Sundress

Trust me #117
Sundress by Ben Kweller

I've spent considerable time revisiting the sunshine, open road, warm breeze guitar pop of Ben Kweller over the last month. Kweller had a magnificent run of 00's albums; his debut Sha Sha (2002), On My Way (2004), Ben Kweller (2006) and Changing Horses (2009). 

There was a large gap between 2012's Go Fly A Kite and 2021's Circuit Boredom, but Kweller seems to have the bug again, releasing Cover the Mirrors (including collaborations with Waxahatchee and The Flaming Lips) in 2025. 

Kweller recently played King Tuts on 10th June, his first Scottish show in a decade and it was an absolute joy. Ben hinted that he will be back in 2027, so maybe another album is on the way - he'll need a bigger venue! Tuts was absolutely rammed. I left wanting to get my guitars down from the loft, plug in my amp and play. Kweller played songs from across his career, beginning with two of my absolute favourites - Thirteen and Falling, with the latter generating a huge sing-song chorus. Talk about setting the tone from the off!

Along with The Polyphonic Spree, Ben must have been one of the first artists that my younger sister Carla recommended to me, rather than the other way round. So it was great to go and see Ben with her alongside me. Even better as Eugene Kelly was also alongside me and Ben covered Molly's Lips in appreciation of The Vaselines.

Carla was overjoyed to hear Wasted & Ready and On My Way. New songs from his forthcoming album sounded fantastic. Ben also played a song written by his son Dorian who tragically lost his life in a car accident at the age of only 16. It was a beautiful moment.

Kweller is a gifted songwriter and storyteller, whether behind a piano or playing acoustic/electric guitar. His warm melodies melt my heart. I was going to write a full blog review of the show, but instead I thought I would focus on a specific song. 

Released in the late summer of 2006 as lead single for the third in that quartet of album, Sundress is a four-minute shot of pure, heart-on-sleeve indie-pop brilliance. Kweller's eponymous album might be my favourite. It has such a lovely feel to it, aided by the fact that Kweller played every instrument on the album - drums, bass, guitars and piano.

Leading with a melancholic piano riff, Kweller sings gently to set the scene;

Everybody's trying to be the best

What about the girl with loneliness?

I like your sundress, I like your sundress

What about the girl with loneliness?

Things lift beautifully for the bridge into the chorus;

And from the inside out, you look so beautiful

I wanna hold you, in my hand

The chorus explodes into life, like a burst of sunshine. It's very Lemonheads-y. All warm, melodic and magnificent, heart-on-sleeve, head-over-heels gooey brilliance. So simple, so pure, so beautiful.

I'll do, everything you want me to

I'll do, everything you want me to, do

Things fall back for the second verse, I love the first couple of lines, something Kweller wants to do, a memory he thinks back to and then the realisation as to what he really needs.

I wanna start going on a morning walk

What about the days when we used to talk?

I don't need a smile, from a mannequin

I just wanna hold you in my hands

Then it is back into the infectious chorus. Kweller pounding on the piano and bashing gleefully on his acoustic guitar - what a glorious noise.

After a sublime instrumental there is a tender breakdown into the final bridge;

And from the inside out, you've changed girl, you know you have

Don't make a good thing bad

Just let me hold you in my hands

Kweller then returns to the chorus, repeated with extra emphasis on the beats and rhythm guitar, Kweller ad libbing everything and woah oh's over the top. Sundress is an absolute masterclass in power-pop construction. The way piano and acoustic collide is McCartney-esque, or Rundgren-esque. Brilliant!

Sundress 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

113. Good Dancers by The Sleepy Jackson

114. Kiss My Love Goodbye by Bettye Swann

115. What Difference Does It Make? by The Smiths

116. Get Out Of My Dream by The Clouds

Sienna Spiro at O2 Academy Glasgow

 

Photo by Zoe

A number of months ago I heard some music coming from my daughter Zoe's room that caused my ears to prick up. The vocals were outstanding. I asked who it was - Sienna Spiro, she's all over TikTok was the answer. 

I checked if she was touring, but her SWG3 show in Glasgow was long sold out. It was subsequently upgraded to the O2 Academy, but tickets went in a flash.

