Interview - Juno!

Way back in the 1990's I used to work for a bank, specifically Abbey National and their huge head office at the top of St Vincent Street in Glasgow. Over 3,000 people worked there at its peak! Working for a bank is, in my opinion, not very cool (great pension though!), but for a number of years it was a great place to work. I was 21 and there were loads of people of a similar age. There were regular nights out, five-a-side matches and ... some truly gorgeous girls! Work was just something to do before football or the pub. What more could a young guy want? Oh, the office was directly across the road from King Tuts Wah Wah Hut!

I kept noticing a guy with a mod hair cut, Fred Perry bag and a fishtail parka, cutting about with headphones on. I kind of knew that I wanted to be friends with this guy and that we would very likely be into similar music. Before long, we were. James Barker was also into the Roses, The Beta Band, The Who, Primal Scream and northern soul. He was hanging out at the Art School (much cooler than me!) and in the early 00's he formed a band. 

Juno! took on a raft of influences and melded them into their own sound. Beats, samples, guitars, analogue synths and all kinds of percussion ... you never really knew what they were going to come out with. Perhaps, at times, neither did they. That was part of the fun and most definitely part of their charm. 

There was radio airplay, some singles, plenty of gigs and James was always working the band. Then it stopped. James has never stopped playing music though and quickly formed Ace City Racers who had their debut Stephen Street produced single released via Fred Perry. They are still going strong and all those years after seeing James cutting about the 301 St Vincent Street offices, we formed Starboard Hazes which was/is great fun.

Maybe it is the age we are getting to, but James decided he had unfinished business with Juno! He pulled together all the bands early recordings and demos to construct an album - Harder Than It Should Be. It's available NOW via Last Night From Glasgow and is a document of a moment in time - MySpace buzz, indie discos, basement venues, electro experimentation, cowbells and tambourines. 

Juno! Partying hard at The Rum Shack

Juno! celebrated the album with what is hopefully not a one-off show. Their Rum Shack gig was more of a party, with Tam Coyle DJ-ing before and after their show which was an absolute blast. The band came on stage to Parliament's Come In Out Of The Rain, the music cranked to get everyone in the mood.

James and Juno! were most definitely in the mood. Wonderful was a real highlight for me. James put his guitar to the side to cut loose as the band created a Mondays, Beta Band groove. Shakers handed out to the audience created a great vibe, while onstage there were tambourines and maracas. You can check the Beta Band/Beastie Boys inspired video at the end of this blog.

Manda Rin joined the band for  their classic single These Boys Are Athletes, while Mark on keys and vocals rivalled James for the happiest person in the room. Atom Bomb City nearly took the roof off the place with its punky new wave groove. I sincerely hope they play live again. 

I caught up with James to learn more about Juno! Read on.

James, Jamie and Manda at The Rum Shack

How, when, where and why did Juno! form? Who was involved?

We formed from the ashes of our previous band, which had the same members as the first incarnation of Juno! being Jamie, Jazi, Jason, myself and our good friend Paul. Paul decided to leave, and in the absence of any other options I overcome my natural aversion singing to give it a go.

Simultaneously Jamie bought a Juno 60 and a drum machine which gave us a new dimension. Probably for the best, as it meant I could stop trying to be Nigel Tufnell and really focus on singing the songs. We had a few leavers and joiners as we went on, with people like Matt, Yoshi, Amanda, Stuart, Dave and Mark all adding to the Juno! gang, meaning at times we had up to 8 people onstage. Rain or shine we always practiced in a Fife barn, which a friend very kindly let us use.

Juno! outside the barn

Were you the sole/main songwriter? What was it like to hear your ideas mushroom into the full band Juno! sound?

The songs were usually written around one of Jamies really well-formed electro backing tracks, which I would then write words and chords around, or one of my guitar/vocal demos which Jamie would then write a backing track for.

By the end we got a bit cleverer and started writing them in the same room together!

I also wouldn’t underestimate how much was added by the rest of the band and producer, who added real musical breadth with their imaginative guitars, trumpets, backing vocals and so on. Plus, Steven as producer left his playing and singing all over the record too.

The first track I consider to really be “Juno!” was Cut it Loose, which was actually a chord progression of Jasons, which we then fleshed out music/lyrics over. I was pretty delirious when we got the mix back because it was so colourful and fresh sounding.

I always remember your shows (and records from the time) as having what feels like a great deal of spontaneity to them. How difficult was it to recreate that spontaneity? Did you ever play songs the same way twice?

