Robyn at Assai Records

It's not every day that you meet an international pop star! 

I was browsing Instagram at the start of March when a post from Assai Records Glasgow popped into my feed. Robyn, the pop genius, was coming to the store to sign copies of her new album Sexistential.

Really?

Robyn? In town? For a record store signing session? 3-months ahead of her Hydro show?

I took a chance, ordered a copy of the record for my daughter Rosie who is slowly but surely building a cool collection that includes; Robyn (my sister Carla had got her a cracking ltd edition RSD album for Christmas), Gracie Abrams, CMAT, Madonna and Taylor Swift. I also ordered a CD to ensure I could definitely get in with Rosie.

As time progressed, I really wondered if I was dreaming and found myself checking the Assai Insta post and my email confirmation on multiple occasions. But yes, it seemed like Robyn was coming to Glasgow and Rosie and I were going to meet her.

Assai sent an email the day before the event to say that we should get there for 1.50pm. So, on the day ... still scarcely believing we were going to meet an international pop star, a true pioneer of synth pop, a brave woman who stepped away from the industry cycle to do things on her own terms, songwriter and performer of pure pop magic ... Rosie and I jumped the 1144 train into town. We grabbed lunch at the excellent Franco Manco near Central, walked up to Waterstones on Sauchiehall Street (where Rosie grabbed the new Hannah Gold book) and then sauntered further up to Assai at around 1.30pm.

I was surprised to find the shop pretty quiet, but posters were up, staff were getting ready and then (by chance) someone said; 'Are you Murray?' To which I replied; 'Are you Radhika?' After we both confirmed we were who each other thought, I introduced Rosie, to which Radhika replied 'Yes, I've seen you in Since Yesterday.'

It was lovely to meet in person. Radhika very kindly answered some questions for my blog back in January. I'm excited to hear Cine-Pop, her forthcoming debut album and finally get to see Radhika perform live with her band at Mono on 5th June. TICKETS 

Radhika told us that Robyn would be arriving soon and that we should join the queue outside. Thankfully, the rain (which has been super heavy overnight and through the morning) had stopped. We sheltered in a doorway round the corner and got caught up in the excitement when 2 blacked out mini-buses arrived and Robyn's team came out to meet the Assai team. We could see someone make a call to confirm everything was OK and one of the buses zipped off to collect Robyn. 

The Assai team started to move people in, but thankfully we were just on the corner when Robyn arrived and went in the side entrance. It was cool to see Rosie getting excited. As was I! We enjoyed some chat with a couple of lovely guys behind us, one in particular was a huge Robyn fan and had a clutch of her records with him. His friend/partner had an amazing pair of shows on - I was glad he got inside before the rain came back on!

Robyn was in, signing records and posing for photos, and we began to edge round the shop to the front of the queue. Radhika was taking peoples phones to ensure they got photos, so it was lovely to hand my phone to a young musician to take a photo of Rosie meeting another. 

Rosie was the only kid there! Robyn smiled as she approached with her record (vinyl as the hipsters in the shop call it) and asked her name. 'Is that Rosie with a Y or I E?' There was a short chat and then Robyn ushered Rosie to come alongside her and she put her arm around her which was lovely.

And then it was my turn. Robyn asked if the CD should be made out to me, or Rosie. I said Rosie, and talked of how she had a record player and was enjoying buying albums and how she loved music and dancing. As I then grabbed a photo, I also said, thanks for creating such amazing pop music. 

Dancing On My Own, Hang With Me, Dopamine, With Every Heartbeat, Call Your Girlfriend ... as mentioned at the start of this blog, Robyn is a genuine pop genius.

Sexistential is a cracking album. Dopamine (the first single) is sublime, Rosie and I first heard it on 6Music while driving home from her dance class. 'Is that Robyn?' she asked, leaning forward to turn the radio up as familiar sounding synths kicked in. Indeed it was Robyn, with an outstanding burst and rush of electronic pop brilliance.

Nothing's ever gonna cut you as deep

As the very first time

Nothing's ever gonna taste just as sweet

As when it is just out of reach

Blow My Mind (about her son) is a cool groove that melts my heart.

It's like you're the cloud underneath my feet

And you're the reason that I breathe

 Light Up is spine tingling with brilliant synth sounds, the song threatens to drop big beats several times but somehow refrains. Album closer Into The Sun is all kinds of 80's pop bliss with a modern sheen. 9 songs, 29 minutes, brilliant pop music that will leave you wanting to play it all again.