Late on Friday afternoon, a source came good for a couple of tickets and we were going. We got parked round the corner and there was a sense of anticipation hanging in the air outside the Academy, with people looking for tickets and kids getting their photo under the sign displaying Spiro's name.

We headed down the right hand side towards the stage and stood just at the end of the bar for support act Debbie's set. Her voice was stunning and the crowd gave her a brilliant reception.

The stage was set for Sienna Spiro. Steps led up the centre of the stage, larger platforms were set to the side halfway up for piano and drums and there were huge false retro speakers. Motown songs were played in advance to get the crowd pumped as the final checks were put in place before Spiro and her band took to the stage.

Photo by Zoe

Spiro came on to a huge ovation. The crowd went crazy throughout, singing-a-long to the steady string of singles that she has released over the last few years. Opening with The Visitor, Spiro's voice was sublime from the off. Rising with ease. This despite suffering from the flu.

Her backing band were sensational. Bass, guitar, keys and drums all locking in for ballads and grooves. Spiro looked sensational, dressed in a 60's style dress and high boots, immaculate shiny dark hair. 

Material Lover, her latest single, was delightful, Spiro walked from one side of the stage to the other to huge acclaim. The crowd sang every word and were genuinely going crazy. Spiro will surely be playing the Hyrdo the next time she is back in Glasgow!

You Stole The Show was a personal highlight for me. Moody cinematic strings, Spiro's voice sounding hurt and lost before rising, racked with emotion, for the chorus that sent tingles down my spine. What a beautiful song! 

Wrap me in your arms again

The adrenaline makes me shiver

Show me that you're genuine, that I'm safe again

That you came here different

No time to define, but before we get closer

I ask if you love me, and you just shrug your shoulders

Spiro introduced a new song called Great Expectations that sounded extremely promising, this young starlet is set to soar through the remainder of 2026 and into 2027.  

The crowd response was nothing short of fanatical, with several teenagers being carried out from the middle after fainting through the heat. Cups of water were passed out regularly and Spiro was quick to alert stewards to flashing phone lights that friends held up when someone was in trouble.

Die On This Hill closed the show. It already feels like a modern classic. It sure sounds like one. Spiro singing beautifully over gentle piano, voice rising again for a stunning chorus that is set to become a festival anthem. 

I'll take my pride, stand here for you

No, I'm not blind, just seeing it through

You take my life just for the thrill

I'll take tonight, and die on this hill

I always will

This was a spellbinding performance. Spiro is only 20 years old, yet to release her debut album - although she could already release a compilation of her 10 singles that have been released to date. One to keep a close eye on!

Introducing Glass Cheques

I've long been a fan of Jamie Keenan, former drummer of La Fontaines and have been fortunate to get to know him a little over the years through a mutual love of Teenage Fanclub, our friends in Vigo Thieves/Saint PHNX and his sister Helen who introduced me to everyone after we met on a charity hike many years ago. Keenan has a natural charm, ear and a knack for melody and is a brilliant storyteller. At some point in time, I hope Jamie releases an acoustic album and publishes a book!

Maybe that will happen one day. In the meantime, Keenan has stepped from behind the drums and the ashes of the Fonts to pick up his electric guitar and blast out his love for indie guitar pop music with new band Glass Cheques.

The Dardanelles, their latest single bursts into life immediately, warm guitars and Keenan sounding super positive.

I love waking up in the morning

And catching the waves

This is glorious sunshine guitar indie pop. Keenan's rich and soulful voice sounds full of joy. Lead guitarist Darren McCaughey (also formerly of La Fontaines) adds fizzing guitar behind the rhythm. The Dardanelles wouldn't sound out of place on a Lemonheads album with guest vocals by Kelly Jones of The Stereophonics.

Glass Cheques have just returned from the joy of touring Spain with the legendary Edwyn Collins! The play The Glad Cafe on Sunday 31st May. TICKETS. 

I caught up with Jamie to learn more about Glass Cheques and their future plans. Watch the video for The Dardenelles (good band name for someone!) at the end.