Jamie and I used to map out the basic songs (on very big bits of paper!) before we took them to the studio, so we knew where to put the multiple layers of vocals and instrumentation, however they would quite often take unexpected turns dependent on what Steven was hearing. He would hear something he liked and make it a feature. Quite often this would be one of Matts funkier riffs!

Live, the songs would always follow the same basic structure, as we use a drum machine backing track, overlaid with real drums, but the instrumentation on top depended on the playing styles of who actually turned up that! Spontaneity was never a problem, some nights we would have vocoders, extra synth & trumpets, others it would be more of a guitar assault. I can think of one Scottish tour where we pretty much changed lead guitarist for every show!

We always put a lot of energy into our performances, as I genuinely believe if people have paid to see you then the least you can do is put your back into it.

Juno! - Sunshine In My Pocket

What were your highlights from the original days of Juno! Do a song, gig or experience stick out for you?

There are lots of memories that stick out, and happily quite a few of them were recorded at the time, so I can revisit as an old man! Recording Higher was brilliant, as the band went to the chip shop and came back to hear some quite spine-tingling I Feel Love style backing vocals being mixed in by Steven, who had also helped supply them. I got a similar feeling when I first heard Amanda’s vocals on These Boys are Athletes. I also couldn’t believe what a nice-looking video Mark made of Sunshine in my Pocket, just prior to my press ganging him into the band.

We played some great support shows at Tuts & Barfly which I remember being packed, and we felt like we could really feed off the audience energy. I was also very pleased that we played one of the very first televised internet gigs for Nexus live. Oh, and at Rockness my wife through a Glowstick in my eye. This literally stuck in my mind. And eye.

I remember you having a buzz, some radio play, your single with Manda Rin. How exciting was it at the time?

It was really satisfying because we had worked on it for so long, I think Juno! started in 2003, but from 2006 onwards things started gaining in excitement, and hearing your songs playlisted on the radio felt like validation. Thanks Jim! By 2007/8 we actually really struggled with all the Myspace gig offers, and were doing regular interviews, radio stuff and even a photoshoot in a fashion magazine! I miss Myspace, it was by far and away the most organic platform for musicians and fans.

You've always written and recorded. What happened with Juno!?

I failed to turn it into something before real life kicked in. Some of the band were awaiting children being born while we were playing Rockness, and it became unfair of me to keep asking so much of the guys when they had more important things to be thinking about.

Towards the end it also felt like a race against time, as with bands you really have to keep building momentum, before you are seen as being long in the tooth. It may be different now, but in those days, labels had a pretty small window in which they would sign you. We played quite a few high-profile gigs and had songs on MTV shows, but I was really naïve about the business side and didn’t have the ruthlessness or evil genius to take it to the next level.

What prompted the delve into the Juno! archives?

As Vic Reeves would say, “I wouldn’t let it lie”! It always frustrated me that we had professionally recorded so many songs destined for a release that was pulled. I have a real completer/finisher streak, and it niggled at me that the songs which we spent so much time writing and recording weren’t out there in the world.

What was it like to get back in a room together after so long? What song did you play first?

It been lovely, truly heartwarming. We never officially split, and we all remained good friends, but weddings and social events aside, hadn’t really been together as a proper band since 2009. The only thing that is a little sad is that neither Matt nor Yoshi can make the gig.

We have all played with each other in different projects, but for a few years there we were more likely to meet at a buffet than a rehearsal room!

If memory serves me, I think we started with Cut it Loose, as its both the first one we recorded and probably the easiest to play!

Juno! Reunited at The Rum Shack

How important is it to you and the band to have a physical (and digital) document of your time together?

It’s really important to me, and I think it must have been something the band appreciated too, as I didn’t have to do that much persuading to get people onboard with a release. Just some minor Elwood Blues style hunting down to get them to agree to perform live!

What else are you up to musically?

Well, I play with Mark in the band Ace City Racers, we have an album coming out early next year, a dystopian concept album called Welcome to Ace City which we recorded in Green Door.

I may also have accidentally written a new Juno! demo, which I believe Jamie is mulling over, so fingers crossed we can do something with it and Juno! gets a lifeline after the reunion show.

Dave and I from Juno! also have an offshoot Psych recording project called Stars and Sitars, which have most of an album recorded, but we need to finish. I have the basis of a solo record, a whimsical Syd Barret/Ray Davies ish thing demoed but needs finishing and some discipline brought to it , and I’m in another rather good Glasgow guitar fuzz /melodic band called Starboard Hazes which you may have heard of!