Never Ending Mixtape part 108

 Welcome to part 108 of my Never Ending Mixtape!

The mixtape is hurtling towards the 5,000 landmark. I add songs regularly, with no thought to the flow or structure, unlike the mixtapes and CD's I would make in my younger days. 

As a result, my Never Ending Mixtape jumps from 4,802 to 4,852 with the addition of Brittle by my friend Alan's band Broken by Rock. 

Alan originally recorded it around 10-years ago, but it was only ever available on Soundlcoud. At the time, I described it as being like a fragile New Order. I've brought the song up with Alan a number of times over the years, as I really fell for the feel of the song and recording. I am delighted that Alan has (finally) decided to release Brittle to the wider world! I love the groove, the vocal melody and the delicious synth sounds, especially in the instrumental outro that I imagine being extended for a 12-inch version. 

Alan; The whole thing was recorded using synths and ableton live. I lost all the tracking when my old Mac died suddenly, so only have the master. I did think about re-recording it with the band but thought 'fuck it', just stick with the original version and not try to mess with it.

Brittle is New Wave, DIY, bedroom synth pop. I love it and hope you check it out.

Thanks if you are one of the 379 who follow the playlist, or if you check in on it (and my blog) from time to time. And welcome if you have just discovered both. 

As always, I hope you find something wonderful that you've never heard before, or that you rediscover an old favourite song. I personally play my Never Ending Mixtape on shuffle, but play from the start, the middle, or scroll down (could take a while!) to the latest additions. 

You'll find a few of the additions listed below. 

Search for Everything Flows Never Ending Mixtape on Spotify or CLICK

Recent discoveries

Fire By The River - Harumi

Christine by J>K & Co

Black Night Woman by F.J. McMahon

Get Out Of My Dream by The Clouds

Nervous Acid by Bobby Konders

What You Won't Do For Love by Bobby Caldwell

Love Love Love by Those Guys

All The Way In or All The Way Out by Bettye Swann

I Feel the Feeling by Bettye Swann

New releases

CCTV by wor_kspace

Orange County by Gorillaz

Love is A Life That Lasts Forever by Andrew Wasylk and Molly Linen

Brittle by Broken by Rock

Old favourites

Flame On by Eugenius

Everything Moves Towards the Sun by Cats Eyes

Rain Falls For Wind by The Sleepy Jackson

Come To This by The Sleepy Jackson

All Apologies (demo) by Nirvana

Fizzy by The Jesus and Mary Chain

Dear Prudence by The Beatles

Geese at The Barrowland Ballroom

Arguably the hottest band on the planet were in town at the weekend to play what many consider to be the best venue in the world. 

When Geese fly, they really soar. Pardon the pun. There were times when their Saturday night Barrowland show felt euphoric. Notably the section around halfway through Taxes when Cameron Winter sings you're gonna have to nail me down as guitars begin to ring and chime. He then lifts it further with the doctor, doctor, heal yourself section, ending with the great lyric I will break my own heart from now on.

Guitars are chiming, the bass is holding to down, drums are pounding - Max Bassin, looking good in a King Tuts t-shirt is an outstanding drummer, and Cameron Winter, oooh, oooh, oooh, oooh.  is coo-ing oooh.

There are other time when it just doesn't do it for me. I love their melodic, slightly weird and wonky, more than a little stoned, songs with cool grooves. The heavier stuff that Geese play, 'bordering on prog at times' as one friend said, just doesn't connect with me. But it sure did connect with the Barrowland crowd who lapped it up. 

Anticipation hung heavily in the Gallowgate air, the queue at 8.15pm stretched round the corner towards Saint Luke's. I hadn't seen anything like that in some time. Loads of people were walking up and down the line with cardboard / digital (on their phone) signs looking for tickets. A few exchanged hands for over £100. 

Inside the crowd were singing along with Cameron Winter from the off. Even for songs that I didn't expect sing-songs for. Then there was pogo-ing and multiple crowd surfing moments, people on shoulders. There was also a brief pause around 3/4's of the way through the show where Geese seemed concerned about people down the front being dehydrated/fainting. They threw multiple bottles of water into the crowd before restarting.

Geese kicked off with Husbands, one of their slow melodic stoned jams that I really enjoy. It's slightly wonky, very different and very cool.