1. Why, how, where and when did Glass Cheques form?

Glass Cheques formed at the beginning of 2025 from the remains of my old group The LaFontaines. We had about eight songs recorded before we had done our first gigs, which was opening for the aforementioned band's last ever performances in London and Glasgow. The idea of the band was simply to make unpretentious "guitar music" and write songs that were different from the hip hop sound we had before.

2. Who is in the band and what do they bring to the sound?

Myself and Darren McCaughey are the two writers within Glass Cheques. I sing and play the guitar and he makes it all sound coherent. I'll play the drums in the studio while Darren plays the bass, but when we play live, our two good pals Callum Brand and Liam Shaw (who also play in "A Sudden Burst of Colour") step in to compliment us, arguably playing all the parts better than we could.

Darren and Jamie

3. You've just released your second single, which is a real burst of guitar pop brilliance. It sounds super positive. What was the inspiration behind it? Did it form pretty quickly?

That song was written really quickly. It came out of nowhere, really. It's loosely about a soldier/sailor going off to fight in World War 1 but having a real air of optimism and naivety about what it is he's signing up for. However, the song isn't too graphic, so the lyrics are ambiguous enough that it's just an enthusiastic song about life.

4. Where have you been recording? How has the experience been?

We've recorded our EP at Chem 19 in Blantyre with Martin Johnstone (Vukovi drummer). He's been wonderful to record with as we've known him for years and he gets where we are coming from. I'm exceptionally happy with his recordings. He's got the same surreal sense of humour as us both, and some of his favourite bands are My Bloody Valentine and Neutral Milk Hotel, so he's able to accommodate some of the more "out there" type of sounds that we're after.

5. You're just back from Spain, where you had a run of dates with the legendary Edwyn Collins. I know you love travelling. How was the tour? Did you get a chance to explore - any recommendations? And what was it like seeing Edwyn up close every night?

I've been involved in dozens of tours but can safely say that was by far the best one. All of the crew that were on the run of gigs were exceptional. Every venue/hotel/city was incredible. The audiences were brilliant too - maybe a bit older than we had been used to playing to, but they were all just fans of indie music so we seemed to go down really well, selling loads of our vinyls and t-shirts.

Of the ten dates we done, Barcelona was the only place I had been before, so as a lover of travelling, it was tremendous being able to see a good whack of Spain. Some of the cities had long drives so there was a couple that we never had too much time in which to explore, but a notable mention to San Sebastian which was probably the best overall. We had a full day there beforehand and were able to go to the beach and try lots of the food. I had a life-changing chorizo in Bilbao as well.

Every night, watching Edwyn Collins was a dream. His band were unbelievable. You'd think watching the same set ten times would get old, but his songs are just that good. That being his last ever tour as well made it all the more special.

6. You then play The Glad Cafe to launch your EP. What other songs will be on it?

The six tracks that are on the 12" vinyl are called (I'm not sure of the order at the minute):

• Seeking Adventure

• The Dardanelles

• Crocodile Done Deal

• Blue Ragdoll

• Confucius

• Shame

Seeking Adventure and The Dardanelles are both released on Spotify etc., and we'll roll them out over the next few months.

7. Are you working towards an album? Is it too soon to say when that might come out?

Yes and no. We're just constantly writing and recording at the minute. I guess we're still trying to figure out the "sound" at the minute. The plan at the moment is to release this EP at the end of May and then probably another one at the end of the year and then maybe an album at some point next year that would likely include some of the best tracks from both. It's still early days yet though.

8. What music are you listening to just now? Have any bands influenced the sounds you're creating with Glass Cheques?

I've been on a deep Hank Williams dive as of recent. Added on to my playlist are quite a few bands from Edwyn's pre-gig playlist that I had heard of but never explored: The Mekons, Modern Lovers, and some of the other tracks from the roster of Postcard Records.

A lot of the bands that have heavily influenced our sound so far have been Scottish indie guitar groups such as Idlewild, Teenage Fanclub, Mogwai, and the Jesus and Mary Chain.

Brooke Combe at Saint Luke's

Brooke Combe was outstanding at Saint Luke's on Friday night, the first of 2 sold out shows in the gorgeous venue. Brooke's smile radiated warmth, her banter was good fun and her voice was exceptional. She is a super cool n soulful lass! 

