Tomassi, however, is by far the noisiest and most chaotic act of the night.

Having just last year reached their tenth year of existence, Tomassi show no signs of slowing down or softening their unpredictable, explosive sound.

While the majority of the band has changed members over the years, lead vocals and brother-sister act Eva and James Spence are still as enchanting and ferocious as a double act one could expect.

While the rest of the band may have changed, the accompanying band still play with incredible precision, which the band’s still strong audience are clearly not bored of seeing over and over, and it is quite startling to see an act still be just as heavy as when they started.

Future of the Left, another band who recently hit the decade mark, close the night with their traditionally twisted and cynical mirth.

After a recent couple of reformed Mclusky shows Andrew Falkous is in a nostalgic mood, treating us to covers of ‘To Hell with Good Intentions’, ‘Gareth Brown Says’ and ‘Lightsaber Cocksucking Blues’, the former beginning in a rage after a failed attempt at setting up a synthesiser on stage.

As far as their own material goes, the band rip through their willfully obtuse back catalogue playing for an hour and half, but largely feature tracks from recent album The Peace and Truce of…, the band’s fifth full length.

There is no denying the band’s gifted, prolific songwriter Falco, as he storms through his witty and pointed observational songs, all the while his band (featuring ex-Million Dead bassist Julia Ruzicka) keep things chugging along to the pleasure of the, by now sun and beer filled, crowd.

So, despite a diverse line up, tonight is a total success and one hopes Restless Natives will be back again next year to build on a really impressive and exciting week.

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Words: Adam Turner-Heffer
Photos: Ann-Christin Heinrich

Electric Fields, 29/8/15

The journey down to Electric Fields begins post 9am and a ‘Happy Bus’ from Buchanan Bus Station; how anyone can muster up the energy to be “happy” at this time in the morning is beyond me and the atmosphere on the bus is as you’d expect from bed missing music lovers with not to many getting mad for it from the off.

Arriving a good portion of time before the gates are officially opened, even after a lengthy toilet stop, you can’t help but feeling an extra hour in bed could have happened and with the promise of showers and the potential of thunder and lightning forecast it’s going to take that first beer to get things into gear.

Once in the queue things start to spark up, as the guys on the gates seem full of optimism and banter and waste no time jumping up the line to check bags in advance, speeding up entry.

Once we’re in a look at the fact that tokens that need to be purchased separately to exchange for drinks brings back horrific memories of queuing all day; but a cheeky six tokens for £20 offer, the beer being Innes & Gunn by the (cold) can and not the usual warm watered down piss you’d find at any other festival offering a similar policy, a lanyard for a sole quid and that the festival isn’t quite large enough, or it’s prepared well enough, to not have any queues of note leaves these initial quibbles at the gate.

The set up of Electric Fields is intriguing with the two main stages titled Carse Valley, a bizarre blow up effort, and The Arc sitting right next to each other in order maximise the amount of bands that can play, while the smaller To Lose La Trek uses the same music friendly set up of the larger ones in system used at a bigger scale in forward thinking international festivals like Primavera Sound.


I begin my day down at The Arc for Dunfermline’s brilliant FOREIGNFOX, who deliver a set full of storming indie rock with soaring hooks fronted by Jonny Watt’s distinctive Scottish twang that powers above the bold instrumentals.

Watt could be found later wandering around steaming firing a ravechild tote bag over folk’s head and other things, but more on that later; his band touch on the poppier side of post rock and the indulgent side of indie, but the crowd that have arrived on site early are won over confidently down at a side of the field that could have done with a few less tractors running over it, something I’ll learn more first hand later on (yeah I decked it!).

On the other side of the field is The Skinny Tent, and here we find the stage that boasts the best sound of the day, as the tent seems set up to perfection to host an array of loud, danceable and fun acts from Scotland and afar.

My first venture here is for Glasgow krautrock touting psycsters OUTBLINKER, who look a much more conventional band on a large stage than when they were crammed into The Hug and Pint’s tiny basement a few months ago, and it seems they take to the bigger space with ease despite its light and airy feel and green house-like qualities.

OUTBLINKER do generally need time to grow into a set and with only half an hour to play with they have to speed up this process; they do this to perfection building from swirling noise before a monster riff kicks in and they smash the possibilities wide open.

