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. 

Tenement Trail 2025 - review

I took a moment on Saturday to reflect on the regeneration of the area around the world famous Barrowland Ballroom. So many amazing places have cropped up in the last decade - Saint Luke's, BAaD, The Gate, The Winged Ox, Van Winkle and 226 Gallowgate ... not to mention the way the old market now contains funky food outlets and super cool coffee bars. 

It never used to be like this! All the above venues came together to host Tenement Trail 2025, joined by McChuills, which is just a few minutes away from the venues across the road, behind, or to the side of the Barrowland.

Take 50+ new and breaking bands and artists and plant them in the middle of this and you have a super cool festival.

My friend Joe and I headed towards the Barrowland for 1.30pm. Here is how our day panned out;

2.45pm - Vanderlye at The Winged Ox

After lunch we headed straight to The Winged Ox (the bar at Saint Luke's) to catch our first band of the day. Vanderlye have released 7 singles/EP's over the last few years, building their sound and momentum. They might have wondered if they had pulled the short straw as they began their set with 20-30 people in the room. But before their first song had ended, it was absolutely rammed. Those that got down early were rewarded with an atmospheric and anthemic set. Guitars swirled Becky Clarke's voice soared with ease, gelling with singer and guitarist Sean McGarvey. Their second guitarist was creating some cool psychedelic sounds that reminded me of early Verve. 

3.30pm - Katie Nicoll at The Gate (secret acoustic set)

En route to our next gig, we decided we had time to stop into The Gate for a quick pint and were rewarded by chancing upon a secret acoustic set by singer Katie Nicoll that was about to start. While we could only stay for a few songs, there was time for Nicoll to showcase a song called Jodie Said that we both enjoyed. The chorus flowed superbly. 

4pm - Fatale at 226 Gallowgate

We headed across the road to 226 Gallowgate and wondered if we were late for Fatale as we could hear them as we entered. Thankfully it was just a quick line check. The bar quickly packed out and we were grateful to be near the front to get a view from the side, as those at the back wouldn't have seen much. Fatale were only playing their 4th gig, but they have generated a buzz with their shows from their debut at the Vicar Street Social night in McChuills back in May, to King Tuts in July and Bannermans in Edinburgh in September.

Fatale played a furiously fantastic fuzzy guitar pop set. A choice cover of The Vaselines Molly's Lips (more like the Nirvana cover) second song in highlighted their influences. Another Sunrise followed and the hook of wanting to go out is one that I can imagine being popular when they get round to recording and releasing. Own Embrace was introduced as a new one and it sounds like the band are developing all the time. After seeing Fatale at Tuts I described their song Jesus Christ as the catchiest guitar song I've heard in a long time. I stand by that as I found myself singing along and I've only heard it once. 

Ending with the two songs they released as demos, a sublime cover of the Velvets Femme Fatale and a glorious romp through Moves You, their forthcoming debut single, Fatale will most certainly have won some new fans. Next up for them is a show at McChuills on Halloween. TICKETS.

5pm - Madra Salach at Van Winkle

Joe had checked out Madra Salach from Dublin online and was keen to see them, so we headed straight over to Van Winkle and got a couple of pints just before the venue was packed out. The six piece outfit blew us away! Singer Paul Banks and his band opened proceedings with recent debut single Blue & Gold. Banks stretched his vocal chords to sing from the bottom of his soul and with all his heart. 

I found it hard to take my eyes off Banks. His captivating presence through his voice, eyes and expressions - think a bit Lydon and MacGowan (not to mention the cracking sheepskin coat he wore for the first song and then quickly discarded) wowed the crowd. His band mates created atmospheric soundscapes for him to sing over. Their Celtic folk soul sound was both familiar, yet unique, they definitely have their own take on traditional music.

Closing song The Man Who Seeks Pleasure (Is the Man Who Seeks Pain) 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. 

5.45pm - Youth for Sale at The Winged Ox

Resisting the urge to stop for a burger at the outdoor BBQ and Guinness Bar that was set up outside Saint Luke's, we headed back to The Winged Ox for Youth for Sale, a 6-piece band from Cambuslang that a few friends had recommended. I could immediately hear why - their dreamy indie sound was pretty sweet and they had the talent to swap instruments and take tuns on lead vocals. A choice cover of Alanis Morrisette's Hand In My Pocket was sublime. I'd definitely go and see them again.

6.15pm - Etta Marcus at Saint Luke's

After an afternoon of gigs and beer/Guinness, the need for food was calling loudly. We resisted again to head though to the beautiful auditorium of Saint Luke's for Etta Marcus.