Combe's star is rising on the back of her outstanding single How Can I Tell You? (blog) that she released last year. It's lifted her and the follow up Tears Don't Lie is of similar quality.

In her mid-20's, Combe started to release her music independently via Modern Sky, following a spell with Island. It was Island's loss and Brooke's gain. She worked with James Skelley from The Coral to produce her 2025 album Dancing On The Edge Of The World and isn't letting up.  Brooke has just signed to Fontana Records and is ready to go to the next level.

There is no doubt that How Can I Tell You? has won her more fans. It went kinda viral on Instagram when Brooke posted rehearsal clips of her singing it, then the northern soul inspired video took it even further.

Backed by a tight band encompassing guitar, bass, backing vocals and percussion, keyboard and drums, Combe and co wowed the packed Saint Luke's with a stunning upbeat set that lifted everyone in the room.

Combe looks and acts like a star. Super lithe, shades on her head, cool Levi's, dancing about the stage, shadow boxing, playing guitar, banging her tambourine, playing air drums and she has a smile that radiates warmth. 

The set was split in 3, with the opening segment including; This Town as an early banger, A-Game was sublime and Black Is The New Gold was sultry. 

Combe then had the confidence to send her band off stage, leaving just her and guitarist Danny Murphy to performing two new songs; Piece of Me and It's Not Over, both bode very well for her next album and the latter in particular will sound good when fleshed out with a full band (and strings?).

Tears Won't Lie sounds like it has been lifted from the Motown vaults, a lost Supremes/Diana Ross single. Persistent piano, Combe's strong voice and cool Motown beats for the bridge to the chorus. Three minute of soul pop brilliance.

A powerful Dancing At The Edge of the World led to an encore that began with someone from the audience beginning to sing Yes Sir I Can Boogie. World Cup fever is starting and Combe and Murphy played a short stripped back version that was greatly appreciated.

Grabbing a Scotland flag from a fan in the front row, Combe knotted it round her to sing a fantastic rendition of her song The Last Time, followed by a crowd singing lesson for the backing parts of How Can I Tell You? Then the band and Brooke ripped into it, ending with Combe up on the barrier to the delight of the crowd.

Combe has the songs, the look, the voice, soul and she now has the right record label. Strap in for the ride.

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).

Kerr Mercer - Terrified and live at The Attic

Kerr Mercer, a young Scottish singer-songwriter who is a real favourite of mine, played 3 sold out shows in the intimate setting of The Attic (upstairs in The Garage) at the end of last week. After a couple of years of solid touring; opening slots, support slots and his own headline shows, Kerr's been pretty quiet on the gig front for the last 6-months. 

The focus has been on writing and recording. Mercer released debut single Alcohol in November 2025. In a January blog I wrote; Alcohol is a belter of a debut. Stripped back, leaving plenty of room for Mercer's rich and soulful voice, telling the teenage tale of going out drinking and falling for someone.

Kerr has swiftly followed that with Terrified, that came out on Friday, hence he was determined to celebrate with these shows. Check the live performance video below. 

The way Kerr's voice rises for the chorus is spine tingling. It's quite something to see and hear this in person, when he leans back from the mic, eyes closed and just goes for it, lost in the moment. Beautiful. 

No-one loves me like you do

If perfect's real then you're the proof

I'm doing all I can to hide the truth

That I'm so terrified ... 

I enjoy following Kerr's progress on his Insta page, although keeping up with his stories can be hard at times! His humour and love for music, playing and writing comes across in every post. One story I was particularly struck by was a recent writing session with Max Martin in Sweden. Yes, that Max Martin - the songwriter/producer who has penned/co-penned hits for Taylor Swift, Kate Perry, The Weeknd ... 

Given the number of songs Kerr has been writing, I only recognised one (not including the singles) from the previous times I have caught him live. Opening One in a Million which contains this beautiful heartfelt hook.

Cause this thing about love, my love, it only has to work once

This thing about love, my love, it only has to hurt once

Terrified is set to be swiftly followed by Kerr's third single. One that has been doing well on TikTok after Kerr posted a video of him singing it in the shower, clearly loving the melodic and soulful chorus he has just written. Love Me Twice is set to come out this month. 2026 is set to be Kerr's break out year. 