Getting Killed is electrifying, before going off on a slow and stone tangent. Islands of Men rides in on a seemingly simple guitar riff, just about hanging together for the instrumental section that is stripped right back, then Winter is singing (about two feet back from the mic) you can't keep, you can't keep running away.

A lot of Geese material sounds fresh, like it has stemmed from jams and improvised lyrics, rather than thought out, constructed and structured songwriting.

Crusades, from their 3D Country album, rides in on a riff that sounds Bowie/Stones inspired. Cameron Winter does a stripped back cover of Primal Scream's Movin' On Up and the band also dedicate a song to King Tuts.

A section of the show doesn't really work for me. It's a bit more heavy, a bit more experimental, but then things change with Cobra, a woozy delight, with the crowd singing in full voice. Au Pairs du Cocaine is glorious, the guitar playing the riff, then bass, drums coming in and Winter crooning his heart out. Then there is the aforementioned Taxes.

The rest of the set is kind of lost on me, I lose connection. Geese go off on a heavier vibe for the remaining couple of songs and then the two song encore. Personally, I always skip Long Island City Here I Come, the closing song on Getting Killed, and Trinidad, the opener, when playing the album.

In a sense, Geese are kind of like two different bands. That's the thrill of it for most people in the audience, while I prefer their more melodic stuff and Cameron Winter's solo album Heavy Metal.

However, what is abundantly clear, is that people have fallen for this band big time! It's going to be really interesting to hear what they do next. I can see them veering off into experimental territory like Radiohead. While maybe Winter will keep his stoned ballads for his solo material. Who knows?!

In spite of the commotion they are creating, Cameron Winter doesn't display a great deal of emotion throughout. Do Geese want to be big? Do they want this kind of adulation? 

They'd better get used to it! Geese are hot to trot and are on a constant tour, including two more dates back at the Barrowland in August. 

Madra Salach at McChuills

Paul Banks, Madra Salach singer, McChuills, March 2026

Dublin six-piece Madra Salach blew my friend Joe and I away last year. We caught the band playing The Van Winkle in the Gallowgate as part of Tenement Trail. Singer Paul Banks was like a cross between Lydon and MacGowan, singing with his heart and soul. 

In my blog, I highlighted Madra Salach's closing song The Man Who Seeks Pleasure (Is the Man Who Seeks Pain) stating that it was a genuine spine tingling moment. It will be interesting to see if they can capture this kind of intensity on record. This was beautifully raw, heartfelt and soulful. Banks gave it his all and his band played as if their lives depended on it. 

Madra Salach, The Van Winkle, Tenement Trail, October 2025

The band have since released the song and it has been gathering attention from the likes of 6Music and is no doubt helping them to sell out every gig they currently have listed. In addition, Madra Salach will be supporting Kneecap at their huge summer show in Crystal Palace.

In the short term, the band are on a tour playing small venues that must be in the 100-250 capacity range. I am sure that they could have upgraded last nights show at McChuills to a larger venue, but I'm so glad that didn't happen. Seeing a band on the verge of breaking in a small venue is incredibly exciting for music fans, but I think it is equally as exciting and even more important for bands and artists to play in those venues at such a time and 'feel' the mood, experience the atmosphere. Madra Salach know that bigger venues will come. 

So, yes, there is a buzz about Madra Salach and there was a sense of anticipation in the air, possibly helped by the fact that it was the day after St Patrick's Day. McChuills was in full swing. 

A 10pm week night curfew for live music meant that Madra Salach were on at just after 8.30pm. Joe and his 2 brothers were in supping Guinness and Murphy's by the time I arrived just before 8. It was the first time I had caught the train to Glasgow Central since the recent fire. I felt a tingle of pride as I approached the station, gazing out at the city lights as the train crossed over the river. Glasgow is a resilient city. The loss of the corner building and defining dome is tragic. But we will rebuild.  

The venue was rammed as Madra Salach took to the stage bathed in red light to set up. All of the band are seated, other than lead singer Paul Banks, who ambled on and cleared his lungs to begin Blue & Gold, their debut single that was released in September 2025.

Banks tells the story of a young couple being broke and down on their luck. In the first verse Banks sings of having nothin' in me pocket except the old linin', while in the second his lover tells him of how they have no food for eating, nor money for heating.

