Tag Archives: West Princes

Catholic Action and Friends Takeover at Tut’s, 24/3/18

Tonight looks a fantastic evening filled with lots of great new up and coming bands, both the bar and the venue spaces of King Tut’s are used all night to bring the audience eight bands in total.

Kicking off the night is Herbert Powell with punchy songs and big guitar sounds; the audience start to trickle in in dribs and drabs as the band play out their set.

The sound this band had is quite unique at times, which makes them very interesting and helped them stand out from the numerous other artists on the bill, along with an energetic frontman who gives a brilliant performance.

The audience usher themselves down stairs to catch Ewan Cruickshanks (Crooky) who plays a nice set of soft rock song as the bar starts to get very busy with more people coming out.

Next up is dream pop band Life Model with their lovely well-structured songs; their set is lots of fun and thoroughly enjoyed by everyone.

The band look to have an amazing time on stage dancing about and showing themselves to be a band with real chemistry and the lead singers vocals were stunning.

West Princes took to the bar stage next, they’re a great lively fun band who really got everyone moving about and enjoying themselves.

They filled the small stage with an energetic upbeat set; this band is a fantastic band with amazing dynamics and a fantastic grasp on song writing.

Shredd are next up and with their fiery energy they explode on to the stage with an amazing set that the crowd really loved.

They have an amazing vibe about them and bring to the stage a massive full on sound with their relentless guitars and drums.

By the time The Bellybuttons and ST.MARTiiNs take to the stage the crowd are full psyched.

Both bands gave an incredible performance with ST.MARTiiNs warming up the main stage for Catholic Action.

They are a highly charismatic band with a sensational vibe to them and are clearly masters at what they do.

The dynamics and song structures throughout are astounding and they have the audience eating out the palm of their hands the entire set.

It is fast paced and high energy and absolutely epic.

‘Black and White’, from their debut album In Memory Of, goes down an absolute storm with the audience who are joining in and having a great time.

We are also treated to some new music with the promise of a second album in the works.

Lead singer, Chris McCrory gives an incredible vocal performance, while maintaining his witty lines between songs.

On a whole, the gig and all the bands were incredible and showed how versatile and fresh Glasgow’s music scene is.

Singing along to the songs, the audience are given a night to remember by Catholic Action and all their friends who perform too.

More Photos

Words: Shannon Cullen
Photos: Brendan Waters

Track of 2017 (30-21)

30. Siobhan Wilson – ‘Whatever Helps’ [Song, by Toad]

Immediately, ‘Whatever Helps’ shows off a more darker tone than Siobhan Wilson’s earlier, more twee-sounding material; the delicately soft vocal remain, but it is now layered, and more ominous sounding. An ode to fighting against a lost love, and the depression that comes with it, the lack of a backing band on the track allows Wilson’s gorgeous voice to drift like a lonely stranger passing through the night.

29. MC Almond Milk – ‘1995’ [Save As]

‘1995’ is a nostalgic journey through summers filled with dirty gutties and bowl cuts that will have anyone of a certain age and disposition grabbing a bottle of Devon’s finest tonic wine and heading for a park with Oasis blaring on their Walkman. As the story continues from 1995 to 2015, the narrative goes through the ups and downs of life and growing up; the craft is how the beat and music becomes more frantic during the less pleasant parts of Almond Milk’s formative years and relaxes when he raps about the good times.

28. Annie Booth – ‘Chasm’ [Scottish Fiction/Last Night From Glasgow]

Written about the barriers we put up between ourselves and others to feel better/more comfortable when in fact it makes us more distant than ever ‘Chasm’ is a lyric-driven beauty that builds over a chirpy alt-rock enthused rhythms as Annie Booth’s warm silky voice teases over the top in a conversational yet heartfelt tone. On her EP three years ago Booth displayed a knack for cleverly written songs, but there was a raw element about the release the has been honed in on here, clearly her experiences with in Mt. Doubt have evolved her sound, making her not just one to look out for in the Scottish folk scene but on a much wider scale, both musically and geographically.

