Named after the debut single by Teenage Fanclub.
This blog is all about being a music lover in Glasgow; reviews, interviews, memories, old faves, new discoveries (past and present), playlists and more. Thanks for visiting - I hope you discover something amazing you have never heard before, or that you rediscover an old favourite.
Regular features/playlists; Never Ending Mixtape / Cover Version of the Month/ Trust Me.
Insta - @everythingflowsglasgow
I still remember the first time I heard anything from Some Friendly, the debut album by The Charlatans, who went on to be one of my favourite bands, a band I have seen more times than any other.
It was in the 5th year common room, a year after the album had come out and I was 15. White Shirt, a rush of pure pop perfection, nestled next to Mersey Paradise on a compilation tape made by Martin Callan. Martin was a cool guy, very good at football and he also played bass in a couple of bands.
Sproston Green, Flower and The Only One I Know were also on the tape that I had for ages (wish I still did) alongside tunes from the likes of The Roses, The Carpets and The Mondays.
Today is the 25th anniversary of the release of Some Friendly and tonight Tim Burgess is holding a Twitter listening party. Everyone sticks on the album at 8pm and Tim tweets his memories and feelings about each song.
Tim has embraced social media brilliantly and he has held listening parties before. This one has been scheduled for a while and momentum has been building with people tweeting Tim from all around the world to let him know where they will be listening - including Antartica!
As this unfortunately clashes with a rather important Scottish football match, I thought I would have my own private listening party and write a blog with (roughly) tweet size comments on each song from the debut album by a band that have been helping to soundtrack my life ever since Martin Callan passed on that mix-tape to me.
You're Not Very Well
As openers go, this is not a bad introduction to the band. The hammond and bass are prominent, the band locked in a groove and capable of moving a gear or two for the chorus. Burgess sounding cool and confident.
White Shirt
As I said in my intro, this is a rush of pure pop. White Shirt remains one of my favourite Charlatans songs, the flow, feel, beat and melody get me every time.
And someone said to me
You've taken this too far
But I can't be asked to change
The Only One I Know
This still causes a mass outbreak of pogo-ing and dancing at Charlatans shows to this day. Timeless. The groove, the rises, the funky instrumental breakdown, the melody and lyrics - this remains a perfect Charlatans song. The chorus is incredible - hurtful and seeking comfort.
Everyone has been burned before
Everybody knows the pain
Opportunity
Dreamy and psychedelic, beautiful lyrics. Check that bass groove holding it all together, no wonder Martin Callan liked the band so much!
A boy with a stronger emotion
Has nothing on me I've got this one
Then
Listen to that bass again, letting the hammond swirl, the beat drive and Burgess croon. The lyrics find Burgess defiant.
You're furious, I'm glorious
You never hurt me that much
109 pt 2
More dreaminess and psychedelia, a beautiful instrumental showing a different side to the band.
Polar Bear
A funky instrumental leads us into the song with Burgess speaking in code (?) and again talking of a girl and a love gone/going wrong. The closing section tips a nod to Hey Bulldog by The Beatles.
Live is a bag of revels
And I'm looking for the orange one
She's gone
And not for the first time
Believe You Me
More evidence of how tight The Charlatans were right from the off, another brilliant groove and Rob going for it on the hammond.
Flower
Slow, groovy, yet with a cold and bitter kiss off. A brilliant song. Flower remains a favourite amongst Charlatans die-hards that I have got to know through gigs, the old fan forum and social media.
She got what she deserved
I told her I am of my time
Sonic
Starts like a 90's cousin of The Doors and the instrumental section continues in that vein. Ends with Burgess urging us to think about it, think about it.
Sproston Green
Exceptional. Traditional set closer, it is like a religious experience for Charlatans fans. The build up and then the explosive start and soaring chorus. Extended instrumental groove out. A band on top form.