Flaming Lips at Kelvingrove Bandstand

WOW. Last night's Flaming Lips show at Kelvingrove Bandstand as part of the Summer Nights series was truly life affirming. 

Psychedelic pop songs about love, life, death and the universe. Songs about humans triumphing over machines and determined scientists racing to find cures. I found myself crying during the beautiful Do You Realize? Tears just started flooding down my face. I can't remember the last time that happened to me at a concert.

We were treated to multiple blasts of confetti, inflatable pink robots, huge colourful confetti filled latex balls/balloons bouncing around across the Bandstand - one burst above me and it was wonderful, I have the burst balloon at home - Flaming Lips memorabilia! The light show was sensational, lasers beaming out, bright lights, Wayne Coyne swinging a huge bulb around on a lead, a bright, bright light directly behind the singer cast beams everywhere, he got into costumes and balls ...

I'm still smiling. I'm exhausted just reflecting on the show, Coyne must be shattered, but energised by knowing that every time his band play, they bring absolute joy to people.  

Lynn and I started in the very back row of the Bandstand, determined to see the full wide screen spectacle. But as soon as the opening synth teaser to The Golden Path started, we picked our way down to the front to join my sister Carla and friends who had been there from the get go. The Golden Path is a real favourite of ours.

She Don't Use Jelly is glorious guitar punk pop with a psychedelic tinge. The Yeah Yeah Yeah Song (With All Your Power) was hugely uplifting. The aforementioned Do You Realize? is even more powerful live than it is on record, truly beautiful. A cover of Sabbath's War Pigs was heavy and fun and the closing song Race for the Prize was triumphantly joyful.

Everyone left smiling and buzzing. Mission accomplished.

See some videos below.

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

Jonny and BMX Bandits at FRETS

Friday 20th February saw me head through to the beautiful town of Strathaven to see Norman Blake and Euros Childs play a rare show as their side project Jonny. With Stu Kidd on drums, the trio released a self-titled album back in 2011, full of improvised stoned humour, gorgeous harmonies and melodies, and some genius songwriting.

6-years previously, I'd caught Norman and Euros play the Strathaven Hotel (blog here) under their own names, one of the last shows I caught pre-lockdown.  

FRETS has grown from strength to strength since then and Norman has a particularly strong affiliation and association with them, after all, FRETS founder Douglas McIntyre was responsible for forming Butler, Blake and Grant - who now have a second album coming out and they have toured all over.

Before Jonny, we had the joy of a stripped back BMX Bandits set. Duglas T Stewart on vocals and kazoo and Rory on guitar and harmonies. Joined by long term friend and collaborator Stu Kidd on drums and backing vocals for a couple of tracks.

Duglas was in fine form, mixing humour with emotional stories about wellbeing and the importance of friends. The set was largely similar to the Mono show they played earlier in the month, although the addition of Little Hands was one to warm hearts throughout the room. What a song! I appreciated it all the more after Duglas' warm reflection on the inspiration for the song. 

The Bandits were playing a show in Japan and Duglas was very taken by a girl dancing down the front. He turned to Francis on drums and said 'I'm going to marry that girl'. And he did! Duglas spoke very fondly about writing the song and how his wife Midori made such a positive impression on everyone she met upon moving to Scotland.  Sadly Midori passed away and Duglas highlighted how important it is have to places, items or songs to remind us of people.  

I hope Duglas and the current incarnation of BMX Bandits can play some full band shows this year. He has a fine catalogue of songs to dig into. The Sailor's Song was a stunning opener, the closing refrain of I could watch you dancing all night gets me every time.

Jonny were also full of humour with Euros cracking everyone up when saying that a mis-print on the dressing room sign (Jonny spelt with an 'h' - "Jonny don't do drugs, Jonny don't do H") nearly caused them to cancel the show. He then talked of steel drums going missing on the motorway.  

Elsewhere, their cover of Bert Jansch's Baby Blue was absolutely gorgeous, even if the complex chord changes required a restart - with Euros, Norman and Stu all buckled over laughing!

The trio played virtually the whole of their 2011 album, sadly missing Norman's exquisite Never Alone.

Highlights? Circling The Sun was beautiful, the joy of Euros and Norman singing and harmonising effortlessly is something I could listen to for hours on end. Stu also joined in on a lot of the songs, so we had 3 part harmonies - glorious!

Bread was gooey and warm, with Euros really going for it. Blake's Dark Clouds from the Fanclub's Shadows album was lovely, while my out and out favourite was Cave Dance. A fun rock n roll number that morphs into a psychedelic synth jam. I don't think FRETS had heard anything like that before!