27. Young Fathers – ‘Lord’

‘Lord’ offered the first taste of Young Fathers’ third record and what have they given us? Is it a call for redemption? Or a message from another plane? Whatever it is, it’s proof that Young Fathers are still a band like no other, because in the best way possible, it sounds like several different songs at once. One song is a gentle, baby’s own piano, one part a gospel choir of harshly treated vocals, one part bleak electronics evoking a droning cello or a glass wall vibrating. It’s Dante’s Divine Comedy in a song and the sign of an act that still has no shortage of ways to confound, an intriguing scene setter for where the trio might go next.

26. West Princes – ‘Wet Bark Is A Slug’ [vodoidARCHIVE]

Lifting you beyond the rain drenched dreariness of Glasgow’s synonymous party street that we can only assume these guys are named after, West Princes brought beautifully warm breeze with ‘Wet Bark Is A Slug’. The first taste of released material from these guys is subtle yet playful number that gives us a taste of band who are likely to have a big 2018.

25. BDY_PRTS – ‘Rooftops’ [Aggrocat]

‘Rooftops’ is an upbeat slice of electronic indie-pop reminiscent of Robyn or La Roux; warm chords power a rising melody line that sounds like Marina & the Diamonds are shaping for a big-lunged chorus as O’Sullivan and Reeve knit their voices together for an impossibly catchy refrain. There’s a touch of Jenny Lewis to the lovelorn chorus “the pieces of my heart are falling from the rooftops” but for song that seems knitted together from a handful of different sections, it’s the lush call and response finale that lingers long in the memory.

24. Mt. Doubt – ‘Tourists’ [Scottish Fiction]

‘Tourists’ is a story about Leo Bargery’s fear of flying with a tone is tongue and cheek, while the melody is a smooth, free-flowing mantra. The composition is sincere but the sentiment more jovial, Bargery’s voice has the capacity for wandering through low tones, luring you into a peaceful hum, before leaping up an octave or two. It’s got a hummable chorus, that plays darkly humorous lyrics off giant guitar chords and some neat female backing vocals, from Annie Booth, as Bargery contemplates whether he might be happier in ‘Southend in Sea’ and deploys the rather smart line “my aversion to aviation, keeps my feet on the ground and my head in the clouds”.

23. Savage Mansion – ‘Do You Say Hello to Your Neighbours?’ [Lost Map]

‘Do You Say Hello to Your Neighbours?’ is a fleshy piece of pragmatic laziness, emitting imaginary craft and an unquestionable attitude that textures the track throughout. Launching into a distinctive and highly melodic guitar line, which quickly establishes a prominent radiance; the deadened drums provoke a sense of moody-solace, lifting appropriately. ‘Do You Say Hello to Your Neighbours?’ is a serious slab of attractive songwriting, non-pretentious and thought provoking, excitingly hopeful.

22. Bluebirds – ‘Subcultural Love’

Bluebirds have developed a reputation as being a must-see live act, and ‘Subcultural Love’ certainly shows off an intensity that very few bands are able to capture. ‘Subcultural Love’ is dark and unnerving, drawing the listener into a five minute bind with no respite. Vocalist Daniel Telford’s Nick Cave-esque snarl guides the track murkily, before the track crashes into cacophonous life, as he howls “we need to see some more skin”.

21. Out Lines – ‘Buried Guns’ [Rock Action]

The supergroup of sorts comprised of James Graham of The Twilight Sad, Kathryn Joseph, and Marcus Mackay captured a mesmerisingly gritty, undoubtedly Scottish record in Confrats and lead single ‘Buried Lines’ was the pick of the bunch. The track is a strikingly hypnotic stroll through a mysterious setting, as Graham’s distinctive Scottish vocals intertwine with Joseph’s elegant yet gritty delivery over powerful brooding production.

Spiral Oh presents EAT FAST, HOME$LICE, West Princes, Unskilled Labour at The Old Hairdressers, 7/12/17

Unskilled Labour kick off the Spiral Oh night at The Old Hairdressers, the band consists of two players, switching between bass and guitar playing along to drum tracks.

Unskilled Labour dress appropriately in workie clothing, yellow fluorescent vest and cowboy hats fitting to their band name, entertaining the crowd with their act having a comedic vibe.

The duo makes an impression on the audience, providing songs that give a good chuckle.

West Princes don’t just play their songs, but perform every single note with enthusiasm and energy.

They kick off the set with sensational harmony work that sent chills down your spine.

From the first song until the very last, the band maintain high energy levels and the crowd is captivated by the music and the energy the band portray.