Sproston Green generates an incredible reaction to this day
Shortly after 8.30pm Evan Dando and his latest incarnation of The Lemonheads strolled on to the ABC stage. There was no build up, entrance music or drama. This was a band here just to play music and that they did.
Guitarist Chris Brokaw said 'We're the f**king Lemonheads from Boston Massachusetts' and they were off. Roaring through guitar punk pop gems and moments of tender songwriting/storytelling genius from throughout their catalogue (must have been close to 30 songs), many at under 3-minutes long and with little pause for applause in between.
Dando, despite decades of hard partying, still looks incredible. He has that stoned, slacker, surfer look to perfection. And he doesn't even try. Overgrown blonde/brown hair, stubble, a white shirt with don't jizz on satan scrawled on it and paint splattered jeans. He is just a good looking, funny, intelligent and talented guy and he had the audience in the palm of his hand.
The warm guitar sounds of Hospital opened proceedings and the set was kind of split into 5. The band - Evan (with Chris for some songs) - the band - Evan - the band.
Evan could have played all night and it was a shame the venue had a 10pm curfew as in his latter solo set he seemed to have really warmed up and loosened up - just wanting to play and sounding fantastic, dropping a Willy Mason song and announcing they have a band called Sandwich Police!
The band sets included favourites from the It's A Shame About Ray and Come On Feel the Lemonheads albums; blasting through Bit Part and Confetti,Hannah and Gabi sounded glorious and despite struggling with a sore throat Evan hit the long note during It's A Shame About Ray.
'This is a song about accccc aspirin' introduced Drug Buddy, Rudderless was a little raw with Evan calling on help from the band (and a sip of what looked like whiskey) to get his voice through it.
The Great Big No was one of the band highlights for me, as was the brilliant crazy stoned Style and a full band romp through Stove was a delight - an incredible song., the story of Evan being heartbroken about getting ride of his old stove.
It was great to see and hear a proper guitar band, the duelling guitars sounded glorious at times, but it was in Evan's solo sets that the real incredible moments took place for me.
There was the humour, emotion and exceptional songwriting of Being Around and Outdoor Type, the tender beauties of Into Your Arms,Frying Pan (just genius at work) and some gems from his incredible solo album Baby I'm Bored - Hard Drive is just incredible, as is the autobiographical (?) brilliance of Why Do You Do This To Yourself?. Ride With Me is another example of just exceptional songwriting.
I lied about being the outdoor type
I never owned a sleeping bag, let alone a mountain bike
At times during his solo sets you could have heard a pin drop, at others Evan held back to let the crowd sing-a-long, to either his parts or the backing vocals. He was also quick to thank the crowd and highlight how it was always a pleasure to play Glasgow - a city where he has often hung out.
Ending with a romp through Alison's Starting To Happen and a delicious If I Could Talk I'd Tell You dedicated to co-writer Eugene Kelly who was in the crowd, this was a great set.
I hope Evan comes back again soon - with or without his band. Never mind about a support band, give Evan a little longer.
The other night, ahead of my blog on the 20th anniversary of Oasis'Morning Glory album, I posted a few things on Facebook talking of the anniversary. It prompted a friend to reminisce about his favourite ever gig - Pulp at the Barrowland Ballroom in Glasgow and Morning Glory coming out the next day. Back in 1995 there seemed to be no shortage of brilliant music.
Steven Birrellis a lovely guy I met when I worked with the charity Maggie's Centres. Steven was a similar age and we got on well. Steven raised fantastic funds and awareness for the cause and through the power of Social Media we have kept in touch.
I asked Steven if he would write a guest blog about his memories and I have to say I was blown away reading it on the train from Edinburgh to Glasgow this afternoon.
I hope you enjoy it...