Technically this band is gobsmacking, and they’re driven by tight and emphatic rhythms from a drummer who delivers with real attention grabbing purpose.

They do enter a heavily distorted mid section that seems to build for a bit too long, but OUTBLINKER are still maybe a bit short on material, give then time and this could be one of the best live experiences you’ll get.

Randolphs Leap

Back over at The Arc we get our twee dose of the day (sorry guys), and the sun is out as Randolph’s Leap produce a set of infectious, brass enthused indie pop joy.

It’s endearing, uplifting stuff full of charming rhymes that really shouldn’t work; it’s the ideal sound to take a seat and relax to, shame the floor’s too wet.

Early afternoon and those promised showers seem an age away, and as singer Adam Ross expresses his regret for wearing a jacket someone for the audience shouts “take it off”, to which he obliges as the brass section provide obligatory strip tease music and the quip of the day comes in the form of “look out ladies he’s down to his woolly jumper”.

Pronto Mama

The big clash of the day comes at 2pm as enchanting indie rockers Catholic Action take to The Skinny Tent at the same time as the pop filled fun of Pronto Mama take to the inflatable Carse Valley stage; I go for the later due to the sunshine and an impatience waiting for The Skinny tent to get set up and I’m not let down as I’m met with a live sound that is just as engrossing as their records.

Pronto Mama’s sound is full of soul and comes with an enabling touch of brass and plenty of cheeky funk that sets a grove while withstanding becoming cheesy.

Pronto Mama impressively walk a slippery path with a sound that could so easily fall into the pitfalls of becoming like so many bland Scottish folk acts or go the other way turn into unabashed naff ska, instead they come out with something truly infectious and original in the early afternoon sun.

Their set is warm and engaging and as Hector Bizerk’s Louie stresses to me “they’re the most underrated band in Scotland,” I’m inclined to agree.

The Van Ts

A late addition to the line up in replacement for the ill KLOE, The Van T’s get the opportunity to thrive in the sunshine and thrive they do; their set is full of pure good times surf enthused garage rock that oozes rock’n’roll energy in a truly infectious manner.

The Thompson twin’s harmonies sparkle in the open air and there’s no denying they look cool as anyone on today’s bill; a more than adequate replacement for KLOE’s soaring pop.

Fat Goth

As The Van T’s finish you can hear the sheer power of Fat Goth from across the field as they take to The Skinny Tent and once I arrive in the tent they capture me instantly with their sneery, distressed and devastatingly loud performance.

It’s impressive stuff from the Dundee trio who produce a frantic display that acts as welcome escape from the sunshine soaked pop vibes outside.

They tear through classic metal sounding riffs with pounding rhythms and an addictive quality that is difficult to match.

Another blinding set from one of the best named bands in Scotland; throw in a bottle of Buckie and some incredible drummer faces and you’ve got one of the most emphatic sets of the day.

United Fruit

Following Fat Goth at The Skinny Tent isn’t an enviable task, but United Fruit are more than equipped to do so and release another ball of fury into the immaculate sounding tent.

United Fruit unleash another powerful set that has become typical of their intense live show; on record Iskandar Stewart’s occasionally touch on whiney, but live they’re strong, sneered chants that drive impressively over a pulverising instrumental assault.

Following them, on the same stage, I get to cover Happy Meals for the second time in just over a week and the duo produce a set that blows away their understated late afternoon appearance at Doune the Rabbit Hole the week before.

Shrouded in smoke they produce an indulgent set of lush organic synths that cruise beautifully into a tent that’s just starting to get its feet moving.

Towards the end of the set Suzi Rodden jumps into the crowd and prances about while partaking in some crazed dancing, all while delivering her endlessly adorable French vocals, while Lewis Cook adds the synths from the stage, creating a tent filling brilliance.

It’s pure indulgent fun from a band that seem to be pulling it all out the bag, except the compulsory toy you get with their namesake of course.

Indeed, the one let down of the festival is you struggle to find anything better than a Happy Meal to eat; the four vans only seem to cater for mediocre fast foods and veggie options which don’t expand much further than toasties, but still this is a festival in its infancy, the good food will come; next year please!

Miaoux Miaoux

Bumping into a few folk I only manage to catch Miaoux Miaoux from afar, still their infectious synth tones and stick in your head vocal hooks seem to spark through the festival site contagiously and start the evening portion of the festival with a dance as the potential for beer weariness rears its ugly head.