Although, the vibe was in contrast to the energy, intensity and fun in the smaller venues that we had experienced to date, we weren't really feeling it. Maybe it was a case of the wrong timing.

So, after a few songs, the call of a BBQ'd burger and Guinness won us over and we headed outside. A few of Madra Sach were sat at the table behind us and I had a quick word with the drummer who seemed a lovely guy. They were delighted to be in Glasgow and hope to be back before too long.

McChuills with DJ Vinny

Post burger and Guinness (top marks to the team at Saint Luke's for this combo!), we were a little unsure of how long we'd stay out for. 

Deciding to be sensible in our old age (partly due to Joe having to be back to let the babysitter away!), we decamped to McChuills for one (or was it two?) final Guinness and some top tunes in the bar courtesy of DJ Vinny who played The War On Drugs, Stone Roses and all kinds of stuff that I can no longer remember. But enough to keep us entertained until we headed for our 9.20pm train, so we were home and in our beds long before headliners and secret sets! We'll need to catch Chloe Slater another time.

Tenement Trail 2026

We'd had a brilliant day and we didn't even make it to the Barrowland and BAaD! But then Tenement Trail has something for everyone. Whether it's the thrill of seeking out new bands, or going to see the more established bands further up the bill later in the day. 

I think we'll book a hotel next time and make a real day (and night) of it!

Early Bird tickets for Tenement Trail 2026 are on sale now.

Paul Weller at Glasgow Barrowland

What a show! What a night!

Paul Weller rocked into Glasgow for a couple of nights at the Barrowland Ballroom. Reports from his show at Dundee Caird Hall on the Sunday night were unanimously rapturous. Friends who went to the Monday night at the Barrowland agreed and assured me I was in for a real treat.

How right they were!

The Barrowland Ballroom was awash with anticipation, Weller haircuts, Fred Perry polos, Harrington jackets, desert boots and boxfresh Adidas. Punks, skinheads, mods, Britpop kids, parents with their kids ... Weller united people from all walks of life last night.

Weller bounded on to the stage at 8.45pm sharp and after a warm welcome he warned us that he had a lot of songs to get through. He wasn't wrong! With his crack band, Weller blitzed the Barrowland with a 26-song set over 2-hours, only paused to change guitars (very quickly thanks to a top class roadie/guitar tech) or walk over to his keyboard. 

Looking suitably sharp, fit, energetic and healthy, Weller's voice was rich and soulful, his guitar playing was exceptional and his band were as good as any I have seen.

Paul Weller has been releasing music since April 1977 when he brought In The City out with his seminal mod/punk/new wave band The Jam. The Modfather shows no signs of slowing down with his latest album 66 being his 13th solo album this century, his 17th overall. In addition, Weller released 6 studio albums with The Jam and 5 with The Style Council - quite the catalogue.

With his discography, status and fanbase, Weller is at the age and stage in life where he can pick and choose where he wants to play, when and what he wants to release. He could play larger venues than the Caird Hall in Dundee or the the Barrowland Ballroom, but Weller and his crack band thrive on relatively intimate shows where they can see the whites of their audiences eyes.

Steve Cradock, in almost obligatory shades, was sensational on guitar, while Weller had 2 drummers driving the beats and percussion, bass, horns and keys to assist with his delivery of songs from across his catalogue.

I can't confess to being up to date with Weller's output, but every single song was excellent. I have to confess to being a little confused about how to capture how good this show was .... I am just going to spew my thoughts out ...... here goes!

Song wise, there was plenty from Weller's impeccable 'comeback' in the 90's, the era I discovered him as a teenager and still the period of his career I enjoy the most. We had sprinkles from his eponymous debut solo album; a dreamy Above The Clouds relatively early on, the band easing effortlessly into the stoned soul groove, the crowd helping with backing vocals. Later on there was a charged Into Tomorrow.

From Wild Wood we had the pastoral title track,  impassioned All The Pictures On The Wall, acoustic and electric guitars sounding sublime. Hung Up is one of my favourite Weller solo songs and it sounded truly impeccable at the Barrowland. It's a gem!

Stanley Road was released in 1995, almost 20-years after Weller's debut with The Jam. There can't have been many artists through history that have released albums of this quality so far into their career!

The title track, a gorgeous Broken Stones, an outstanding Out Of The Sinking (one of my favourites from the set), an electric Changing Man into Porcelain Gods with a dash of I Walk on Gilded Splinters and the sheer beauty of You Do Something To Me.

Will Weller play some Stanley Road 30th anniversary shows in 2025? Tickets would be snapped up!

I'd have been pretty happy with that set, but there was so much more!