Steven - Remembering the first time
PULP - DIFFERENT CLASS TOUR, GLASGOW BARROWLAND, 1995
The streets of Glasgow’s East End have seen their fair share of hardmen over the years. But the group of barechested young lads swaggering down the Gallowgate twenty years ago struck fear into no one. Yet “Fife’s Scrawniest Boyband” weren’t looking for a fight. They wanted donner meat and chips, another beer and, eventually, a bus back to their mate’s uni flat in Balornock. The swagger was because they’d just seen something special in the Barrowland Ballroom. Barechested, because the cold night air against the sweat soaked t-shirts was chilling them to the bone and a concert veteran had told them that ‘taps aff’ would be warmer. He was right.
I’d been going to the Barrowlands for a few years before the 1st of October 1995, travelling through from Dunfermline with some mates and one of their big brothers who was old enough to drive. The fifteen year old me was armed with a borrowed Lauder College ID with my photo blu-tacked over the real Steven Hunter. I’m convinced I only got in because the bouncer spotted the Fife address and thought I’d be safer inside the venue than stood outside waiting for a few hours.
In that time I’d seen some amazing frontmen, being blown away by Billy Corgan and being mildly terrified of Henry Rollins. But nothing prepared me for Mr Jarvis Cocker and Pulp’s 2nd gig of their Different Class tour and there hasn’t been a live music ‘experience’ that’s bettered it. I’ve never been able to explain why. There’s been plenty of other gigs since, including Pulp, but hopefully you might get an idea over the course of this blog.
I grew up with a bunch of friends who all loved their music and had a range of tastes. We’d spend our Friday and Saturday nights alternating between the bedroom of two friends, Jim and Mo, whose parents had to tolerate a five hour setlist that could swing from TTF to the Rolling Stones, New Order to Metallica, Arab Strap to Nirvana.
But Britpop united us all and Pulp’sHis N’ Herswas one of the first albums that had universal approval across the group and was never off the stereo. A night would not pass without one of the group walking across the room that was strewn with NMEs, Select, Vox and Melody Makers to imitate Jarvis, flicking out a leg and then pointing to the sky, before heading downstairs to get the carry out from the fridge. But we’d only ever seen the band on telly, read about them in all the aforementioned and sadly missed titles (it’s not the same NME, I’m sorry!) and listened to them on radio. The Barrowlands was going to be our first live experience of them and they didn’t disappoint.
So, ‘do I remember the first time?’ Oh yes. Twenty years on, I still recall lots about that night. We’d met at Jim’s new flat in Glasgow. Mo had got his hands on a promo copy ofWhat’s The Storyfrom a record fair that afternoon, so we got a sneak preview of the 2nd Oasis album before heading out. But other than their name, I don’t remember much about the support act, Minty. I’m always in for the support slots and they’ve triggered some long term musical relationships with acts. But not Minty.
It was theDifferent Class tour, but the album didn’t come out until later that month. There’d been a few singles released prior to the gig including the game changing Common People but I went along keen to see and hear all my favourites fromHis ‘N’ Hersplayed live - the new material was a bonus!
From the minute he strutted and shimmied onto the stage, I was captivated by Jarvis Cocker and barely took my eyes off him for the entire gig, smiling, starstruck. That’s probably not strictly true, I had a wee crush on Candida Doyle and I’m sure there was a few cheeky glances towards her throughout the set. Jarvis and the band took us on a rollercoaster, we danced and bounced and sang along to Razzmatazz, JoyridersandFirst Time. We were 17 and 18, a mix of freshers and schoolboys, not a care in the world and that ballroom was the centre of our universe, oblivious to everything else - even the sweat dripping off the roof and on to our ‘curtains’ hairdos.
I remember being near the front whenAcrylic Afternoonscame on, and I just stood transfixed listening to the hushed, husky, almost breathless vocals. Even when the chorus burst into life and the crowd started bouncing and jumping, I just let myself get carried along in the sway. Mesmerised. It wasn’t my favourite song on the album before the gig, but as the years have went on, it’s the track I’ve listened to most - probably because of that night. If Kirsty Young ever calls, it’s on the Desert Island Discs list (which changes monthly).