Norman highlighted that they still intend to bring out their Joe Meek covers album and played Summer Without Sun, recorded by The Charles Kinglsey Creation, featuring one of the owners of the fabled Rockfield Studio where the Fanclub have recorded. 

Dep from Monorail was in the audience. I hope his ears pricked up as Norman highlighted that this mixed album is sitting unreleased and that they would love to bring it out...

Fools Creation launch at Mono

Fool Creations sell-out launch - photo by Mours (@visualsbymours)

Fool Creations is a new events and promotions company set up in Glasgow, with a focus championing music and art, merging legends with rising stars. Fool Creations is run and led by young Adam Graham, who I mentioned in a January blog where I introduced his band Supersun. 

Graham has an infectious energy and a desire to make things happen. Good qualities for an event organiser and every band needs someone with that kind of drive. His Cabbage nights at The Doublet are selling out in 10-minutes and I was delighted for Adam that his launch night for Fool Creations at Mono was a sell out. Thank you to the photographers for their wonderful photos.

The step up from The Doublet to Mono is significant. From 45 to 300! Adam put together an excellent 3 band bill - The Cords, BMX Bandits (acoustic) and Supersun, also choosing super cool DJ Holly Calder to spin records before, in between and after the bands.

Supersun by Div Barrett (@div_barrett)

Supersun's debut gig at The Doublet left a very positive impression, so much that I've been checking in on their Instagram page to see what they have been up to. The band were recently down in London recording demos (in Jack's studio), which, Adam highlighted to me in a chat, have turned out to be better than demos. I look forward to hearing them. 

While their Doublet show was a stripped back affair to suit the venue, last night saw the addition of a drummer and their sound flourished with that back beat and the larger PA that Mono offers. Their sound? Two chiming and jangling 12-string guitars, effortless and gorgeous family harmonies from Adam, brother Jack and sister Julia (also playing some great keys and string effects), cool bass lines from cousin Chris (definitely some McCartney-esque stuff in there) and cool beats by Harvey Haldane to back them up.

Supersun by Div Barrett (@div_barrett)

I mentioned a couple of Liverpool bands in my January blog on Supersun, and the pop and psychedelic qualities of Shack, The Coral and Cast came to mind again at Mono. Interestingly, while speaking to friends at the show, they felt the same. I look forward to seeing them again.

 Citrus Sun sounds like a natural single, while I'm a pure sucker for a song called Shine On. All of their songs are full of melodies and harmonies. The two 12-string guitars sound heavenly together.

Supersun setlist - Forever, Cream Tangerine, Citrus Sun, Go Up, Shine On, Boy and a Girl, Coco's Song.

Keep an eye on their Instagram as they might be releasing their London recordings in the next month or so.

Photo by Mours (@visualsbymours)

Duglas T Stewart is looking well. Accompanied by a guitarist (Rory), this was a super stripped back BMX Bandits set, although Duglas was quick to assure us that they would be playing full band sets later this year. 

Whether with a full band, or stripped to the bones, Stewart's charm and his ear for melody shine. Whether thanking someone for a funky and cosy pair of knitted slippers, or introducing each song with a little story, Duglas' love for music and people brings a warm glow wherever he goes.

Duglas T Stewart by Mours (@visualsbymours)

Bandits classics like The Sailor's Songs and Serious Drugs were welcomed by the crowd, however their song Foggy was possibly my favourite in their set on the night. Hopefully this stays in their set for full band shows. I'll be catching Duglas again very soon at their FRETS show with Jonny (Norman & Euros).

Could it really be

There'll never be a we

And I'm just kidding, myself on?

The Cords have had an incredible couple of years that led to the release of their eponymous debut album in September 2025. After a run of February shows with Fatale, they then head out on tour with The Charlatans in April. A great support slot and a huge opportunity to win new fans.

The Cords by Mours (@visualsbymours)

Eva and Grace have a natural feel for music; Eva's voice is super melodic and pure, her guitar playing is pop punk - three, four or maybe five chords, finding rhythm and riffs almost by instinct. Grace's drums can be primal at times, while there are plenty of colourful rolls at others to fill out the sound. Last night was the best I have heard Grace on drums.

With loads of songs under 3-minutes long (many hovering around the 2-minute mark), The Cords can fairly zip through a set. October is actually under 2-minutes in length, and the sisters might have raced through it in record time. The thrashy 3 chord punk guitar has a lovely innocent freshness to it. 