'You might not know this one, but I'm gonna f**king play it anyway' was how Weller introduced Fat Pop, while he opened the show with Cosmic Fringes followed by That Pleasure from the same album. The former was a superb choice to set the energy for the entire show.

Shout From The Top from The Style Council years was another real highlight, a total crowd pleaser, a joyful soul stomp. My Ever Changing Moods was dropped early, swiftly followed by Have You Ever Had It Blue?

As for The Jam, Start! was funky and cool, played halfway through the set, Weller was on fire by this point. The song lifted the crowd and the band responded.

The night ended with a romp through That's Entertainment with Weller spitting out the lyrics and then a blast through Town Called Malice with the Barrowland jumping.

As I said at the Start!

What a show! What a night!

I'll add - what an artist! What a songwriter! What a voice! What a band!

The Charlatans at the Barrowland Ballroom

The Charlatans playing the Barrowland Ballroom is always a memorable night. Make it a Saturday, induct them into the Barrowland Hall of Fame, have them play a greatest hits set and you'll make it truly special.

Last night was exceptional. The Barrowland roar echo'd through the venue as the band walked on stage to a superb northern soul tune that I'll be trying to discover the name of today. Tim Burgess wore a smile as wide as the Clyde as he captured the moment for his Twitter (X) followers.

And we were off, the band effortlessly shifting into gear with the groove of With No Shoes, then sliding into the pure pop rush of Can't Get Out Of Bed, the sunshine Stones-y Just When You're Thinking Things Over and then the powerful emotional hit of One To Another!

OOOFFFFFTTT!

We were pretty close to the front, but at the start of One To Another I grabbed my mate Robbie and we danced through to the first few rows. We punched the air, we sang our hearts out, we pogo'd, threw our arms round strangers to bounce along and generally rolled back 30-years to feel like we were 18 again.

 A Glasgow crowd will always be 100% behind The Charlatans, but this opening blast of favourites and hits was a surefire way to win hearts and minds.

Tim Burgess was singing, dancing, conducting and generally having the time of his life as his friends and band-mates dove headlong into the deliciously dirty groove of Toothache, before the euphoric Come Home Baby.

Robbie and I were parched from singing and dancing, so we tried to get to a bar for a drink as the band eased things with the gorgeous And If I Fall. But there were a lot of thirsty Charlatans fans! So we just went straight back into the mix. 

Just as well! If the band were giving us (and them!) a breather, it wasn't for long! Mark Collins guitar for Jesus Hairdo sounded sublime. And it was time for another move to the front for Then, before North Country Boy threatened to lift the roof of the place.

Somehow Robbie's mate Graham found us as we'd lost him after One To Another. And he had beers for us! We gulped them down in no time!

The Charlatans were playing and sounding in peak form. The opening instrumental for Tellin' Stories was spine tinglingly sensational, while the extended instrumental for Let The Good Times Be Never Ending allowed Burgess to step back and admire his friends whipping up a storm. What a band! 

Was it as this point Tim introduced them? Anyway, at one point he did. Peter Salisbury on drums, Martin Blunt on bass, Mark Collins on guitar and Tony Rogers on keyboards and hammond. 

Each member got the roar they richly deserved.

Then we were off again. Weirdo sounded huge! Just Lookin' was like a burst of warm sunshine and then The Only One I Know had the famous sprung dancefloor absolutely bouncing. 2,000 pairs of hands were raised to the sky, 2,000 voices sang the chorus.

Everyone has been burned before

Everybody knows the pain

And 2,000 pairs of feet danced and jumped to the grooves and beats. Check the joy on peoples faces in the video below.

Impossible gave us a chance to come up for air, before the band raced through How High to leave everyone breathless and grinning. 

Billy Coyle from famous The Barrowland venue crew team came on stage to induct The Charlatans to the Barrowland Hall of Fame on the occasion of their 14th time playing. I've been to a good chunk of those 14 nights and this must be up with the very best of them. It may have been their best. Does it mean more all those years down the line?

It meant a lot to Tim and the band. It meant a lot to the fans.

Oh! Vanity kicked off the encore, a stomping and driving Motown beat and a young bagpiper joining Tony Rogers for the playful riff. I Don't Want To See The Sights was outstanding, Mark Collins guitar was particularly stunning. The sound throughout the show was spot on, but this did seem to stand out a little, even among all the hits. What a groove.

The lights went green and the band worked up Sproston Green before exploding into life. What a night. What a show. What a band! A 20-song set that left everyone beautifully tired and happy.

The Charlatans play again tonight. I think they should seriously consider an annual weekender at the Barrowland ... starting next year.