We cheered the opening chords ofBabieswhen we starting thinking they weren’t going to play it. I’m sure I flicked out a leg and pointed to the sky shouting ‘Alright’. I think we all did. The encore was Underwear, classic Pulp, and we all heading downstairs withCommon Peoplestill ringing in our ears (and staring at the Transvision Vamp poster with Wendy James).
I’m not entirely convinced that I’ve explained what made this the best live experience - I’ll never be a gig reviewer that’s for sure. I was 17, just starting Stirling Uni and this was my first Glasgow gig where I wasn’t going home at the end of it. I was with a group of childhood friends that remain great friends two decades on. We still go to gigs together but the hairline has headed north and there’s no longer a fringe, never mind a set of curtains. On that chilly October night, Britpop took us out of the bedroom and into the Barrowlands. From sitting with our heads buried in music mags with economy cider to jumping about like idiots drinking watered down lager. And there wasn’t a smart phone in sight. This was ‘our moment’, our preview into the new songs and an album that would make them household names. And of course, I got to see one of my idols owning the stage, making us ‘dance, and drink and….there was none of the other stuff!’.
Last year I went along to a screening of Pulp: A Film About Life, Death & Supermarketsat Rough Trade Records and Jarvis and Candida were there to do a Q&A. At the end, the crowds swarmed in to get selfies and signatures and normally I'd be wading right in there. But Pulp are different. I've met plenty of my heroes (and never been disappointed) but Jarvis and co, I'm happy to admire from afar. Instead, I stood at the back, gave them both a wee salute before heading out down Brick Lane with a swagger. ‘Taps Oan’. Smiling. Remembering the first time.
(What's The Story) Morning Glory? was the album that propelled Oasis towards Maine Road, Knebworth and breakdown. The band pushed it as far as they possibly could between 1994 and 1996 - they burned bright - white light, white heat.
It was released 20-years ago today. I was 19-years old. The band had been an important part of my life, a fixture, since April 1994 when I saw them supporting The Boo Radleys at the Tramway in Glasgow ahead of the release of Supersonic. They blew my mind - the look, attitude, the songs...
They were f**king consistent - in fact they were better than that - they were improving all the time; live and in the studio. Noel was becoming more confident by the month.
Lets take a look back at the album that took over the world in 1995.
It's worth noting the b-sides that were released at that time and thinking of the album it could have been! Talk Tonight, Acquiesce, Round Are Way, The Masterplan...
On to the album - it just blew up. Some Might Say and Roll With It were the singles that proceeded the album. Cracking songs, much in the vein of Definitely Maybe. But Morning Glory was much more varied than Definitely Maybe, which in the words of Noel Gallagher was '10 singles with a nice corny track at the end.'
Morning Glory had the mellow acoustic moments like Wonderwall (an out and out love song) and Cast No Shadow, the emotional Don't Look Back In Anger (with Noel on lead vocals!) and the sky scraping Champagne Supernova. Definitely Maybe remains my favourite Oasis album, but Morning Glory was an important step away from the debut - along with the b-sides mentioned above, it highlighted that Noel was developing as a songwriter and he had a lot to his cannon. Noel wanted his band to mean as much to people as The Smiths, The Roses, The Jam and The Pistols...he succeeded!
The album opens with the cheeky glam stomp of Hello with Liam singing 'it's good to be back, it's good to be back'. In truth, the lads hadn't been away. They kept on gigging and releasing throughout 1994 and 1995 and all the while Noel Gallagher was writing and storing songs away. An interview with Bonehead from the time of release said that he was in tears when Noel played the album on acoustic guitar to him.
Everyone was familiar with Roll With It due to the summer slanging match with Blur that set the peaking point of Britpop that lasted a full year until Oasis reached Knebworth the following summer.