I'm Not Sad has a beautiful vocal melody through the verses, the chorus (at first) is simple and catchy ba, ba, ba, ba's and finally the title is sung a few times towards the end. Glorious.

I think I tried

But the time went by

And I, won't remember a thing

Well done to Adam for launching Fool Creations with such a busy, buzzy and brilliant night.

The next Fool Creations night is a Vinyl Party at The Rum Shack on Friday 27th March. Spinning records are Chris Geddes (Belle & Sebastian), Holly Calder, The Cords and Adam will also be DJ-ing. TICKETS

And hot off the press, their next night at Mono has Lung Leg, with support from Homework and Angel Face. TICKETS

The Cords at Fool Creation, Mono, by Mours (@visualsbymours)

The Charlatans - Barrowland Ballroom - Dec 25

Last night The Charlatans played the famous Glasgow Barrowland Ballroom for the 17th time. By my reckoning, I think I've caught them 10/11 times out of 16. Pretty good going. They should really just book an annual night/weekender given their affinity with the venue, Glasgow and Scotland.

It's a home from home, like a cup final of a gig for band and audience who share and display genuine affection for each other.

The Charlatans played with, and generated, incredibly energy, lifting the crowd, who in turn, lifted the band to even higher heights.

Tim Burgess was like a kid in a sweet shop on a trolley dash. The happiest guy in Glasgow, a smile so wide and bright that The Charlatans probably didn't need a light show. He was beaming throughout, radiating pure positive vibes.

I first caught The Charlatans live in April 1994 when they played The Tramway as part of Radio 1 Sound City in Glasgow. Tim Burgess was mesmerising, dancing about the stage, looking super cool. The next day I queued in the rain to meet the band at Tower Records to get loads of CD's and records signed. 

I have no idea how many times I've seen the band or Tim play since. God, it's been over 31-years. I'd hazard a guess at between 50-60. The Charlatans and Tim are frequent visitors to Glasgow and were regulars at T in the Park. 

Riding in on the back of We Are Love, their 14th album, Tim had announced that the band would be playing a 2.5 hour set (with a short 10-minute break) with no support. Fans were encouraged to make sure they were in promptly for the band taking to the stage at 8.10pm. 

There was a small squad of us. Me, Lynn and our friends Robbie, Clare, Joe, Emma and Susie. I bumped into many more friends from down the years in the venue. Great to see my friend Gerry with his son Liam, he wasn't the only Dad introducing the next generation to The Charlatans last night - good to see.

Kingdom of Ours is a slow burner - an opener to allow the band to find their groove, which develops as the song goes on. Then Tim took his jacket off and Weirdo had the place bouncing. It  never stopped! That hammond sound! Beats and bass and then the piercing guitar - sublime!

For the Girls is a real favourite from the new album, super melodic and soulful. North Country Boy was euphoric. Many a Day a Heartache flowed effortlessly and by this point I had ventured from underneath the glitter ball to 3 rows from the front by Tony on keyboards.

Just in time for one of my very favourite Charlatans songs, the absolute banger that is Oh! Vanity. The band didn't let up, rolling out the extended groove of Let The Good Times Be Never Ending,  the powerful Blackened Blue Eyes and then .... Then. Modern(ish) day psychedelia, still sounding super fresh and vital.

No wonder the band needed a 10-minute break to compose themselves! 

10-minutes (on the dot) later, The Charlatans returned and started their second set of the night by jamming the intro to Forever, dedicated to Mani. This glorious song has a menacing groove, before breaking into a beautiful piano led section that ends with Tim declaring.

I know my star, I know my star

Is a brighter star, brighter star

Forever be in my arms

Gorgeous! 

The Charlatans were in full flight, new singles We Are Love and Deeper & Deeper sound like set staples, Tellin' Stories was gorgeous - the perfect winter warmer, Just When You're Thinkin' Things Over was spine tingling perfection, with Ride's Loz Colbert joining on percussion. Toothache was a deep, down n dirty groove, Soul Saver sounded like it could save lost souls and last night The Charlatans may well have managed that with their performance. Smiles all round. Life affirming stuff. A stunning trilogy from their eponymous album.

New song Appetite sounded even better live than on record, especially when Mark's guitar kicks in. In the Tall Grass was a welcome deeper cut, before Tim and co eased into top gear with a spellbinding One To Another - epic, powerful, groovey ... arms in the air on stage and off. The groove at the end was one you wanted to keep on going.