Good idea?

Young Fathers at the Barrowland Ballroom

Photos by Allan Carroll

Tuesday nights (24th October) exhilarating, exceptional, exciting and energetic performance by Young Fathers in Glasgow's Barrowland Ballroom was pretty mind-blowing. Anyone who checks out their albums can hear how talented and clever Kayus Bankole, Graham 'G' Hastings and Alloysious Massaquoi are, but when you see and hear them in a live setting, it takes your appreciation to another level.

What makes them so special?

Well, the arrangements for one. Multi-layered vocals that bounce off each other and then encourage and allow one of them to veer off on a tangent. I was reminded of Sly & The Family Stone's arrangements on a few occasions. 

And the beats and grooves. Everything stems from a groove. Some are repeated throughout the song, with just the odd little melody on top; whether guitar or xylophone. But the main thing is the groove.

Hastings produced the bands latest album, the wonderful Heavy Heavy (blogged on here) and on the Barrowland stage he would regularly walk over to a bank of equipment to tweak the sounds being created for the live instrumentation to vibe off.

Graham 'G' Hastings

Photo by Allan Carroll

In addition to the core trio of Young Fathers, Callum Easter (who played a stunning raw set in support) was back on stage playing guitar, keys/synths and xylophone, 2 female singers were on vocals and backing vocals and there was a drummer/percussionist.

The lighting was minimalistic, the backdrop was just a big grubby sheet. And it looked great!

What was my question again? Oh yeah, what makes them so special?

They have a raw energy that is somehow equally we don't give a fuck + we really give a fuck. Young Fathers care about their music, but don't give a fuck if you like it or not. They are just going to keep doing what they do. And what they do is different from anyone else out there.

So they stand out. A mile.

Photo by Allan Carroll

Hastings rarely smiles, staring out the crowd, singing from his heart, a conductor without a baton. Massaquoi is a beautiful singer, cracking dancer and can seemingly turn his hand to a number of instruments. Bankole is a fizzing ball of energy, getting up and getting down like a sex machine. Hanging off Hastings at times, bounding about like a kid in a sweet shop the rest.

Towards the end Hastings asked the crowd if we wanted more. Then nodded at a fired up Bankole and said "blame that c**t if you miss your last train home." And they kept going.

With 5 singers, we really were treated to a visual and audio box of delights. Everyone moved, everyone danced. The Barrowland crowd roared their appreciation and the famous Barrowland roar echoed around the halls after a spine tingling version of I Saw. 

Although I couldn't help reflecting back to Barrowland gigs when I was younger, when the entire dancefloor jumped and danced as one, pogo-ing, banging into each other and creating a beautifully sweaty and chaotic mess. Are those days gone? Are we too well behaved? Are too many people bothered about getting their phone out to video it? Or was it just cause it was a Tuesday night?

Hastings did casually mention Tuesday night at the Barrowland a couple of times and had to encourage the crowd to be louder a couple of times.

But the crowd were up for it. Just in a more modern way. And Young Fathers certainly were DEFINITELY up for it.

Highlights?

Get Up and Wow back to back got things going, but a beautiful In My View and Low showed a different side to the band, while I Heard was the first song of Young Fathers I really fell for. Released 10-years ago on Tape Two - I still think it's a distant cousin of Marvin Gaye's What's Going On? Yeah - that good.

OK, it was all one big highlight! But Drum was hugely uplifting and joyous, Only God Knows was super energetic and catchy. Like soul, pop, gospel from the streets.

Rice was the band in full flight, hollering, layering and creating a party vibe. Geronimo is one of my favourites from Heavy Heavy, a beautiful gospel style groove, super cool.

The aforementioned I Saw was deliciously dirty, dangerous and exciting. Beautifully raw and energetic, those dynamic vocals at the start and then the mellow groove.

I saw what I saw

I keep on walking the line

 And then it all kicks in again and goes off on one, the vocals leading, the groove and beats remaining constant. Song of the year? Has to be up there. It is up there! The band extended it, keeping that groove going and the Barrowland erupted afterwards; an extended cheer that rose again just as it was dying, feet stomping, hands clapping, voices raised. 

Young Fathers didn't leave the stage. They are not people who waste time. Closing with Toy, Bankole was last to leave the stage, vibing off the audience.

Go and see Young Fathers if you get a chance.

Last photo by me. All the others by Allan Carroll.

Thanks Allan. 

Dream setlist by The Charlatans

The news that The Charlatans were returning to the Barrowland Ballroom in Glasgow on Saturday 25th November had me checking my work calendar to see if I could be poised and ready for presale tickets going live at 10am on Wednesday 7th June.