The Twilight Sad

Over at The Skinny Tent and it’s the turn of the secret guests, who the festival had revealed to anyone who had guessed from a rather creative image as The Twilight Sad earlier in the week.

In fact it’s just James and Andy producing a stripped back set, which on paper should showcase the raw emotion that comes across in James Graham’s powerful delivery; sadly although captivating in moments, it doesn’t quite hold the same effect without a blasting wall of sound behind it.

Still, for some ultra fans, including FOREIGNFOX’s Jonny Watt who exclaims he would “suck everyone of their dicks”, the set goes down a storm and there’s a humour rarely seen on stage from Graham stating “I wish Erasure were playing, it’d be much better than this miserable shit,” while exchanging chat with the crowd.

Over at Carse Valley Golden Teacher suffer an out of place set in early evening daylight; last week at Doune they set the place alight in the early hours of the morning, but playing a more restrained set at a more restrained hour doesn’t seem to suit them.

Although musically they are solid as ever, with on touch disco tingling beats, plenty of experimental flourishes and quirky dance moves that keep things interesting, it never really lifts beyond that; if this is your first experience of GT live don’t take it by the book, go check them out when they hit their stride best; in a post midnight slot when everyone has their dancing shoes on.


Following the festival I had a slight misunderstanding with PAWS regarding a word being taken out of context, still that was quickly ironed out and their set begins over at The Arc with drummer, Josh’s stool breaking and what appears to be some jovial chat about it.

I later learn this to be more dangerous than I’d imaged and in hindsight it seems to take some of the drive out of a band that is usually a formidable live prospect, regardless they deliver the same infectious pop punk glory as ever, but seem to take a while to settle, while the sound being a touch quieter than you’d expect and the rather static audience do them no favours.

PAWS are best enjoyed at full pace and full volume, with that full on urgency that the trio have come to embody and install in their crowds; still, regardless of any grievances the set is still plenty of fun and a great way to spend the remainder of the disappearing daylight.

Hector Bizerk1

Back over at Carse Valley it’s the turn of potentially the most exciting act on the bill; Hector Bizerk start on a somewhat sombre tone, not that that’s a bad thing, still it’s one of those calm before storm things as before long, Louie, hood up and unphased, blasts into an all out lyrical assault.

This is a band at the top of their game, as Louie takes the crowd under his command and the band plough forward with precision and impressive zeal.

There’s another airing of their ‘Song 2’ cover, which Louie adds a touch of freestyle brilliance to before tracks like ‘Rust Cohle’ and ‘Columbus’ blow everything out the water; extraordinary stuff that only seems to be getting better.

Hearing The Xcerts from afar is more than enough, but thankfully Jonnie Common is taking the stage just over at the smaller To Lose La Trek, a stage I have wandered over to a couple of times, but have not had the chance to see a full set at due to distractions elsewhere.

Common is a far fly away from the painful sound at the main stage, and delivers a brilliantly cheeky performance in his own addictive sort of way.

His set is full of dry humour, clever synths and plenty of ‘give a fuck’ attitude and the healthy crowd seem to give his set that extra kick.

Common’s CARBS bandmate Jamie, aka MC ALMOND MILK, joins him for a few songs later on, showcasing some of his solo material in Common produced ‘How2B Cool in 2014’ as well as CARBS standout ‘Stick A Flake In Me (I’m Done)’, and it’s more addictive stuff, in a very geeky Scottish sort of way; this could be the most fun set of the day.

The Phantom Band

Back over at Carse Valley and The Phantom Band produce a barnstorming performance full of shiver inducing builds and Rick Anthony’s deep, velvety delivery; I’ve jokingly labelled these guys The Phantom Bland before now, but on this showing that label can go in the bin, The Phantom Grand it is then!

King Creosote

The beers have kicked and the long day is taking effect by the time headliner King Creosote takes to The Arc stage, but the singer seems to be in joyous spirits delivering a set choked with a warming beauty that emulates most of his back catalogue and more specifically last year’s standalone From Scotland With Love LP.