But ... as it ended, we were straight into another groove as The Only One I Know was teasingly started before the place exploded again. Wow! Hearing the Barrowland Ballroom sing the chorus of everyone has been burned before, everybody knows the pain was incredible. Like a mass choir, it was like our hymn. The Barrowland is our church.

Tim touched upon the audience response several times through the show - off the scale ... the best venue ... the best crowd ... the best city. 

Closing with a sublime Get On It, with another extended jam at the end, Loz Colbert gelled effortlessly with the rest of the band. Martin Blunt in shades, holding the groove throughout the set, Pete Salisbury on drums - driving things on, Tony on hammond and keys - not to mention his stunning backing vocals and Mark Collins on lead guitar.

BOOM an encore of Now Everything was followed by Tremelo Song (one of my real favourites from last night - from an extended list!) and then Sproston Green. The long intro started slow, almost delightfully sticky and sludgey, before becoming beautifully sugar sweet as the band stirred it up and found the mix.

This one knows, she comes and goes

And when she goes, she goes

What a night! Thank you to The Charlatans for giving me so many of them down the years, likewise to the Barrowland Ballroom and to all the fans who grace it. I am still buzzing!

Teenage Fanclub live in Buenos Aires

Buenos Aires is a city that I am exceptionally fond of. Back in May/June 2008, my wife (girlfriend at the time) and I spent a month living in an apartment in the Palermo Viejo district of the city at the end of 1-year travelling around the world.

After a year of almost constant travel and not really staying anywhere more than 4-6 days, it was great to have a base. We embraced living in the city - joining our local gym, hanging out in the bars and cafes and wandering around museums and (Evita's) graveyards.

Ice cold Quilmes beer, incredible red wine, the best steak ever (we went to La Cabrera - a traditional parrillas - 3 times it was so good!) , Tango in the streets, Boca v River, River v San Lorenzo, a 2-day trip to Iguazu Falls, United beating Chelsea in the Champions League final ... I have so many good memories.

Back in the Day - with brown hair, in the stadium early for Boca v River

Not the greatest game, a 1-0 win for Boca, but an INCREDIBLE atmosphere

So, I was excited for Teenage Fanclub when the band announced that their South American tour would include a visit to Buenos Aires for the very first time. I thoroughly enjoyed the bands Instagram updates from Brazil and Argentina. It looked like they had a blast, played their hearts out and felt the passion from their South American fans. There is a mini-documentary in the making! If they go back I'll offer to go and make it!

Speaking of which, Juan Marioni from Buenos Aires is a member of the Teenage Fanclub Fanclub who I have become friends with online. Juan is a very talented musician - check Juan's Bandcamp page for his Norman, Raymond and Gerry EP's of cover versions and also his Songs of Teenage Fanclub covers album.

I love Juan's versions. There is something about songs originating in Bellshill making their way across the world and being covered that warms my heart. 

Juan has been waiting to see his favourite band for quite some time! So, I asked if he would write a blog on the experience. Now that Juan has had time to recover, he has written a beautifully passionate, funny (I laughed out loud at the Mongolia section) and soulful blog that portrays his deep love for the band.

I'm all in if the band make it back to Argentina! If my wife and kids let me! Maybe we will all go!

Guest blog - 1,130,112,000 seconds. Teenage Fanclub live in Buenos Aires.

1 130 112 000 seconds. That's how long it took Teenage Fanclub to play in Argentina. Yes, I double-checked the calculation. The time that passed from their live debut on November 17, 1989, until they finally stepped onto the stage of C ART MEDIA on September 9, 2025. A wait full of disappointments and "almosts" that never were, but which, in the end, turned into pure glory. This is the story of how, after so long, everything came together so we could celebrate our love fest with the band.

A while ago, I found out that back in 2011, my beloved Teenage Fanclub had played in Brazil. Missing the possibility of (maybe) travelling and seeing them wasn't the biggest disappointment; the real heartbreak was not having known about their visit to a "nearby" country. Social media wasn't what it is today. The taste turned even more bitter when I was told they had already been there in 2004, "close" to my neighborhood. I say "close" in quotes because Brazil is not that close, and São Paulo is 2,238.8 km from Buenos Aires, a distance similar to the one that separates Bellshill from Rome.

But hope is never lost. Around that time (2014), Lollapalooza began to be held in Argentina, and I thought that was my chance. Thanks to that "industry monster," I was able to see Johnny Marr that same year, who, by the grace of some divinity, did a sideshow—going to a festival with 1500 bands in less than 12 hours is an ordeal for me and my back. Every time a new edition was announced, the first thing I did was read the fine print on the flyer looking for the shows "less interesting to the public," but Teenage Fanclub never appeared on the lineup. The possibility of seeing them at a proper venue was fading. At that point, I would have settled for a 20-minute set at 4 p.m. on stage number 7 of said festival... or another.