I've been on The Charlatans mailing list for many a year and ... I didn't get a presale link. From Twitter, it seems like I wasn't the only one. But thankfully my friend Robbie got me, my wife and my brother a ticket, so we're all sorted!

The Charlatans have added a second night and still have space in their tour diary for a third ... TICKETS

Tim Burgess and co have a long history with the Barrowland. I honestly couldn't tell you how many times I have seen them there over the years. A few! The atmosphere is always electric, like a cup final. 

Memories include an opening blast of I Never Want An Easy Life and Can't Get Out Of Bed in 1994/95 with someone crowdsurfing to Oasis I Am The Walrus before the band had even come on stage. 

The atmosphere was electric that night, like a cup final. Indeed, it always is when The Charlatans play The Barrowland. There is a beautiful bond, a powerful connection. The band, venue and audience become one and it is very, very special.

To be honest, I'm pretty gutted when they play the Academy!

Check this sensational live Radio 1 audio bootleg from December 1997. The band are in sensational form!

The Charlatans, Glasgow Barrowland, December 1997 bootleg

Another time my brother Ross and I went out the night before he turned 21. The band came on stage and played the beautiful long intro to Forever, then Tim can on stage with his hands in the air and the place just erupted. 

And then when The Charlatans played Some Friendly in full the whole venue became a massive indie club dancefloor when the band played The Only One I Know. But then, that particular song always generates that reaction, but maybe the famous sprung dancefloor at the Barrowland helps people dance harder and jump even higher.

Many of you reading this blog will have experienced the Barrowland roar. A special ovation reserved for special songs. An ovation that goes on and on, feet stomping, hands clapping, loud roars. The Charlatans have a few special songs in their arsenal and I can't wait to hear them and the roar of appreciation afterwards. I have tingles down my spine just thinking about it. I bet the band does too!

Will they have a new album out? Or will they just smash through a greatest hits and favourites set?

Either way, I'll be happy! The news about their show led me to try and create my dream Charlatans setlist. 

It could change from time to time, but for a Saturday night at the Barrowland ... this would take the roof off the place!

You can check it on my playlist here - Dream setlist - The Charlatans or search it on Spotify.

Forever

Tremelo Song

Can't Get Out Of Bed

Crashin' In

Tellin' Stories

Impossible

A Man Needs To Be Told

Oh! Vanity

Blackened Blue Eyes

Then

Weirdo

Try Again Today

The Blind Stagger

Just Lookin'

Just When You're Thinkin' Things Over

North Country Boy

The Only One I Know

One To Another

Come Home Baby

ENCORE

Happen To Die

Let The Good Times Be Never Ending

Sproston Green

The Delgados at The Barrowland

Photo by SLG Photography

After 17-years away, The Delgados returned to a live stage in Glasgow on Burns Night, bringing their own unique poetry and music to the hallowed turf of the Barrowland Ballroom.

Andrew Wasylyk was a phenomenal choice to support. Wasylyk is one of Scotland's most talented and prolific artists in my eyes. The string of albums he has released over the last 6-years highlight an incredible ear for music. Think David Axelrod soundscapes; soulful, jazzy, atmospheric ...  Wasylyk was in his element, lost in the music, playing piano but also singing along to the melodies. It was beautiful to watch and to experience.

My friend Joe and I had kid duties to attend to before we could head to the Barrowland, but we managed to catch the last 20-minutes of Wasylyk's set, including a sublime Last Sunbeams Of Childhood. Wasylyk thanked The Delgados profusely for allowing him to bring his 8-piece set up on tour.

The Delgados were pretty prompt to come on stage, mere minutes after 9pm. A traditional ballroom tune was the soundtrack to their entrance, lights hitting off the disco ball and causing many to stare up to the beautiful Barrowland ceiling.

If you're going to come back after an 18-year absence then The Delgados method is one heck of a way to do it. The 4-piece of Emma Pollock, Alun Woodward, Stewart Henderson (looking super chiselled and handsome - I believe Stewart is a Fireman these days) and Paul Savage were joined by their friend Graeme Smilie plus a 5-piece string and flute section. 

What a beautiful noise they created!

As a music fan, there are times when you experience something truly special, when everything clicks. This was one of those nights, one of those shows. The sound, the atmosphere, the music, the band and the way the songs connected with the audience. It was emotional.

At times it could be deliciously raw and then the strings could come in and lift the song to higher places. Pollock (half) joked as she introduced the string section 'we'd be shit without them.'

 Strings are central to some songs, they supplement others, adding emotion, a cinematic flair and they transform The Delgados. Do the band write the string sections? They are stunning.