The intensity of the musicians is insane and the audience adore how much passion goes into their high-energy set, which closes with ‘Spring Tide’.

Never faltering throughout the set, West Princes show themselves to be a real contender in the current scene.

Keeping the high-energy vibe going, HOME$LICE perform with amazing new song ‘Real Lyf’, the vocalist has a great stage character as he clearly enjoying himself, dancing along to the songs and keeping the audience going.

This band is a fun band to watch and had a blast performing on stage.

The last band of the night is EAT FAST, the headline act who are originally from Newcastle are distinctively heavier than the previous acts.

The garage rockers provide a very good show, keeping the liveliness of the tracks up throughout, while their heavy guitar led songs and strong vocals hold their own against the, at times overwhelming, power of the band.

Despite some volume issues with the set, EAT FAST continued on, as the eleventh hour approaches the band played one final track, bowing out with the same high energy that they started with.

More Photos

Words: Shannon Cullen
Photos: Jake Gordon

Life Model, West Princes, L-Space, Caitlin Buchanan at Sleazy’s, 6/12/17

Tonight on this bleak cold winter’s night Cornerstoned Productions have engineered a night of indie delights worth venturing down to the Sleazy’s basement for.

The first act Caitlin Buchannan is a jarring talent, her voice is gentle while packing some serious power.

Her sound seems influenced by late 80s and early 90s acts like This Mortal Coil as well as having prog rock bravado, at points it feels like we’re standing a few feet away from Kate Bush.

Not many acts leave the stage to hushed murmurs of “holy shit”, fewer still of those where accompanied with no more than a Spanish guitar.

L-Space is a knowingly geeky outfit (they are named after a Terry Pratchet’s Discworld reference), but is still undeniably cool; the band oozes creativity and is the definition of a forward thinking modern band.

With wispy vocals, crisp electronic synthesisers and guitar, bass and drum machine ready to get the thoughtful crowd dancing at a moments notice.

The thing that really stands about this band are the content of there songs, in a scene drowning in the same old angst and heartache L-Space is the cure, with refreshingly crafted songs imagining what future generations will sing on Mars.

L-Space is one of the most exciting bands in Glasgow, if you find yourself getting bored of going to gigs in small venues, don’t give up without seeing this band.

Next up West Princess, who over the last few years has proved themselves to be some of Glasgow’s finest, recently they’ve added keyboard to their roster, which really shakes up there sound.

The guys give an enjoyable performance and as always the fun everyone is having on stage is transmitted to the audience.

The keys have a great vintage feel and lend a Steely Dan vibe, playing just the right amount to have maximum impact.

The whole performance has a lot more punch than in the past, moving away slightly from there previous 60s/shoegaze style.

Life Model is here to celebrate there fifth birthday and certainly deserve the cake, having this year released some of their best music on EP Lucky.

Appearances off the new EP are mixed with songs going back to their first gig (‘Long Way Round’).

Before playing Jojo McCafferty the bass player was worried about the performance after a heavy night supporting The Cribs with Tongue Trap the previous night.

You wouldn’t be able to guess with McCafferty’s booming bassline, as always making way for the rest of the band, an appearance of Tongue Trap co conspirers head banging down the front giving much needed moral support for her hangover.

The highlight of the night is the band’s festive cover, Low’s ‘It Was Just Like Christmas’ is the perfect antidote for a bleak night and made this reviewer feel Christmassy for the first time this year.

Words: Peter Johnstone

Fake Laugh, West Princes at The Hug and Pint, 16/10/17

It’s a dark, bleak October’s evening, and the nation is at risk with Hurricane Ophelia looming large – it would be fair to say that this isn’t the most fitting of settings for a Fake Laugh show.

Fronted by Kamran Khan, also of Japanese House fame, the band arrive at The Hug and Pint armed with an arsenal of sun-drenched melodies as Ophelia darkens its doors.

Warming up the stage in suitable fashion are West Princes, who also specialise in the sort of dreamy, jangly pop that doesn’t suit stormy (or general Glaswegian) weather.

A terrific airing of debut single ‘Wet Bark Is A Slug’ is an early highlight of a set which features hypnotic body popping as impressive as the tunes on offer.

The addition of a keys player bolsters their sound, and there is a newfound, brooding confidence in the Princes’ stage presence.