Banks has hope, in the form of a lottery ticket;

We will not be going cold

Don't worry my dear

Look what I have here

A ticket of blue and of gold

Is it a winner? Is it sheer hope and desperation? We don't know. But what we do know is that Madra Salach deliver this modern tale of their own and others that have been around for a long, long time with passion and soul.

The Tunnel Tigers is introduced as being an old Irish folk song about Irish men that went over to London to create the tunnels for the Underground and lost their lives. Banks introduces The Blantyre Explosion by asking how far away Blantyre is, and there is a bit of banter by the crowd, with a couple of people shoutin out to declare the town as a shitehole. 

Banks laughs and says that he is about to sing a song regarding Scotland's worst ever mining disaster that happened back in 1877, killing over 200 people. Banks then gets serious as he pours his heart into the song so much that you believe that he is the young man telling the story about wandering by the Clyde in mourning and meeting a girl crying;

I stepped up beside her, and thus I addressed her

Pray tell me, fair maid, of your trouble and pain

Sobbing and sighing, at last she did answer

Johnny Murphy, kind sir, was my true lovers name

Twenty one years of age, full of youth and good looking

To work down the mines of High Blantyre he came

The wedding was fixed, all guests were invited

That calm summer's evening, young Johnny was slain

Banks jokes afterwards that they have more miserable songs to sing! But the crowd are mesmerised by him and his band. The intensity they play with, the soundscapes they conjure (slight and delicate tinges of electronica and psychedelia merged with Celtic folk and soul) and Banks exceptional voice.

At times, he is lost in the music, twitching and biting his nails (or what he has left!), turning his head, then back to the mic to give it his all.

In the Aeroplane Over The Sea by Neutral Milk Hotel is more upbeat and works beautifully. Single I Was Just A Boy is pretty euphoric with the crowd singing along, the extended instrumental is ferocious. Then they close with The Man Who Seeks Pleasure. The crowd are singing underneath Banks, subconciously mindful that they want to sing, but also want to take in his voice. The recorded version that they have released is special, but live, this song takes on more power. It's really special. A modern classic.

We head through to the bar and agree that Madra Salach will probably be selling out the Barrowland next year. They are a special band. The band are doing a roaring trade at the merch desk and mixing with fans. The guitarist/mandolin player is next to us at the bar and agrees that his singer has 'a fair set of pipes on him' and hints that they will be back in Scotland in October/November when they have a tour planned. Joe and I mentioned we saw them at Tenement Trail last year and he talks fondly about their day playing the Van Winkle and the response from that show and from the McChuills crowd. It was a pleasure to buy his round for him.  

Setlist

1. Blue & Gold

2. Spancil Hill (Michael Considine cover)

3. The Tunnel Tigers (Ewan McColl cover)

4. The Blantyre Explosion (Luke Kelly cover)

5. Murphy Can Never Go Home (Mick Curry cover)

6. In the Aeroplane Over The Sea (Neutral Milk Hotel cover)

7. The Ribbon Factory

8. I Was Just A Boy

9. The Man Who Seeks Pleasure

Good Dancers

Good Dancers by The Sleepy Jackson
Trust me #113

A recent conversation with my good friend Emma swiftly veered from Tom Gray of Gomez being a touring member of Luke Steele's Empire of the Sun, to Steele's old band, The Sleepy Jackson, their 2003 debut album Lovers, and their sublime psychedelic pop song Good Dancers.

Don't always dream for what you want

But I love to watch good dancers talk

What a song! The production is lush and layered, all kinds of dreamy cosmic goodness. Opening with melodic slide guitar, with clear echoes of George Harrison in his All Things Must Pass era, alongside a dash of Lennon's No.9 Dream, Good Dancers is a song that instantly demands attention and tugs on your heart strings. Listening back (a good few times in a row) it feels like waking up to blue skies, morning sunshine on your face, fresh air and you just breathe it all in. 

Steele's voice is soaked in reverb and the whole song somehow manages to feel both big and bold, yet intimate and personal. The Sleepy Jackson definitely captured something quite special on the recording.  

My heart is stronger than you all

But I love to watch good dancers talk

The Sleepy Jackson released 2 albums, Lovers in 2003 and the bonkers-ly named Personality - One Was a Spider, One Was a Bird in 2006. After their 3rd was heard and rejected by the bands label, Steele focused all of his attention on side project Empire of the Sun ... and they took off big time! In a 2013 interview, Steele stated that he intended to release the 3rd Sleep Jackson album in 2023, but that never happened and it possibly never will.