I came away with a greater appreciation for The Delgados and each individual member; Emma Pollock's rhythm guitar playing, Alun Woodward's soul baring lyrics and the way he sings them over lysergic melodies, Stewart Henderson's solid bass groove and Paul Savage bossing the drums. And Graeme Smilie on piano/keys (so important to The Delgados sound) was a gem.

Everything Goes Around The Water set the scene, this was going to be one of those special nights under the Barrowland stars. This feeling was immediately backed up as the band moved on to Accused of Stealing, Pollock's tumbling vocal melodies over Savage's beats, dropping for the gorgeous piano melody.

The Delgados can rock out as well, Under Canvas Under Wraps was delivered at a ferocious and furious pace, sounding like something The Breeders were knocking out in the early 90's.

As much as I love that kind of stuff, when it comes to The Delgados, it's the songs that have more space within them and the songs that have strings that simultaneously play your own heart strings that I truly love.

I recently blogged on American Trilogy as part of my Trust Me series of blogs. Having listened to the song multiple times this month, I've really fallen for it all over again. So to hear and see it performed in the Barrowland felt like an honour. It was a true privilege to witness Alun Woodward sing his brittle heart out on this one.

The Delgados were flying now, lifting the audience up alongside them for the ride. The whole set was incredible, but the second half in particular was particularly captivating. I barely said a word the whole night, but there were a few times when i turned to my friend Joe to either whisper 'what a run of songs' or to just raise my eyebrows and exchange knowing glances.

Did I mention strings and melodies playing with our own heart strings? Yeah, one of those runs of songs was American Trilogy into Reasons For Silence (Ed's Song), then The Light Before We Land, followed by The Past That Suits You Best. 

WOW! We were then almost jolted from a cinematic, floaty dream with the warm urgent guitar pop of Everybody Come Down - one of my favourite Delgados songs.

Photo by Christina Pieraccini

And then we were flying high again on another of my real favourites. All You Need Is Hate. Joe and I were standing in front of the string section. My eyes moved from them to Alun (smiling), to Emma (beaming), Stewart and a little glimpse of Paul Savage lost in his beats. What a f**king beautiful noise. What a song! 

Coming on for the encore, Emma spoke fondly of driving to London to collect 1,000 7-inch singles and with that the band were into debut single Monica Webster. The band tore through it with real relish and love.

The penultimate song was the epic No Danger, piano and strings combining so beautifully, so hauntingly, so movingly, Woodward's soothing vocal melody cutting in, I've been hanging round for days, building to the beats and guitar and finally the chorus.

'cause we don't know we're strong enough

And chances come too soon

But people, people we're not in love

And now we're singing out of tune

Thirteen Gliding Principles closed proceedings, the band departing to a spellbound audience. I was so spellbound I had to be reminded that the band had closed with this song! I think No Danger had literally stopped me in my tracks!

WOW! A near 2-hour set that captivated a sold out Barrowland crowd from start to finish. The Delgados flew, The Delgados soared, The Delgados lifted an entire room of people off the ground and took us all on a dreamy journey on Wednesday night. It was a very, very special evening.

Emma hinted (well basically told us) that they would be playing a Summer Nights show at the Kelvingrove Bandstand. They might need to do 2-nights as I imagine every single person at The Barrowland will be trying to get a ticket and will all have told their friends about what a fantastic time they had at The Barrowland.

Keep an eye on The Delgados social media pages!

The Jesus and Mary Chain play Darklands at Barrowland

I always have an extra spring in my step in the days leading up to a gig at the famous Glasgow Barrowland Ballroom. It's such a good feeling to have something exciting to look forward to. I guess I was particularly looking forward to The Jesus and Mary Chain playing, as (a) they don't play that often, and (b) they were playing Darklands, their 1987 album, my favourite from their back catalogue.

My friend Joe and I arrived for 7.40pm, in plenty of time to check in with our vaccine passports and head up to the hallowed ballroom to grab a couple of beers. I'd been checking out support band Spyres since the summer. A young band led by Kiera McGuire and Emily Downie, both still in their teens. Spyres have released 3 singles to date, packed with power, riffs, hooks and melodies. Think Hole meets Fleetwood Mac, with maybe a dash of Biffy and Foo Fighters thrown in for good measure.

Spyres won a busy room over with their energetic set. They really rocked out at times, while one of the new songs they played showcased how they are developing as young writers and performers. McGuire and Downie on guitars and vocals traded verses, harmonised beautifully and their duelling guitars created a glorious racket, while the rhythm section Jude Curran (bass) and Alex White (drums) underpinned everything. Their forthcoming single sounds like it will build on the solid platform provided by Otherside, Fake ID and the glorious I Don't Care.