Oh I'd go anywhere you are, so that you're not alone

We got something different and it just needs time

We can make this right

If you love me once, you can love me twice

There was a moving and also funny moment during the matinee show I attended on Friday (early shows are brilliant!) when Kerr asked the song to sing-a-long 'like this' and then sang. I laughed as I think I speak for most (if not all the crowd) when I say - we can't sing like that! But we sang-a-long regardless!

Mercer flirted between guitar and piano with ease, constantly thanked people for support and displayed a grounded humour that will stand him in good stead. Asking people how they found out about him, one said TikTok, another said 'yer Maw!' Brilliant Scottish humour that Kerr loved.

One song with Elton John-esque piano flourishes sounded excellent, while the trilogy of Love Me Twice, Terrified and Alcohol showed that people are really falling for Mercer and his songs. I look forward to seeing Kerr playing live again soon.

Hen Hoose at Celtic Connections

Photo - Hannah Brodie

Last year, 12 members of the Hen Hoose collective travelled to the Isle of Lewis to write and record an album ... in 6-days ... from scratch. Staying at Black Bay residential studio, the members were directed by Hen Hoose leader, Tamara Schlesinger who split them into songwriting teams and within 3-days they had the 9-songs that make up The Twelve, their new album released on 23rd January. 

HEN HOOSE BANDCAMP - order the record here

The Twelve is a wonderful album. I love compilation albums that display a wide variety of talent and taste. This feels like that ... but with an added sense of friendship and community. The album feels fresh, full of vibrancy and energy. Artists collaborating, pushing each other, being lifted by each other ... you can feel it and sense it.

And on Friday night, it was on display. To celebrate the release, Hen Hoose Collective played a sold out show in the beautiful Tramway Theatre in the Southside of Glasgow. And this really did feel like a celebration - it was euphoric and emotional, bristling with energy and intent. Artists who have been brought together through music, artists who have become friends. Artists performing their new work live for the first time. 

The energy and freshness of the album was transferred to a live show. The stage floor was set up almost like a large living room or rehearsal studio. Two sofa's flanked the microphones and the impeccable 'hoose' band. Singers and musicians chilled and watched on when they didn't need to get up to perform. Everyone was in it together, supporting each other, cheering for each other, laughing and smiling. A simple but beautiful set up.

SHEARS, AMUNDA, Malka & Emma Pollock on the sofa

the supremely talented Cariss Crosbie on keyboards

Photo by Hannah Brodie

The Hen Hoose band definitely deserve a mention! Cariss Crosbie (synths/keys and vocals), Inge Thomson (flutes, synths and percussion), Sarah Hayes (synths/keys and flute), Suse Bear (bass and synths), Lauren MacDonald (drums) and Jill Lorean (guitar and vocals).

The Hen's that went up to Lewis were Tamara Schlesinger (AKA Malka), Suse Bear, Ray Aggs, Inge Thomson, Frances McKee, Carla J Easton, AMUNDA, SHEARS, Cariss Crosbie, Emma Pollock Djana Gabrielle and Jill Lorean.

Where to start?! I think I'll combine an album and live review!

Malka started things off, flanked by a beaming Ray Aggs (who has the most delightful smile) with opening song Wipe Out. The song veers off into a sublime melodic breakdown. Gorgeous. 

Photo by Hannah Brodie

Next up, my sister Carla with her song Rich (Katy's In Space) about the crazy news story that broke around the time of recording in Lewis - Katy Perry hanging with Elon Musk and taking a trip to space! Loads of fun on record, the hooks were even more infectious when performed live - rammed home an extra few times for good measure.

Photo by Hannah Brodie

I was at the show with my daughter Rosie and she was particularly taken by songs involving AMUNDA and SHEARS. They have an ear for pop! Just like Rosie! Out My Mind is full of fast paced melodies and like the opening song it has a gorgeous break that builds back up. Euphoric! SHEARS had a lot of fun as the beat kicked in and she stretched her vocals. Like Ariana Grande according to Rosie.