Empire of the Sun added a synth pop sheen to Steele's natural feel and taste for psychedelic pop and gained international success with 2008's debut album Walking On A Dream. They have released a further 3 and will be touring later this year.

Good Dancers is added to my Trust Me playlist; search for Everything Flows - Trust Me on Spotify or CLICK HERE. Check below for all previous blogs in my Trust Me series.

Previous Trust Me blogs

1. Something On Your Mind by Karen Dalton

1A. Crimson and Clover by Tommy James and the Shondells

2. I Am, I Said  by Neil Diamond

3. Where's The Playground Susie?   by Glen Campbell

4. If You Could Read My Mind by Gordon Lighfoot

5. Gimme Some Truth by John Lennon

6. Gone With The Wind Is My Love by Rita and the Tiaras

7. In The Year 2525 by Zager and Evans

8. The Music Box by Ruth Copeland

9. The Ship Song by Nick Cave

10. Sometimes by James

11. I Walk The Earth by King Biscuit Time

12. Didn't Know What I Was In For by Better Oblivion Community Centre

13. When My Boy Walks Down The Street by The Magnetic Fields

14. The Man Don't Give A F**k by Super Furry Animals

15. All Flowers In Time Bend Towards The Sun by Jeff Buckley and Liz Fraser

16. Are You Lookin' by The Tymes

17. A Real Hero by College & Electric Youth

18. Feelings Gone by Callum Easter

19. Sunday Morning by The Velvet Underground

20. Did I Say by Teenage Fanclub

21. Don't Look Back by Teenage Fanclub

22. Your Love Is The Place Where I Come From by Teenage Fanclub

23. Belfast by Orbital

24. Clouds by The Jayhawks

25. Dreaming Of You by The Coral

26. Everlasting Love by Love Affair

27. Walk Away Renee by The Left Banke

28. Teenage Kicks by The Undertones

29. Shaky Ground by Sneeze

29. Rill Rill by Sleigh Bells

30. I Can Feel Your Love by Felice Taylor

31. The State We're In by The Chemical Brothers w/ Beth Orton

32. Sunshine After The Rain by Ellie Greenwich

33. Losing My Edge by LCD Soundsystem

34. Mondo 77 by Looper

35. Les Fleurs by Minnie Riperton

36. Rat Trap by The Boomtown Rats

37. How High by The Charlatans

38. I Can't Let Go by Evie Sands

39. Pop Song 89 by R.E.M.

40. Summertime Clothes by Animal Collective

41. There She Goes by The Las

42. We're Going To Be Friends by White Stripes

43. Autumn Sweater by Yo La Tengo

44. Sister Rena by Lomond Campbell

45. Revolution by The Beatles

46. Lazarus by The Boo Radleys

47. Wrote For Luck by Happy Mondays

48. American Trilogy by The Delgados

49. Loser by Beck 

50. Silent Sigh by Badly Drawn Boy

51. Comedy by Shack

52. Take The Skinheads Bowling by Camper Van Beethoven

53. Freakscene by Dinosaur Jr

54. Thank You For Being You by The Pastels

55. I Think I'm In Love by Spiritualized

56. Chestnut Mare by The Byrds

57. Cannonball by The Breeders

58. Like A Rolling Stone by Bob Dylan

59. You Make Me Weak At The Knees by Electrelane

60. Lucky by Radiohead

61. Strange Currencies by R.E.M.

61. I Am The Cosmos by Chris Bell

62. Like A Ship (Without A Sail) by Pastor TL Barrett and the Youth for Christ Choir

63. Nothing But A Heartache by The Flirtations

64. Made of Stone by The Stone Roses

65. Tonight In Belfast by Orbital, David Holmes, DJ Helen and Mike Garry

66. Anything by Adrianne Lenker

67. I Hold Something In My Hand by Bill Ryder-Jones

68. I Meant Every Word by Burnett Sisters

69. Dream Baby Dream by Suicide

70. Stove by The Lemonheads

71. Red Lady by Phil Cordell

72. Little Fluffy Clouds by The Orb

73. I Can Do It With A Broken Heart by Taylor Swift

74. Turnin' My Heartbeat Up by The M.V.P.'s

75. Razzle Dazzle Rose by Camera Obscura

76. Such Great Heights by The Postal Service

77. The Rat by The Walkmen

78. My God Has A Telephone by Aaron Frazer

79. Unfinished Sympathy by Massive Attack

80. Sweet and Tender Romance by The McKinleys

81. Hoppipolla by Sigur Ros

82. 69 Police by David Holmes

83. Hey Lisa by David Holmes

84. I Am A Rock by Simon & Garfunkel

85. Kung Fu by Ash

86. Kids by MGMT

87. Slight Return by The Bluetones