There’s no doubting he’s the stand out name on a bill crammed with emerging Scottish talent, the line up is nearly all Scottish barring a few exceptions in The Skinny Tent, but maybe seeing him in the sobering daylight might have been a more uplifting experience, but for those with more stamina, or maybe more time in their bed, than myself this should feel like the perfect end to one of Scotland’s most exciting upcoming festivals.

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Words: Iain Dawson
Photos: Stewart Fullerton

Round-Up: Errors, BBC at the Quay, Ariana Grande, Lovers Turn To Monsters

So, in a bit of a trip from the usual review filled generalities I decided I would put up a bit of round up post Primavera of my musical adventures, of which there have been a few, all coming in a ridiculous haze that hasn’t faded two weeks later (me and Nick are going to piece together some memories of that too for your pleasure, but that’ll come later).

Arriving back to all the glory of the cold of Partick, via Prestwick, in the early hours of Wednesday morning it took a good deal of time before I was prepared to leave the comfort of the flat, eventually emerging for work and then making it along to the Detour event with Errors at the Science Centre as part of the BBC at the Quay proceedings.

Errors have consistently been one of the best acts in Glasgow for a good time now, 11-years they’ve been going, with five highly impressive albums under their belt; so understandably it was pretty exciting having the prospect of seeing them in a unique and potentially awe inspiring setting.

Sadly there’s no science tonight, we turn up to the Science Centre to find it’s all set up for them to play in the foyer; slight disappointment, maybe this won’t live up to the ear splitting show they played at the Opry at few years back.

Still, it’s pretty brilliant, but when are they not, they submerge us in tunes from their brilliant floaty new record, Lease of Life, as well as treating us to an array older numbers by the mid point of the set there’s not a single person without a bounce in their step.

Some immersive visuals project cleanly onto both the side walls, but they are most impressive when directed onto the band making the boys seem like they’re playing in some kind dream-scene wash of colour.

Indeed the high point of the set comes when the band are joined by the Glad Community Choir, who add a whole new dimension to the typical Errors set in a unique and truly beautiful moment.

By the time the band finish up they’ve got everyone’s toes tapping, and foyer or no foyer they’ve produced something, yet again, that reminds us why these guys are so good; well worthy of their SAY Award nomination.

Still, recovering we skip ahead to Sunday, potentially even more recovering after a messy Saturday, but it’s lovely outside the West End Festival is starting and stuff seems to be happen all over the city – odd day to fire a full day worth of live music at the BBC when the West End’s biggest party of the year is happening just half-an-hour’s walk away.

I do make the track over the river, however fail abysmally to get there in any reminisce of time and from word around miss a few belting sets.

Just after I arrive uncle Vic is up on stage introducing Kobi Onyame, an act I’ve been aware of but never really had the chance to check out properly.

One thing that can’t be said is the Ghanaian, Scotland based, MC is that he doesn’t put his all into stirring up a reaction from the pretty sparse audience, we do see lingers of dancing here and there, but it doesn’t quite wash as those in attendance switch from shades and no jacket to jacket and no shades as Glasgow’s nice weather draws to a close.

United Fruit take it up a notch; it’s been a while since I’ve seen these guys but frontman Iskander Stewart seems in fair spirit, talking jovially with the crowd before exploding into another track.

There’s been a few new tracks kicking about by these guys in recent months, but those tracks don’t quite give the impression of their live show.

It’s powerful, loud, life affirming stuff and if they can translate this live feel into their new record they’ll be a formidable force to deal with.

It’s pretty chilly by the time one of last year’s bands of the last year, Honeyblood, take the stage, but the duo do their upmost to maintain that sunny feel with the sundrenched melodies of last year’s self titled debut album.

It’s a nice way to spend the early part of a Sunday evening as Stina Tweedale’s bittersweet lyrics drift addictively over the Quay, while the band’s 90s alternative sound gives enough of an illusion of warmth to keep the shivers away before we all have to make that trek home.

Next up is an odd one, well it isn’t, it’s one me and my flatmate talked forever about needing to go to, but also one that has drawn questionable looks from most when I do talk about it.

It indeed is glossy pop Princess Ariana Grande at The Hydro; we’re running late by the time we get to Glasgow’s state of the art arena, missing yesteryear’s Nickelodeon star’s entrance, but only missing ‘Bang Bang’ in terms of tracks, which as her material goes is pretty mince.