Look out for a forthcoming feature on the band who headline Stereo on Thursday 2nd December.

On to The Mary Chain who arrived onstage at 9.15pm to a huge ovation. Jim Reid immediately unwrapped his mic from the stand, told us they would 'play Darklands, go off for a cup of tea, cause we drink tea these days believe it or not, then come back on and play b-sides, a-sides and other stuff.'

Jim's brother William set up in front of his amps and didn't stray too far from there for the whole performance. Totally lost in the sounds he created. Backed by acoustic, bass and drums, the five piece performed Darklands beautifully, plenty of space, the rhythm was there, but William's raw and loving guitar riffs were always leading the way.

Darklands was beautiful, Happy When It Rains was utterly euphoric, the band hitting their stride immediately. Jim was at the front of the stage, silhouetted by the lights which were magnificent throughout the show. All red at times, beaming like lasers at others, then full on psychedelic in the later set.

The extended version of April Skies was joyous, a real groove. Cherry Came Too was a chiming guitar delight, On The Wall was menacing and edgy in all the right ways, while About You was beautiful.

There's something warm about the rain

Darklands is such a beautiful album and it was a joy to hear and see it being performed with such love, on stage and off.

Energy levels were heightened for the second set, with the acoustic ditched for a second electric. A warm and scuzzy Come On sounded sublime, I Love Rock n Roll was blitzed and I was thrilled to hear Can't Stop The Rock which is as pop as the Mary Chain go.

We had the contrast of the sonic assault of Kill Surf City and the blissful Drop, while I was personally delighted to hear and see the band romp through Something I Can't Have, one of my favourites. The sng flows effortlessly, the Mary Chain sounding super cool.

Jim was on the lip of the stage, lights ablaze, sometimes turning and walking towards his brother William as if to check in on him. William could be facing the crowd, turned towards his brother, or more often than not he was facing his amps to see what noises he could conjure from them. His hair was beautifully messy, like he'd stuck his finger in and been electrocuted. In fact, I think he electrocuted the crowd!

Ending with the white noise (light and heat) of Never Understand, I walked away from the Barrowland with my ears ringing, my face smiling, my heart glowing from the beautiful noise generated by The Jesus and Mary Chain who were in stunning form.

Supergrass at The Barrowland Ballroom

10-years after they had said goodbye to their fans in the Barrowland Ballroom, Supergrass returned to say hello and remind people what a fantastic catalogue of songs they had produced, by delivering a blistering high-energy pop punk show from start to finish.

A short promo film of homemade video footage from the bands career played on a big screen and then before we knew it, the band were onstage and ripping and roaring through Caught By The Fuzz. Gaz Coombes on guitar and lead vocals, Mick Quinn on bass and backing vocals and Danny Goffney on drums and backing vocals sounded superb as they blitzed their debut single.

Joined for much of the set by Rob Coombes on piano and keyboards, the band clearly enjoyed themselves and the youthful energy of their songs, many from their teenage years and early 20's, sounded blissful.

The guitar riff of Diamond Hoo Ha Man backed with a kick drum kept the pace up as the crowd clapped along. The stoned melodic groove of Mary slowed things down briefly and if you needed reminding of how easily Supergrass could throw in little hooks then you had received a lesson in 3 songs.

Moving was a real highlight, it seemed to be really beefed up for the got a low, low feeling around me section, the place erupted. I said to my brother several times through the show that the sound was incredible, the sound engineer had really nailed it.

After another few songs including a romp through Mansize Rooster, the band departed the stage and another short film was shown before the band came back on and launched into In It For The Money from their 1997 album of the same name.

The way Supergrass gel guitars, bass and drums is thrilling, especially on songs like Richard III and the band fizzed through it, leading to a glorious keyboard solo and Gaz sceaming trying to get at you, trying to get at you, trying to get at you.

Supergrass make so much sense live, Danny Goffney was whirling like Keith Moon on the drums, Coombes was sounding great on guitar and vocals and Mick Quinn thundered through some bass riffs. They looked and sounded magnificent.

Going Out was sublime, even without the horns, running into a nice little jam at the end, then Lose It, She's So Loose and into Alright, the band were on fire. And then Sun Hits The Sky was another real highlight for me, so powerful and again the band jammed on at the end.

The throbbing riff to Lenny swiftly followed and the crowd and band were going for it as Coombes led us through I've been around and around but I got nowhere to go now

Strange Ones, Bad Blood and a huge Pumping On Your Stereo, which the crowd started singing before the band started, ended a really cracking show.