88. Give Peace A Chance by John Lennon / Plastic Ono Band

89. Cut Your Hair by Pavement

90. Race for the Prize by The Flaming Lips

91. Waitin' for a Superman by The Flaming Lips

92. Acquiesce by Oasis

93. This Is Music by The Verve

94. Lone Swordsman by Daniel Avery

95. Sparky's Dream by Teenage Fanclub

96. Common People by Pulp

97. Let Our Love Grow Higher by Eula Cooper

98. Regret by New Order

99. Keep On Keepin' On by Nolan Porter

100. Sit Down by James (Live at G-Mex) by James

101. Never Lose Your Sense Of Wonder by Yeti

102. Just When You're Thinkin' Things Over by The Charlatans

103. Life Is Sweet by The Chemical Brothers 

104. How Can I Tell You (To Love Me More) by Brooke Coombe

105-107. Wigan Casino - Three Before Eight - Time Will Pass You By by Tobi Legend, Long After Tonight Is All Over by Jimmy Radcliffe, I'm On My Way by Dean Parrish

108. Cobra by Geese

109. All I Have To Do Is Dream by The Everly Brothers

110. Vapour Trail by Ride

111. Teardrop by Massive Attack

112. Since I Left You by The Avalanches

Fatale at McChuills - March 2026

Fatale l-r James, Euan, Oscar (top), Ben, Chris

Saturday nights in McChuills have been the source of much pleasure for me over the years. Old Nick DJ-ing behind the bar early on, DJ's taking to the decks later, playing (or attempting to play in a busy area!) pool, meeting friends, ending the night there after a gig at the Barrowland Ballroom ... It's a wonderful pub full of characters, behind the bar and on the other side. McChuills has soul and strong values. They know what is right and what is wrong. And they love music! Lots of old faces still regularly frequent the bar and the decks. 

McChuills the kind of pub you fall for, dream of and pine for. These days, visiting is more of a treat, but every time I visit I think of my old flat in Dennistoun and times where I'd wander in for a pint after work and stay for a few, or ... wilder weekends.

It's great to see that McChuills still attracts a variety of subcultures of all ages. I mentioned Old Nick (who was DJ-ing before Andrew Divine last night) above and his son young Nick has done a grand job of changing things just ever so slightly, to put on bands and club nights in the side room ... or Acid Arch. Wet Leg (old blog here) and David Holmes are just 2 of the names to have graced the stage through there.

Fatale were back to the venue where they played their first gig in May 2025 - still less than a year ago! The band hang out in McChuills regularly and both are a perfect fit for each other. Fresh/recovered from 3-date tour of Aberdeen, Dundee and Inverness with The Cords and a show with Warren McIntyre and James Kirk in Edinburgh the previous night, the 5-piece were gig fit. 

Taking to the stage at 10pm, Fatale blitzed straight into Moves You, their traditional set closer. It was a bold move and it worked a treat, the place was bouncing. This is a fuzzy punky pop gem with a glorious breakdown, before zipping back to full throttle. Exhilarating!

Fatale have improved every time I've caught them live since last summer; sound, performance and songs. New song Sugar Bowl was melodic with the duelling guitars sounding sublime. Own Embrace and Another Sunrise sound like old friends. I find myself half singing a-long, even though I've only ever heard them live.

A cover version of Buttermilk by Eugenius fitted like a glove. That guitar riff never got the credit it deserves. Winged Horse, By The Tide and September kept things going while allowing Fatale to show different sides to their natural instinct for melodies, guitar sounds and hooks. 

The rhythm section of Oscar (bass) and James (drums) keep things tight, while also driving the sound along, while the guitars of Euan and Chris (also backing vocals) carry the joy of youthful enthusiasm through chords, riffs, solos and the effects they use. Ben Robertson was born to be a front man - conducting band mates and crowd with his on stage moves. All have fantastic hair! 