Sirens Call My Name has been receiving a lot of love on 6 Music. A synth-y bass is broken by Emma Pollock urging us to hold on, hold on. The burst and lift into the chorus is glorious.

And I just love the way that I feel when I hear the song

Djana Gabrielle and Ray Aggs sing the deeply moody disco number Promise, an early favourite of mine.

I promised myself, I'll never fall for you

Here we are again

Photo by Hannah Brodie

Game of 2 had loads of hens on stage, exchanging vocals for different sections, AMUNDA and Carla with some pop moments, Djana Gabrielle with the breathy and sexy French(?) vocal section.

Frances McKee was typically self effacing when introducing Ego Trip, highlighting the talent on stage and that she had experienced in Lewis, wondering why she was with them.

Well, Frances quickly showed why, with her autobiographical lyrics, about the 90's and then to present day.

No drugs since 1995

I'm alright now, made it out alive

I love the lines that Cariss sings;

I forgot who I was 

And I don't know who I am

Then Emma Pollock comes in with an outstanding chorus. It's so uplifting!

Standing on an island with no lifeboat

And I don't need pills to teach me how to swim

In Control with lead vocals by SHEARS and Jill Lorean was outstanding! My daughter Rosie's favourite! This is powerful pop, with a samba-esque breakdown. Live at Celtic Connections, SHEARS and Jill Lorean came out in front of the stage floor and danced around looking super cool.

I'm in control

You're not at all

So back it off

I'm showing up

Stop showing off

Cause I'm the boss

The Twelve ends with the beautiful Blessings On The Day, it's like a psychedelic nursery rhyme full of observations.

Everybody does what they do

Nobody is judging you

Follow the herd

Don't be heard

Should any promoters be reading this - an all-ages Hen Hoose event at the Kelvingrove Bandstand this summer would be an absolute winner... or the Barrowland, I'm not too fussy!

Well done to all the artists involved in the album and the live show - wonderful!

Photo by Hannah Brodie

Teenage Fanclub in The Devils Arse

Teenage Fanclub's recent run of shows where the band played a string of places that they had never played before has energised both band and fans - with many travelling to catch the Fanclub in small venues off the traditional tour circuit, or in unique places ... or in countries they had never played in before.

There was one venue I really fancied - The Devils Arse! How many times can you say you saw your favourite band in such a place?! 

A long standing charity dinner engagement meant that I couldn't make it down to this particular show, but I was determined to publish a blog with the title Teenage Fanclub in The Devils Arse!

Thankfully, my friend Gill Ross, a lovely member of the Teenage Fanclub Fanclub, offered to write a guest blog and it is an absolute belter - funny, passionate and informative. I hope you enjoy it.

Look out for a guest blog on Teenage Fanclub's visit to Buenos Aires by Juan Marioni in the near future. The boys trip to Brazil and Argentina has looked incredible. 

Teenage Fanclub, 29th August, Devils Arse, Castleton
Guest blog by Gill Ross

My favourite band. In a cave. There was absolutely no way I was missing this ! Peak Cavern aka the Devils Arse is in the chocolate box village of Castleton in the PeakDistrict. It boasts the largest cave entrance in Britian at 20 meters high, 35 meters wide and 100 meters long, which makes it an ideal place to hold a concert. The name ‘The Devils Arse’ originates from the flatulent sounding noise the cave makes when flood water drains from it. It was allegedly renamed ‘Peak Cavern’ to spare Queen Victoria’s blushes on a visit in 1842 although its believed she didn’t visit in the end. She missed out. Maybe she would have been tempted if a gig was on. 

Photo - Mick Rhodes

After an epic 6 hour drive, the dog and I went on stretch our legs on a wee recce. Having located the cave, we headed back to our hotel, bumping into the boys, who were on their way to sound check. There was concern on Facebook, after a picture was posted showing the gear being transported up in a buggy (no roads up) that Norman had entrusted his ’60 Jag to the buggy. He was carrying his guitar when we met him, so no, he didn’t. Phew. 