Then, Gerry's departure made me doubt whether the band would continue, and the 2020 pandemic arrived. The years went by. Until one day in 2024, I read in an Instagram post: "Teenage Fanclub in... Ulaanbaatar, Mongolia." "No, now that's it," I thought. "They're never coming to Argentina!" Outrage! They play in Mongolia—and I have nothing against Mongolians, I love them!—but if there's a distant, inhospitable place with no visible rock culture, that's the definition of Mongolia. I swear I gave up then. I thought my only chance would be to travel to the UK or Europe at some point to catch one of their tours, like my friend and colleague from Los Andes, Sebastián Rubin, who saw them in 2018.

They say miracles exist, and in 2025, a light of hope emerged. At the beginning of the year, the São Paulo date for September was announced, and I started planning a trip to Brazil. The planets seemed to align—they didn't play Planets at the show, the 1st absence from the setlist—: 

I feel the planets surround me 

They gather 'round me 

A little later, I found out through "secret sources" that "it seems Teenage is coming to Buenos Aires"... At last! From having to travel 2100 km to São Paulo to taking the bus for three stops to get to the venue, it was truly a sign that God—if he existed—thought of Argentinians this time—God Knows It's True... the second major absence from the setlist.

Seeing Teenage Fanclub live was one of those pivotal moments in my life that I will never forget, an event I waited more than 34 years for. As a fan, as a musician, as a person. Since 1992, when I fell under the spell of Bandwagonesque, I've been waiting for them. Because that's what it is, ladies and gentlemen: a spell these guys have cast on me—and on so many others around the world. And what better than they themselves in Baby Lee - another one missing from last night's repertoire...—to explain what they did to me: I'm enchanted, I've fallen under your spell How can I resist When you cast them so well? And yesterday, it happened. Teenage Fanclub in Buenos Aires! The owners of the recipe, the creators of the special sauce.

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The build-up and the show

Before the main event, Sebastián Arpesella played and gave a soft and delicate show. A former member of Grand Prix, my colleague Rubin's band in the '90s, who was invited onto the stage and reunited for a self-tribute, performing two songs. The anxiety was growing, and on my way to the bathroom, I saw Euros Childs listening to the opening band. I managed to say hello; he was the only member of the band I could get close to. I didn't make him uncomfortable with my fanaticism, I just thanked him for being here.

Around 9 p.m., the assistant with his flashlight, like a Bat-Signal, announced to the sound engineer that the start of the show was imminent. And so it was: the guys came on, and emotion flooded me. I was three metres from the security barrier, seeing my idols in person for the first time. The concert kicked off with Tired of Being Alone and I sang all the lyrics, sometimes phonetically, and I was already losing my voice! I thought to myself, "I'm seeing them! They're right there!" Then, the first classic, About You and the first ovation came. What I didn't like was the change in key; I think there are songs that are very difficult to lower in tone, and this is one of them.

The first part of the set, with Ray at the front, continued with Endless Arcade which was the best version of the first three songs, with its Barrett-esque psychedelic influences. Previously, Norman made the first greeting, thanking the audience and acknowledging that it had taken them 36 years to be here.

Now it was Norman's turn to take the lead vocals. When he plays an D major, I speculate out loud: Norman 3! But I was wrong, it was the turn of The Cabbage one of my favorites from Thirteen, an album I love and enjoyed a lot at the time—it was the first one I bought contemporary to its release. A highlight was Ray's minimalist solo with the classic rock lick that XTC calls Ernie.

Then came the second big ovation with Alcoholiday and I told my friends Fer and Pablo, "This is the riff of my youth" when the song gets heavy metal, before all I know is all I know.... The "Norman set" closed with the beautiful I Don't Want Control of You which, to my taste, sounded a bit more subdued than the recorded version, less brilliant. Let's grant that the album version is practically unbeatable! 

During the video Barby Recanati (see below) did with Ray via Zoom before the show, he mentioned that he was a fan of Syd Barrett and The Piper at the Gates of Dawn. And at this concert, I started to detect details in their songs! I already mentioned it in Endless Arcade and in Everything Is Falling Apart the next song, that feeling of a mantra that abounds in their compositions appeared. The solo, which uses the Mixolydian scale, transported me to other landscapes. At the end of the version, Euros added a detail that isn't on the album, and the song started to sound like Kraftwerk (!).