Wired sounds like a potential single. While Jesus Christ most definitely will be at some point. Beginning with a warm Big Star-esque riff, the song then explodes into life and is like one big chorus, full of infectious energy.

Fatale seem to have a natural feel for songwriting. Their musical knowledge and taste comes across in the songs they have covered since I first caught them last summer. The confidence that comes from playing gigs and generating a buzz from them seems to be lifting them to new levels. Building on the solid foundation they had from the off with early songs like Moves You, Jesus Christ and Another Sunrise.

Speaking of which, the band are clearly taken by new song Saint Mungo - named after the patron saint and founder of the City of Glasgow. It's the title track of their debut EP that is coming out on a limited edition 12-inch. ORDER HERE

Coming on for an encore, Ben announced that this would be the last time they played their cover of The Velvets Femme Fatale, however given the reaction, I'd be surprised if that's the case! They should definitely keep it up their sleeves for their adventures outwith Glasgow.

The band ended as they began, with an even more super charged version of Moves You, starting with Ben crowd surfing, before their good friend Ben Brown took over and somehow managed to stay aloft! Great fun.

Keep an eye on Fatale's Instagram page for news of up coming shows.

Next up is a gig at The Art School as part of the multi-venue House Guest festival on 4th April. The festival also takes in Sleazys and The 1990 (formerly Broadcast).

Femme Fatale

Cover version of the month #111
Big Star cover The Velvet Underground

The Velvet Underground and Big Star are two majestical, mythical and magical bands that have influenced (and have been consistently highlighted by) Scottish bands like Orange Juice and Teenage Fanclub through to bands bursting on to the scene at present. 

Art-rock NYC cool, melodic vulnerability, quintessential guitar power pop and vocal harmonies. You could easily argue that the two bands stand as the ultimate patron saints to the Glasgow independent guitar pop scene. Throw in Love, The Byrds, punk bands like Buzzcocks, The Clash and Subway Sect and that's the bones of your top 10.

One song that links both of these legendary bands is Femme Fatale, written by Lou Reed and inspired by a throwaway Andy Warhol comment about Factory 'it-girl' Edie Sedgwick. New info for me - I always thought it was about (and for) Nico!

"Oh, don't you think she's a Femme Fatale, Lou?"

The Velvets recorded the song in 1966 and it was released as the b-side to Sunday Morning in December of that year and then as the third track on their debut album, the mind blowing The Velvet Underground & Nico in March 1967. It's an album that everyone with a vested interest in the history of guitar music seems to be magnetically drawn to as a teenager.

It's well documented that the album was a flop, entering the charts at number 199 upon release and then leaving the month afterwards. Check this excellent feature article by Scottish writer Grant McPhee for Into Creative.

McPhee takes a deep dive into the myth of The Velvet Underground and Nico, particularly around the sales figures, stemming from a famous quote by Brian Eno about the album only selling 30,000 copies in its first five years.

... everyone who bought one of those 30,000 copies started a band. Brian Eno

Enjoy Grant's blog. But back to Femme Fatale. Listening again, I can't help but wonder who (if anyone) Nico was thinking of whilst singing the song. Edie? Or herself? 

Here she comes

You'd better watch your step

She's going to break your heart in two

It's true

The Velvets recording is icy cool. Nico’s vocals are famously flat, off-key and the way she pronounces clown as clun at the end of the second verse is quite funny. Funny, but ridiculously cool!

She'll build you up just to put you down

What a clown

Almost 60-years on and The Velvet Underground remain a blueprint for independent guitar music. Femme Fatale is a prime example why. Short (2-minutes 39 seconds), seemingly simple, impossibly cool and utterly beautiful. Pop music can be both a hook and a heartbreak simultaneously.

Lou Reed's NYC drawl in response to Nico's rise for the chorus is sublime.

Cause everybody knows, (She's a femme fatale)

The things she does to me, (She's a femme fatale)

She's just a little tease, (She's a femme fatale)

The closing two lines of the chorus are left to Nico, over the chiming guitar riff. They are, for me, the two coolest lines of the song, sung as if Nico is in admiration of the girl she is singing of.

See the way she walks

Hear the way she talks

In the next verses, Nico (using Lou's words of course) is clearer about her warning. The guy is merely number thirty-seven in her book. She's from the street, so already has all the guys beat and is going to play you for a fool.