The pulsing, anthemic ‘A Thousand Arms Length’ brings another dimension to their set and is easily their best work to date.

Fake Laugh take to the stage just as the venue starts to fill out again, and the latecomers miss out on the excellent, thrashing intro to ‘Melt’.

Frontman Khan sports a Weezer blue album tshirt and on the basis of how they are performed this evening, his songs wouldn’t sound out of place on that very record, particularly on the melodic of ‘You Will Find Out’.

Despite only being performed live once before, ‘Hiding Place’ is faultless, exemplifying how tight Fake Laugh are as a live act.

After a playful cover of They Might Be Giants’ ‘They’ll Need A Crane’, the band slow things down with a mediocre ‘Kinda Girl’ which is minor blip, in an otherwise near flawless set.

An urgent ‘You Do Know’ and gorgeous rendition of the waltzing ‘As I Get To Know You Better’ elevates the standard once again, before a distortion-fuelled blast of early single ‘Mind Tricks’ brings proceedings to a close.

There are few frills with Fake Laugh this evening, and stripped of the layers of luscious production which feature on record, they are a very different entity live.

The three-piece make far more noise than the sum of their parts, but still retain their melodic nature throughout.

There is little to doubt Khan as a talented songwriter and musician, and the versatility of his material stands up on this, his first headline show in Glasgow.

 

Words: Graham McCusker

Electric Fields 2016, Day Two, 27/7/16

Day two starts on a fragile note as midday proves a touch too early to drag myself down for Bella and the Bella, so my day starts lulled next to the sound desk at the Main Stage sipping orange juice from the carton in the sunshine, with the somewhat depleted Palms boys, who still seem more in shape than I am, as The Van T’s deliver another fun filled set crammed with 60s surf vibes and glittery girl gang attitude.

electricfieldsmartinbonephoto1983

We’ve covered The Van T’s so much in the last year that it’s difficult to come up with new words to describe their set, regardless they never cease to be enjoyable and today’s set takes on a very special significance when you consider the four-piece nearly didn’t play.

As mentioned in day one’s coverage the passing of The Lapelles frontman, Gary Watson, has hit the Scottish music scene pretty hard and for The Van T’s it not only meant the loss of an individual with tremendous potential and talent, but also the loss of a very a close friend, and it’s fitting that the band request that the festival crowd “go fucking mental” today as that is what their friend would have wanted before closing on a cover of The Lapelles’ ‘Seventeen’.

Over at the Stewart Cruickshank Stage there’s another act that we have seen so many times in the past year but never tire of, truth is we love what Be Charlotte is doing, and have been championing her potential to go very far since first seeing her over a year ago.

It seems ever time they play the live set steps up a level, the music, accompanied by Charlotte Brimner’s voice, has always had the ability to silence a crowd with acapella beauty, get them moving with chart heading hits or engulf them with experimental brilliance, but Brimner’s presence and all round stage confidence just seems to grow.

Upcoming single ‘Machines That Breathe’ encapsulates the pop tilting side of Be Charlotte’s sound perfectly; it’s a bouncing bassy joy, with a hooky vocal, showcasing Brimner’s pop chops and unique, addictive vocal.

Next up are THE NINTH WAVE, who seem to have added an extra shimmer to their sound and in the reasonably busy tent there’s a glossy swagger to them.

Haydn Park-Patterson’s vocals sound more up front complimenting their bouncing electronic indie rock sound; each track seems to pack a punch above what they’ve managed before and another tribute is paid to Gary Watson in the form of a “Gary fucking Watson” chant.

C Duncan has the fortune of the sun baked Main Stage and their sound is perfect for a seat on the grass as calm soothing, hypnotic harmonies drift over the field and set a real harmonious vibe across the site before the more riotous bands take the stage later on.

The lush sounds of Christopher Duncan’s debut album Architect has drawn praise from all corners, including a Mercury Award nomination, and this may well be the perfect setting to witness it in.

dsc_1440

Up next is Glasgow folk rock behemoths Admiral Fallow and it’s pretty much the same chilled sunshine perfection, their deep, folk tinged rock is maybe not as settling as C Duncan, but the vocal dynamic of frontman Louis Abbott and Sarah Hayes is delightful and at times soaring.