When I arrived at the cave later, the support, Selma French, had already started. Normally this would have annoyed me but, on this occasion it turned out to be a blessing. As I was walking towards the cave the most glorious sound greeted me. Gorgeous vocals, which got louder, richer and more intense as I neared the cave entrance. I was in love with the gig before I even got inside. It was simply heavenly and to experience that moment, for once, I was glad I was running late. 

Photo - Mike Turner

The capacity of the venue is 600 but it didn’t feel like that inside, despite being sold out. The floor is split level, I guess you get what you’re given with a cave. Norman commented it was very disconcerting to have an audience on two levels.

There was a slight slope backward on the lower level so as a pint-sized fan, the choice of spot was critical. I did about a third of the gig quite near the front but played dodge the tall peeps for a view of Norman or Raymond, but not both and then retreated to the back where I would see the whole stage minus Dave. 

Photo - Steve Tamburello

After much anticipation from a friendly but hyped-up crowd, the boys came on and kicked off with Foreign Land. I’m not even sure I took it all in. The sound was sensational. Enriched. Magical. Like nothing I had ever heard before. No echo.

Hearing the Fanclub play always makes me smile but this was different. It felt like a privilege. I stood with a massive grin on my face, big enough to rival Norman’s. The lads followed the opener with About You. Raymond was in fine voice and the harmonies were enchanting. 

Photo by Mike Turner

Next up was Tired of Being Alone. It had a beautiful softness, intensified by the cave acoustics. Soothing to the overstimulated fan ! Then, I Don’t Want Control of You, equally scrumptious classic, with the boys nailing the much loved key change. Norman beamed and commented ‘Not all bands do key changes, we just do the one!’ And a joyous one it is. 

This was followed up with Everything is Falling Apart and Alcoholiday. Call me old school but this song is absolute class and particularly in a cave, I defy anyone to disagree. Norman made a joke that the band were sponsored by Specsavers. To be fair, this applies to a fair whack of the audience. There is a wave of fully sighted, young fans coming through, which is nice to see.

I was utterly blown away by how good Did I Say sounded. Just stunning and potentially my favourite moment of any Fanclub gig ever (and there’s been a few to choose from) . I’m not even sure I have the words to describe just how magical it sounded. I could have gone home then and been happy. 

That sublime moment was followed up by 120 Minutes. The boys knew what they were doing when they put this set list together. Chill time over, they bounced into What You Do To Me, joyful as ever, with Norman joking afterwards that if you liked that song and wanted to find it on Spotify then it was called ‘What You Do To Me’. 

Photo by Mick Rhodes

The intro to Falling into the Sun was perfectly suited to the acoustics. It’s at this point, I begin to wonder if this is the pinnacle of Fanclub gigs and that every other future gig will only be ‘nearly as good as the Devils Arse’ The boys start Neil Jung and this did not help my concerns one bit. So phenomenal, that in its honour, I shall henceforth be known as Gil. 

Francis was perfection on the drums (as was the case all night). Outstanding. Sublime, which continued into The Word’ll Be OK prior to ramping it back up for I’m in Love (and by then we absolutely all were), Come With Me, soft, rich, melodic beauty was the perfect penultimate song prior to a crowd in fine form all letting their hair down, and singing and bouncing to The Concept. 

Photo by Steve Tamburello

Norman warned us that there was only one way out, so if we didn’t leave, they would have to do an encore. There was no way anyone was leaving. The encore started with a delightful rendition of Back In The Day, which is still lingering around in my head. Metal Baby was next up and what a treat. I should listen to it more often as it a cracker of a tune. I maybe over played it in my teenage years…… It was well received by the crowd, who were perhaps thinking the same thing. 

The Middle of My Mind was a beautiful choice prior to Norman introducing Everything Flows, ‘It was our first single, it still is’ No one ever gets tired of Normans banter. So, as always, Everything Flows brought an utterly enchanting and magical show to an end. Just as good as the first time I ever heard it. 

And in case anyone is concerned that no future gig will be as good and I have ruined my future enjoyment of my favourite band, I went to see them in Holmfirth the following night and they knocked it out the park. The boys never disappoint.

Photo (above) by Steve Tamburello 

Photo (below) by Richard Morton

Photo by Mike Turner