Alex Chilton recorded his version for the legendary Third/Sister Lovers album sessions. The Big Star version is stripped back and fragile. Chilton sounds like he is singing from the experience of having his heart broken by the femme fatale, warning others, yet still infatuated.

Big Star are in no rush here, everything is slow, the intro longer, it all feels darker, as if Chilton is barely holding it together. It's beautiful.

Others have covered this gem of a song too. Among them - I've just found the Duran Duran version ... and ... I'm not a fan! Teenage Fanclub covered it with tender care on the b-side of Ain't That Enough. And Fatale, who I have written about a number of times over the last 6-months or so, took their name from the song and recorded it as their first demo. The way the crowd sing-a-long with Lou's she's a femme fatale line at the Fatale gigs is incredible - like they are breathing new life into the song and turning it into an anthem.

Fatale - Femme Fatale (demo)

The Velvet Underground & Nico original and the Big Star cover of Femme Fatale are added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE

Previous covers of the month blogs

1. You've Lost That Lovin' Feelin' 

2. Going Back To My Roots

3. Nirvana play The Vaselines

4. Slip Inside This House

5. Top 10 covers by Teenage Fanclub

6. Only Love Can Break Your Heart

7. Time For Livin' 

8. Sound and Vision 

9. All Along The Watchtower

10. I Am The Walrus 

11. Guiding Star

12. You’ll Never Walk Alone

13. Hurt

14. This Guy's In Love With You

15. I Wish I Never Saw The Sunshine

16. California Soul

18. Wonder wall 

19. Dancing In The Dark

20. Always On My Mind

21. Ceremony

22. Heroes

23. Different Drum

24. Wild Horses

25. Respect

26. Mr Tambourine Man

27. I Heard It Through The Grapevine

28. Superstar

29. Twist and Shout

30. Purple Rain

31. Baker Street

32. Not Fade Away

33. Stop Your Sobbing

34. I Don't Want To Grow Up

35. Serious Drugs

36. Dancing With Myself

37. How Does It Feel To Feel?

38. Love Buzz

39. ABBA-esque
40. Jumpin' Jack Flash

41. Discoland

42. Varshons 2 by The Lemonheads

43. The Langley Schools Music Project
44. Witchi Tai To
45. Our Lips Are Sealed
46. Sunshine Of Your Love
47. Here Comes The Sun
48. I Think We're Alone Now
49. Don't Let Me Down 
50. It's Oh So Quiet
51. Alcoholiday 
52. Summer Holiday
53. Who Do You Think You Are?
54. Head On
55. Nothing Compares 2 U

56. Hey Jude

57. Seven Days Too Long

58. L.O.V.E Love

59. Into Your Arms

60. Heart Of Glass

61. Take Me To The River

62. We Can Work It Out 

63. Talking In My Sleep

64. Lola

65. Lost In Music

66. My Little Red Book

67. Isn't It A Pity

68. Walk On By

69. Walk Away Renee

70. Tainted Love

71. Girls Just Wanna Have Fun

72. Listen The Snow Is Falling

73. Mrs Robinson

74. He's Gonna Step On You Again

75. In My Life

76. Caravan Of Love

77. The Only Way Is Up

78. Dancin' Round & Round

79. With A Little Help From My Friends

80. Killing Me Softly

81. Ain't No Mountain High Enough

82. Drop

83. Sittin' On The Dock Of The Bay

84. Sympathy For The Devil

85. I Bet That You Look Good On The Dancefloor

86. Love Will Tear Us Apart

87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire

88. Can't Take My Eyes Off Of You

89. Love The One You're With

90. Cum On Feel The Noize

91. Addicted To Love

92. Valerie

93. Ride On Time

94. Let's Dance

95. It Must Be Love

96. I Fought The Law

97. For What It's Worth

98. Do Your Thing

99. I Just Don't Know What To Do With Myself

100. Don't Leave Me This Way

101. Shout!

102. God Only Knows

103. The Last Time

104. Bridge Over Troubled Water

105. How Can You Mend A Broken Heart

106. Louie Louie

107. Raindrops Keep Falling On My Head

108-110. I'm A Loser, Yesterday and Beware of Darkness 

111. So You Say You Lost Your Baby

112. Kelly Watch The Stars

113. Association

114. Some Velvet Morning

115. If I Had A Boat

116. Vapour Trail