The set is interesting, intricate and expansive, calling on the impressive talents of all six musicians on stage, as Abbott adds his strong lyrical content to a tone that’s just right side of catchy for a sun kissed afternoon set.

There’s the tendency for Admiral Fallow to be written off as your typical miserable indie rock band, but they shouldn’t be and they prove this here with tracks that easily get people moving and demonstrating why they are as popular and acclaimed as they are.

Much like Elara Caluna yesterday this is my first time catching West Princes in a live setting, and once again I have no idea why.

Their set is a beautiful sunshine filled ride, it’s jaunty indie pop, with impressive vocal interchanges just one of plenty extras that set them apart. The sound in the Tim Peaks tent suffers a bit towards the lower end, but the band still manage to get your feet tapping with funk filled licks and smooth guitar lines that expand to something with real groove.

dsc_1839

Up next is one of the highlights of last weekend’s Doune the Rabbit Hole, TeenCanteen, and their shimmering indie pop sound is yet again a delight in the Tim Peaks Tent as every track drips with sweetness and pure infectious sensibilities.

It’s hard to watch these girls without a smile on your face; yes, Carla Easton’s distinctive vocals could be considered somewhat of an acquired taste, but accompanied by three part harmonies they’re addictive and powerful, and as the glittered up girls debut tracks from their upcoming album, Say It With A Kiss, you’re left with an inkling of something special to come.

Back at the Stewart Cruickshank Stage Fat White Family get the evening going in proper fashion with a powerful punk set that gives all the impressions of not being slick without ever sounding it.

It takes a couple of songs before Lias Kaci Saoudi has gone topless and his sneer, ranging from pure evil to proper fuck you snarl, fag in hand and all, is encapsulating.

The crowd is at the rowdiest I’ve seen all weekend as flailing arms and pits break loose fuelled from the powerful performance onstage.

Following up that riot is The Go! Team, who’re a completely different prospect bringing a vibe of disco scratching indie rock crossed with Rocky theme song to get people moving in a new way.

Ninja’s lead vocals seem to get a bit lost, but it’s the euphoria inducing samples that make this band’s sound special; at points they go full on folk tinged indie pop, but there’s something very fun about their The Go! Team presence that makes them the perfect act for this time in the festival.

After popping away for a glimpse of Primal Scream then a wee dance to Eclair Fifi I end my weekend with easily the most fun band on the bill; Songhoy Blues.

You have to fight yourself not to dance to these guys and the enthusiasm from on stage just transmits to the crowd with minimal effort.

It’s a joy to see a band having this much fun, the bluesy pop sound of the Mali based four-piece oozes tradition, but also positive vibes and the inhibition to dance; the perfect end to the festival.

Then just as the bell rings on the last act of the evening and everyone is heading back to their tents the heavens open, it’s as if the festival made a deal somewhere, but whatever happened we’re not complaining as it’s been great,

Electric Fields is fast becoming one of the highlights of the summer.

More Photos

[soundcloud url=”https://api.soundcloud.com/tracks/210248458″ 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: Warrick Beyers / Martin Bone

Jennylee, West Princes at Stereo, 7/12/15

Warpaint’s most charismatic member, bassist Jenny Lee Lindberg, has gone solo and plays her first UK date to a packed-out Stereo.

New Glasgow-based band West Princes open; dressed like a trio of art school boys, they play upbeat high-treble indie like Swim Deep.

Single ‘You Never Told Me What to Say’ will be released in 2016.

Jennylee’s album on Rough Trade, Right On, is unreleased at the time so the material is fresh and unheard.

After playing a couple of songs Lindberg asks the crowd how they are, then admits, “I’m still really nervous;” this statement is the only giveaway.

Otherwise she is a formidable force, dancing around wearing her own Right On hoodie with only a mic in hand, having delegated her bass playing skills to a band member.

The music is mellow and understated, but intense, building to crescendos so loud they go unnoticed until she is writhing onstage, yelling “White devil/white devil” over thrashing drums.

It is like partaking in a neo-Pagan ritual, with songs entitled ‘Offerings’ and ‘Believe’ similar to Natasha Khan’s record Sexwitch.

First single ‘Never’ is a brilliant indie song with ethereal layered vocals and a driving bassline.

Lindberg picks up her bass to finish with Warpaint track ‘CC’ which sounds flawless live.

Words: Ellen MacAskill