The set itself is the spectacle you’d expect from a pop show of this magnitude, as Grande draws on material from her two album to date, 2013’s Yours Truly and last year’s fantastic My Everything, she floats above the stage on a cloud, gets lowered down on a chandelier, has as many costume changes as humanly possible and has a host of collaborators (Mac Miller, Childish Gambino et al.) show up on custom video to piece together the set.

None of that is the most outstanding factor though, it’s that this girl can sing and I mean really sing! She doesn’t seem to ooze the charm of Katy Perry or the charisma of Beyoncé, but if it came down to chops alone wee Ariana would be well up there.

That tag of the next Maria Carey isn’t a bad one to hold, but this girl shows all signs of potentially passing that and if album number three keeps up the trajectory there won’t be a single person that doesn’t know her name.

So onto Tuesday and it goes from pop princess to lo-fi pop… princess? Nah we can’t quite go there, Kyle Wood aka Lovers Turn To Monsters plays his cassette launch with full band at Bloc and out of all the times I’ve seen this boy, whose garden I can see from the bedroom window of my parent’s house, this is potentially the best.

Support comes from the acoustic punk of Roscoe Vacant, whose sometimes poignant, sometimes heartfelt, generally amusing words warm the Bloc audience before Calum West’s project Young Skulls takes us down a much more fuzzy and indulgent path to make way for the tonight’s headliner.

Like I was saying, I’m no stranger to a Lovers Turn To Monsters set, he usually emits a shambolic charm, as his quirkly tales, that he seems to have no end of, never fail to amuse and warm any crowd.

Tonight it’s a bit different though, he tells me he’s “no steamin’”, something he’s not done on stage in a while, still he goes some way to sorting this before and during the set, sending drummer Barry Carty to get shots mid set while he plays while he plays an acoustic number.

That said, tonight Kyle has his game face on, the tunes seem more refined with the full band, and although he still seems produce the most prolific amount of material around, he’s definitely got better at channeling the gems in that selection.

His banter tonight is top notch too, maybe it’s luck or maybe it’s that he’s playing to a room here to see him, but every word he utters between songs seems like gold, where before it might have been awkward drunken observation, tonight it’s poignant, comical sentiment.

The set blasts through those lo-fi vibes, but gets beefed up without losing that shambolic charm, indeed as he stands in the audience screaming “you’re a rain cloud” during ‘Me; Crying As A Kid’ it seems he’s in his element; impressive stuff.

Words: Iain Dawson

United Fruit – ‘Open Your Eyes’ [First Run]

United Fruit has been around for a while and new song ‘Open Your Eyes’ is the four-piece’s hugest sounding yet.

The gigantic opening riff sets the tone before lead vocalist Iskandar Stewart’s bellowing pipes raise the level of the song to the heights that it stays at, while the ‘Open Your Eyes’ refrain keeps the song memorable.

The single, available both as a download and on vinyl through First Run Records, raises the bar for United Fruit, who now need to build on what is such a brilliant alternative rock track.

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Words: Neil Hayton

United Fruit, Dialects, Algernon Doll at Sleazy’s, 24/10/14

It’s a refreshing scene tonight in Sleazy’s, as there’s a full house for three great Glasgow bands.

Both concluding their UK tours, Glasgow legends United Fruit and the band on everyone’s lips, Algernon Doll, alongside local math/post rockers Dialects.

Arriving at the venue 15-minutes before their set after driving from Swansea since 6am, Algernon Doll seem unfazed by being stuck in a van all day.

As they prepare to head to Chicago to record with the legendary Steve Albini, it feels like I’m seeing the band every weekend and they get tighter and gain more energy with each set.

With their latest album, Omphalic out only four-months ago, the band have almost eradicated any previously released tracks from their live set, giving us a set filled to bursting with the highly impressive songs from their soon to be recorded album.

They still make time for the intense pounding of ‘Relate’ to close the set, a song which sees frontman Ewan Grant enter the crowd, fall to the floor and begin rubbing the strings of his guitar against the structural pillars of the venue, all before placing his guitar down and screaming into the pick ups.

Next up we are treated to a set from Dialects, a band who could perhaps be seen as slightly out of place on the bill but don’t let that get in their way.

The band hit the stage with a deafening wall of noise before diving into their set of atmospheric math rock.

The band’s technical ability is nothing short of incredible, the instrumental four-piece jump through odd times flawlessly, building a complex and spacey wall of sound.