Coombes highlighted the bands love for the Barrowland a couple of times. I hope they will be back.

Gerry Cinnamon, Barrowland Ballroom, December 2018

Gerry Cinnamon blitzed the world famous Barrowland Ballroom in Glasgow last night and he’ll be back to delight his army of fans and do it all over again tonight.

The Barrowland Ballroom was packed long before Cinnamon took to the stage and the pre-show build up was more fun than most bands/artists actual shows. The pre-show setlist pumped out classics from The Temptations, Oasis, Dylan, Bob Marley, Neil Diamond and more, sing-song after sing-song to ensure that the crowd was in fine voice for Gerry taking to the stage. Hands were in the air, people were on shoulders, people had their arms around their mates and strangers and people sang from their hearts with smiles on their faces. As I said, this was pre-show.

The last song on the playlist really got things going though as KC and the Sunshine's Give It Up blasted through the speakers and the crowd chanted Gerry Cinnamon, Cinnamon, Gerry Cinnamon to  the tune. 

Dramatic music took over and Cinnamon took to the stage with the usual twinkle in his eyes and smile on his face. The ovation he received was incredible. Check the video from YouTube below.

I mentioned Oasis earlier in the blog. The way Cinnamon is connecting with people, the way that kids are picking up acoustic guitars to learn his songs, the way people are singing them like terrace anthems, is comparable to the way Oasis and Noel Gallagher connected with kids in the 90's.

I was fortunate to attend the two Oasis Barrowland shows back in December 1994 as an 18-year old and those shows will stay with me for the rest of my life. I looked around the audience last night and saw plenty of young teenagers hanging on to every word from Gerry's mouth in the same way I did as a teenager. I saw the way they went crazy to the songs, singing, jumping, punching the sky - and me and my mate Robbie joined them, lost in the music and the atmosphere, young at heart and feeling euphoric.

Robbie is another person that Cinnamon has encouraged to (re)pick up the guitar, only he is considerably beyond his teens!

What a show! Cinnamon was on fire, bounding around the stage, shouting to the crowd are we in? and then positively answering his own question with a loud yyyyeeeessss and cackling his beautiful laugh that made the whole Barrowland Ballroom know that he was enjoying himself as much as the crowd. Audience and artist were one last night, it was pure and powerful, there was total euphoria, an incredible atmosphere.

Cinnamon played his album in full, including a couple of tracks he rarely plays live and one, War TV, that he said he had never played live before.

Highlights? Well it was all one big euphoric high of a show. The chorus of Lullaby was sung as loud as any I have heard at the Barrowlands in 25-years of shows there (showing my age). Sometimes is a real favourite of mine, the looped guitar riff, beat and run of memories flows superbly.

Fickle McSelfish was a personal highlight for me though. I love the way Gerry sings the chorus with one line answering or expanding the line before it. And I love the line then you pulled on my hair and bit on my lip 'til it bled, f**k the notion of living without you I'd rather be dead

There is a moment in new song Canter where Cinnamon declares here comes the rain and it is euphoric, the place goes mental. And that's after a delightful pause and kiss off in the chorus. Another new song, I think its is called Darker Days, sounds really promising, I look forward to hearing it recorded.

Belter was sensational, it's a song that I've now heard buskers in Buchanan Street playing. It touches people. Cinnamon wears his heart and soul on his sleeve and remains true to his roots and beliefs. That comes across on stage and on record. Cinnamon’s album has been out for a little over a year and for me, and from the reaction last night, it has grown stronger in that time. It’s only 9-songs long yet it goes deep; there are memories, observations, there is humour, social commentary, love, hurt and dreams. He packs a lot in.

Cinnamon was always quick to thank the crowd and a couple of times he raised his glass to declare them his band. We were all certainly backing singers last night.

The encore was superb. Keysies is a real favourite of mine, Gerry really paints a picture with his lyrics and his voice is rich and soulful. A cover of Fairytale In New York was festive and euphoric before the place went crazy for his cover version of Discoland (which will be my next cover version of the month feature).

What better way to end a night at the Barras than with Cinnamon's love letter to the city, Diamonds In  The Mud. Gerry talks of places, of haunts and characteristics, his humour shines through, as does his clear love for the city.

Gerry declared that he just wants to play shows and release music. I'm not the only one looking forward to his next release. I'm pretty sure that there will be something in 2019.

Cinnamon ends the year by playing Edinburgh's Hogmanay party and there are lots of others shows already booked in Europe and across the UK. Look out for festival announcements coming - there are bound to be a few.