Wonderwall was the song that took Oasis to a different audience. A crossover smash hit, this was a song that transformed and transfixed the nation. I remember going for a drink in neighbouring Wishaw at the time of release and me and my friends were walking about town after the pub closed and unfortunately came across a gang who looked like they were going to kick our heads in. They shouted across the road asking what we were doing in their town and despite not being a fighter I remember taking my belt off, thinking I'll get a good whack in first before we take a kicking.
Then one of them saw I had an Oasis t-shirt on. Within seconds, both groups of lads were singing Wonderwall and punching the air in delight! Next time we were in town we met for a drink!
This song probably deserves a blog in its own right. For all their self proclaimed love of The Beatles, this was the first time Oasis produced something that could be termed Beatlesy and the nation fell in love with it.
Liam's voice sounds incredible - rich and soulful. He was only 23 when it was released, so would have been a youthful 22 when he recorded it. His voice stretched and strengthened from over a year on the road from the release of Supersonic.
The structure is what would become classic Noel - verse - bridge - chorus. Some bands talked of only writing and recording songs for themselves, in interviews around this time Noel talked of writing songs to be whistled by the milkman and the guy off to buy his 20 Benson and Hedges. With Wonderwall, he got the country singing.
Noel famously said to Liam during recording the album - 'You can either have Wonderwall or Don't Look Back In Anger, but not both.'
Liam took Wonderwall and despite a heft trawl through the wonders of the internet - there seems to be no evidence that he ever demo'd or has ever sang Don't Look Back In Anger - at least not recorded.
So Noel gets DLBIA which begins with the chords of Imagine pounded out by a kid from Burnage. It is a bitter sweet song, Noel is in fantastic form with vivid lyrics and his voice suits the song, soaring for the chorus. Funny at times, especially with;
Please don't put your life in the hands, of a rock n roll band
Who'll throw it all away
Other lyrics go back to his childhood - stand up beside the fireplace, take that look from off your face
And the you ain't ever gonna burn my heart out line was one that you sang from the very bottom of your heart with full gusto. And did we ever find out who Sally was, or is the myth that Liam suggested the line true?
Hey Now, at least in my humble opinion, is a total plodder. Round Are Way, The Masterplan or Acqueisce would have been a much better selection on the album. From memory Noel said he was wanting to write something like Neil Young - he failed. In comparison to the highs of Wonderwall, DLBIA, Cast No Shadow and Champagne Supernova then this is a low and probably the most boring song in the Oasis cannon up to that point. It unfortunately lasts for almost 6-minutes, far too long.
Swamp Song is 45-minutes of a promising jam with all kinds of gutsy attitude that would become Oasis entrance music for a while.
Meanwhile, Some Might Say soars towards the stars. The guitars are turned up and sound magnificent. This was Oasis' first number one. It is pop rock perfection. Doesn't really mean anything, doesn't matter. Noel dovetails Liam throughout and it all just sounds glorious. And any song that allows Liam Gallagher to sing suuunnnnnssssshiiiinnnnneeee is a winner in my book.
Some might say, we will find a brighter day
Cast No Shadow is dedicated to the genius that is Richard Ashcroft in the sleeve notes (remember them?!). Mellow, heartfelt and soulful, it is one of Liam's best vocal performances. Check out his exceptional performance at Knebworth below.
Bound with all the weight of all the words he tried to say
And as he faced the sun he cast no shadow
One of my abiding memories of Morning Glory is travelling from Carluke to neighbouring Lanark in my mate Dave's car listening to the album. We were heading to the house of some guy he worked with at the time and it was in quite a rough part of Lanark. The sun was shining, windows were open and the sounds of Morning Glory were everywhere. It was incredible. She's Electric was blasting out of Dave's friends house, it just sounded absolutely perfect for the time and the environment. I love The Beatles story of McCartney taking Sgt Peppers to a party and opening the windows of the flat at dawn to blast it out. It seemed like every single house in this estate in Lanark was playing Morning Glory on this sunny Autumn day.