United Fruit has become somewhat of a Glasgow institution, having been an active part of the Scottish music scene for six years now, and the excitement for their upcoming album Open Your Eyes is high.

Closing out a thirteen-date UK tour, the band is on their top game, hitting us with both songs from their upcoming release and songs from it’s predecessor Fault Lines, UF prove to us why the have become such a staple in the city.

They are tight, have great energy and singer/guitarist Iskander Stewart hits us with a very impressive vocal performance.

This show was a perfect example of the Glasgow music scene at this moment in time. With fantastic bands like United Fruit, Algernon Doll and Dialects being just a few in such wide array of amazing bands filling venues round the city, it really is a sign of great things to come.

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Words: Iain Gillon

Future of the Left, Blacklisters, United Fruit at Mono, 1/10/14

An institution not impervious to pretence, the greatest extravagance on display at Mono for this three band bill is a keyboard; this is a rock show.

Local post-hardcore ruffians United Fruit take the stage to little fanfare,  mid-week malaise seemed to be running strong, but this proved no deterrent as ‘Taste I Can’t Give Up’ and ‘Go Away Don’t Leave Me Alone’ are delivered with the furious enthusiasm of a band with home advantage.

Despite a troublingly diminutive PA, subdued passages ring out and the cacophonic climax of ‘Red Letter’ is as furious as ever and although new song ‘Open Your Eyes’ isn’t aired, an as-yet-unnamed album is imminent as is a UK wide tour.
In contrast to the endearingly earnest openers, Blacklisters follow with something altogether more hostile, reminiscent of Daughters at their most atonal, drums and bass lurch and pummel in equal measure as the guitarist oscillates between Shellac style caveman riffs and sea-sick dissonance.

Frontman Billy Mason Woods ‘Yowd’ it up, to the crowd’s total indifference, with dance moves of the Buffalo Bill variety.

Although lacking the live fervour of Brew Records companions Kong, their set hints at the live experience they could be, and presumably are, under the right conditions, tonight, however, belongs to headliners Future of the Left.

Although the first night of a brief UK tour, from the clattering drums of ‘Kept by Bees’ to the searing feedback and ritual drum kit dismantling that so emphatically closes the set, they are captivating.

Andrew ‘Falco’ Falkous, flanked by Art Brut guitarist Ian Catskilkin, bassist Julia Ruzika and drummer Jack Egglestone, initially eschews audience interaction in favour of powering through muscular live favourites ‘Arming Eritrea’, ‘Bread, Cheese, Bow and Arrow’ and ‘Small Bones Small Bodies’, for a band “not as active as they’d like to be,” everything seems to work triumphantly in their favour tonight.

A broken string seconds into pre-FOTL Mclusky’s ‘Gareth Brown Says’ results in a brief guitar change and a hilarious digression on mishaps, Raiders of the Lost Ark trivia and Glaswegian elocution,  consequently the crowd are treated to the delightfully profane opening line (strong contender for the best ever) twice. TWICE!
All albums are equally represented, although material from  last year’s How to Stop Your Brain in an Accident, crowdfunded and released through their own Prescriptions label, is rapturously received, a mosh pit briefly erupting for ‘She Gets Passed Around at Parties’.

One of the best rhythm section pairings in recent years, Ruzika and Egglestone carry the show on bass and drum heavy numbers like ‘How to Spot a Record Company’ and ‘Beneath the Waves an Ocean’ is pure Orange amplifier burl and Totally Wired-era Fall drumming.
Confined to touring when schedules align, there’s a palpable sense of onstage enjoyment, the band are all smiles with each other and Falco screams with the gusto and conviction of a man unconcerned with preserving his voice for the remaining seven or so shows.

There is no encore, instead, they launch immediately into a 10-minute plus amalgamation of ‘French Lessons’, ‘Lapsed Catholics’, ‘Singing of the Bonesaws’ and Mclusky anthem ‘Lightsabre Cocksucking Blues’, it’s unfathomably precise, sweaty, conclusive and the band leave the equipment strewn stage to Van Halen’s ‘Ain’t Talking ‘bout Love.’

Judging by the audience chatter on the way out, there couldn’t have been a less apt song.

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Words: Gethin Bowen
Photos: Michael Gallcher