There was a change of instruments: Norman on bass, guitar with capo for Dave, and Fender Telecaster with open tuning for Ray. The audience chanted "Ole, ole, ole, Teenage Fanclub!", and 120 Mins arrived. Raymond at his best, another of my all-time favorites, with lyrics that resonated with me in those years: I don't wanna be alone, I don't wanna be well known. Great work by Dave on the lead guitar; I think that was "his moment." 

It continued with It's All in My Mind another "new" classic. Super tight, in my opinion, one of their best songs: minimalist and modern. And we got to Metal Baby People were dancing and singing, and the group shone with another furious version, with a very Rolling Stones ending.

At this point, I was surprised by how the band sounded. I didn't imagine they were so precise and that they rocked this way live. Francis is the engine and has the right beat, at the necessary volume. In this big venue, he came through with power and precision.

Norman said something about Raymond showing us the use of the wah-wah. We speculated among the nearby audience, like people in the bleachers at a soccer match, about which song would follow. I guessed that It's a Bad World was coming, another high point in Raymond's repertoire. 

What You Do to Me followed, and the crowd exploded, chanting from start to finish and even generating a small but lively mosh pit. By this point, we were already surrendered to the Fanclub, and the musicians were seduced by the Argentine audience.

I imagined that—since they had said they would play classics for being their first show—they would perform Your Love Is the Place,  in my opinion, Raymond's highest point. So I let myself be carried away by this song, although, to my taste, the tempo was a bit slow and I was expecting a more energetic version.

A friend and former student, Santi, approached me and hugged me at the start of I'm in Love. The first thing he said to me was: "I'm in ecstasy," and he perfectly described my feeling. I borrow his words. I get distracted and chat with him for a while, so the song, which is short on its own, flies by.

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The final stretch and the encores

There's a moment of "rest" after so much high, and I think the beautiful version of Middle of My Mind also serves as a breather for the musicians; it sounds better live than on the album. As a digression, there were no vinyls in the merch, which I think is a great shame, since here it's very expensive to get a record. And well, for now, I'll continue without having Nothing Lasts Forever.

Now we enter the final stretch and another peak moment: someone from the audience asks for it, and Norman grants it, Neil Jung. The "stadium" came down, and the group delighted in the crowd's singing of the solo melody, which continued even after the song ended. The band applauded their Argentine audience. Raymond now tells us: The World'll Be OK and we returned to the psychedelic side, alternating a yin-yang of atmospheres with the previous and the next song: The Concept.

And the concept is Norman's melodies, which have that je ne sais quoi, that touch that makes them eternal, irresistible, and that cut before the coda in which time seems to be suspended and is eternal... and the coda itself, one of the most beautiful in the history of rock, I dare say, only surpassed by Hey Jude. Again, the audience sang in ecstasy, Ray's enormous solo, and the end. Ovation and chants asking for what Norman had already announced before starting the song: they're leaving, but they're coming back.

Raymond's reminder

As far as I'm concerned, they should keep going, because there are many more songs I'd like to hear. The chosen ones for the encores were Back in the Day, Falling into the Sun and Mellow Doubt - a gift for the people, since I haven't seen them play it as an encore on another setlist, although I could be wrong.

And we got to the farewell. Norman genuinely thanked them for having come down to Argentina and told us that they had wanted to do it for a long time, but it hadn't happened. Today it did, and I hope they come back soon, because we need them. Everything Flows is the classic final song of every show for a while now. A priority, you know it, but you have to experience it, you have to live it! I was in Flow mode after the demolishing ending, a few inches off the ground.

Several friends and former students approached me and repeated the same words: "Thanks to you, I'm here today." The evangelism bore fruit, and although we're not a gigantic crowd, yesterday more than 1000 of us, Argentine Fannies, had our moment of glory, our celebration of love for the band. And we gave them the warmth we have on this side of the world and, from what I felt, it was more than enough for our heroes on stage.

I waited a long time, and yesterday it happened. Teenage Fanclub in Buenos Aires: beautiful, emotional, long-awaited, unique.

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Setlist

Tired of Being Alone / About You / Endless Arcade / The Cabbage / Alcoholiday / I Don't Want Control of You / Everything Is Falling Apart /120 Mins / It's All in My Mind / Metal Baby / It's a Bad World / What You Do to Me / Your Love Is the Place / I'm in Love / Middle of My Mind / Neil Jung / The World'll Be OK / The Concept 

Encores Back in the Day / Falling into the Sun / Mellow Doubt / Everything Flows