SomehowShe's Electric has become a bit of a staple at weddings. It is poppy, catchy and funny. You can't fail to like it.
Morning Glory is electric - absolutely sensational - Oasis in pure punk form and Liam really going for it with the vocals. I was lucky enough to be at Knebworth in 1996 (in the front pit after bribing security) and my mate Elliott hoisted me on his shoulders for this. Looking back at 125,000 people going nuts was unbelievable. Ferocious.
Untitled/Swamp Song 2 eases us into the closer. Paul Weller allegedly appears on Swamp Song and Noel apparently wanted to call it The Jam which would have been amazing!
Champagne Supernova is a skyscraping anthem. It feels fantastic, starting off with acoustic guitars and Liam singing his heart out and then it just builds and builds. The beat kicks in and Liam and Noel lead the song towards the sun.
Cause people believe that they're gonna get away for the summer
You and I, we live and die
The world's still spinning round
We don't know why
Why, why, why, why?
There is a brief respite and then Noel launches into one of his most stratospheric guitar riffs, just to tease us, before Liam comes in and lulls us down before it all kicks off again.
Someday you will find me, caught beneath the landslide
In a Champagne Supernova, a Champagne Supernova in the sky
This is a gem, an absolute belter, with moments of searing brilliance leading to some of the most tender and soulful Liam lyrics in the Oasis catalogue.
Where were you while we were getting high
We were getting high, we were getting high....
Oasis were certainly getting high 20-years ago and they took a hell of a lot of people along for the ride. Take some time to listen back to (What's the Story) Morning Glory? over the weekend and think back to those heady days when Oasis kicked down the door to the mainstream and a whole heap of bands rushed through. A seminal album from the time.
One of the great things about two loves of my life - music and football - is that the break barriers. I spent a year travelling between 2007 and 2008 and joined in games in Asia, South America and Australia, and I danced, sang and joined in street party jams all over the world too.
Some time before that I met Terry Harrop through a mutual love of Manchester United. We sat together on my first Glasgow Supporters Club bus down to Manchester and discovered we also shared similar taste in music. I also found out that Tel was a complete Joy Division and New Order nut. As he is slightly more than 10-years older than me, he has been there since the inception of the band - through the challenges, the highs, arguments, break ups and get togethers.
So who better to write a guest blog review of New Orders Music Complete?
Here it is.
The scenario is, your favourite band has announced a tour
and the release of a new album.
But it has been a long time since this band has released
an album of any worth.But still, in the
vain hope that the new album captures some essence of what made you like them
in the first place, you go on line and book your concert tickets before you
have even heard a single track from the new release.
The album duly arrives, you rip off the shrink wrapper,
sit down, and get ready for a return of the good times..............but they
never come.
Track after pointless track goes by, and you realise the game is up, it's a below
average album from a band whose time came and went a long, long, time ago. But
you have already bought the tickets for the gig, and no one is going to take
them off your hands now.
You duly arrive at the Gig and hope against hope that the
set is going to be Greatest Hits Heavy and that they are not going to fill the
set with the mundane tracks from their new album. But instead they do, they
dispense with some of the classic songs that take you to heaven and back, and
replace them with songs that take you the toilet and back.
Well that's the spoiler alert for U2 fans over and done
with, let's get down to New Order.
Music Completeis without a doubt the most powerful album
New Order have released since Technique in 1989. It has in track no
3 Plastic the best track they have written since Here to
Stay from the sound track of 24 Hour Party People released in
2002.
Unlike U2 if New Order replace some of the greatest
classic songs in the fourth coming live set with tracks from this album, I for
one will not be disappointed, as I will be too busy dancing.
Recent New Order albums were more guitar orientated, and
suffered as a result. Instead with this album we have the joy of New Order,
Drum Programming, Sequencers, Keyboards, Bernard singing catchy vocals over the
top and Dance Orientated.
Peter Hook may refer to the present line up as "New
Odour" but this album has the sweet smell of success, and here we come to
the Elephant in the Room.
During the first three plays of this album, in the spaces
where I expected to hear melodic bass lines, there was nothing but spaces. I
actually started imagining the Hook Lines (excuse the pun) in my mind, but by
the fourth play it was clear they would never be coming.
Tom Chapman the current New Order bass player must be in
a Rock and a Hard place. On established New Order songs he has to replicate the
bass lines of Peter Hook. If he then used the same style on this New Album, it
could be levelled against him that he was nothing but a fraud, a carbon copy of
Hook but without the gravitas or history to replace one of the most enigmatic
bass players that that we have ever seen and heard, in one of most Iconic Bands
of all time. Instead Tom has decided to play his own game, not anybody else's.
The bass lines are there, but they are no longer the
focal point of the songs. Lower in the mix than before, unless of course you go
back to the album which famously Peter Hook slated with the words "what do
you call a New Order album without bass lines", answer
"Republic".
I first saw this band in Feb 1981, before anyone had
heard of a single New Order song. Being a New Order Fan for nearly 35 years, I
can say they have in equal measure, given my some of the greatest musical
highlights of my life, and some of the worst.
So many times I have thought the game was up, especially
during the many fall outs, splits and come back albums.This album shows that New Order are still a
viable band and unlike so many other bands who were good for two albums only,
this band are still producing songs that really matter, 35 years into their
existence. Take a listen to Nothing but a Fool, Superheated,Singularity, Plastic and you will realise that this
band are still ahead of the Game.
Dance Dance Dance to the Radio, or Plastic, the
choice is yours.
The start of October will see two increasingly important events in the Glasgow/Scottish music calendar take place. Both highlight the incredible talent and diversity of the Scottish indie/DIY/laternative music scene, both have been born from grassroots entrepreneurial spirit and both have been warmly embraced by music fans.
Saturday 3rd October will see The Tenement Trail take place in Glasgow - using venues on or around Sauchiehall Street - Broadcast, Flat 0/1, Nice 'n' Sleazys, ABC2, the Art School and King Tut's will feature a whole hosts of bands and artists that include the likes of White, Neon Waltz and Atom Tree who all featured in my recent blog HERE
The urban festival starts at 2pm and lasts (at least in some venues) all the way through until 3am. Tickets are only £15, available in advance from the website or Tickets Scotland, or you should be able to pick up some on the day if you are quick.
Tenement Trail is the brainchild of the team behind the brilliant Tenement TV which, like the festival, grows from strength to strength with every year.
Here is the line-up and times.
Then next Thursday 8th October it is time to get a little glitzy with the 6th year of the Scottish Alternative Music Awards (the SAMA's), taking place at The Garage.
Richy Muirhead is the bright young spark behind the awards and has grown the event into a highlight of the Scottish Music calendar, gathering increasing support and exposure.
Voting for this years awards has closed and over 20,000 votes have been cast - fantastic stuff.
The amazing Crash Club are playing live, along with special guest performances from previous winners and Holy Esque who have been on the verge of breaking through for a few years.
Richy said; "The shortlist is extremely strong this year, with nominees from every corner of Scotland. There is a huge surge in nominations for new bands which goes to show that Scotland is forever churning out new and exciting talent. It's our sixth birthday, so we've got a few surprises and crowd-pleasers up our sleeves."
The nominees for 2015 are;
BEST ROCK/ALTERNATIVE sponsored by EmuBands
Monogram Wecamefromwolves Catholic Action Dear John SchnarffSchnarff Huxtable
BEST NEWCOMER sponsored by UWS Creative MARTHA FFION WHITE BAER MAN OF MOON ALPHAS BELLA & THE BEAR LIONEL
BEST HIP HOP sponsored by Splitter Scotland
MOG Delighted Peoples DJ YEMSTER & HEXTASY THE ILL COLLECTIVE BIGG TAJ & SPEESIXNINE SPRING BREAK
