IDLES tackle everything from Brexit to gym lads on ‘Joy as an Act of Resistance’

Aggressive, political and raw is perhaps the best way to describe UK punk rock five-piece IDLES’ sophomore album, Joy as an Act of Resistance. The follow up to their 2017 debut Brutalism defied all odds for a punk band in 2018, shooting straight to number five on the UK album charts.

Opening with the raw and anthemic Colossus, the album really starts as it means to go on. Huge drum beats accompany the dirty, slow riff while the almost 50/50 blend of screaming and melodic vocals from singer Joe Talbot take centre stage. The repeated lyrics of “it goes and it goes and it goes” create an eery and intimidating listen throughout the whole track, making it a strange but equally enjoyable first listen. The track then slows right down, before launching right into a heavy riff and changing tempo to a much faster feel. The track encapsulates what this album is about, and sets the mood perfectly from the get-go.


The songwriting displayed on the tracks throughout this album is perhaps what makes it stick out. Poking fun at all aspects of life in modern Britain, the topics tackled by IDLES on this record range from ‘gym lads’ to politics and Brexit.

Never Fight A Man with a Perm is the second track on the record, and perhaps one of the best on the whole album. It’s the lyrics that particularly stand out on this one. Poking fun at those lads obsessed with the gym and going clubbing to pinch girls’ arses, Talbot sings “You look like a walking thyroid / You’re not a man, you’re a gland / You’re one big neck with sausage hands / You are a Topshop tyrant / Even your haircut’s violent / You look like you’re from Love Island”. 

The album continues to produce great tracks as it goes on. The brilliant chorus of Danny Nedelko is a song worthy of fans to mosh along to at gigs. The track is a strong punk track with a deep, political theme: immigrants. Written about a good friend of the group who is a Ukranian immigrant, the opening lyrics of “My blood brother is an immigrant / A beautiful immigrant” set the mood for the rest of the track. This is precisely what the band, and the spirit of punk, is all about: giving a big ‘fuck you’ to the system.

It’s safe to say the songwriting and vocal style are among the biggest reasons this album has achieved so much. Samaritans deals with toxic masculinity while Great looks at Brexit and scoffs at some of the more irrational reasons people may have for voting. Lyrics such as “Islam didn’t eat your hamster” and “wombic charm of the union jack, as he cries over the price of a bacon bap” work perfectly in this song. They are funny, while also showing how silly this whole Brexit nonsense is.

IDLES have done superbly in this album. While the instrumentation is perhaps not as strong as other records out there and the style is not for everyone, the meaning behind the tracks is what makes it great. This album has soared to number five in the charts and allowed the Bristol punk rock outfit to play massive sold out shows all over the UK. It’s safe to say they are going to continue to do so. – gregor farquharson (@grgratlntc_)

rating 7

Gig Review: Twin Atlantic @ Summer Sessions

words + photos fae gregor farquharson (@grgratlntc)

As cliche as it is, Glasgow is always the best place for a gig. Now, put a band who grew up in the city on a massive stage with 15,000 Glaswegians and you’ll be on to a winner. That was exactly the case last night, when Twin Atlantic were main support at Glasgow Summer Sessions.

Opening with the first song off their last album, GLA, the bar was already set high from the start. Lead singer Sam McTrusty graced Bellahouston Park with a beautiful patterned suit and the band stormed through hits from throughout the years. Going straight into Valhalla then The Chaser, it was hard to believe that the band’s latest album GLA has now been out for nearly two years and we can now start to look forward to whenever the band release new material for fans to scream live.


Tracks from earlier album Free, despite now being 7 years old, still did the job of being massive festival pleasers. The ballad of Yes, I Was Drunk was a real crowd pleaser and had just about everyone screaming every lyric back to the band.

Going from slow to fast, the band dedicated the fast paced indie track I Am an Animal to headliners Catfish and The Bottlemen. The track went off, fans erupted and the atmosphere in Bellahouston Park was colossal. Other tracks from the band such as You Are The Devil and Brothers and Sisters felt like they belonged to be played in this setting: a massive gig in the city the band were born.

Closing with No Sleep and Heart and Soul, the crowd erupted into a sea of mosh pits and bouncing fans. The set was a perfect way to bring day into night, and everyone in the crowd that night would have went home with memories and stories to tell for ages.

The Wonder Years wow the crowd with two sets at Glasgow Garage

Words fae Gregor Farquharson (@grgratlntc)

Photo Credit Sam Waters (@imntsadanymore)

Following the release of their beautiful album, sister cities, Philadelphia rockers The Wonder Years brought the UK leg of their tour to the Glasgow Garage.

Opening the evening was singer songwriter AW. They opened without introducing themselves, but were quickly distracted as the crowd clapped along to the beat. “I wanted to do it all cool up here, like a rockstar who doesn’t say who they are but you fuckers clapping has put me off!” It was an hilarious moment, sending laughter throughout the room.

The sad and relatable nature of AWs songs really made them one to remember. Feelings of love and rejection were apparent throughout and really hit on those emotions that people sometimes find hard to convey.

It was time for the first of two sets from the healdiners The Wonder Years. First up was an acoustic set, tearing apart some of their most popular songs and giving them a whole new feel. Classic pop punk song Don’t Let Me Cave In felt even better acoustic. Being able to tear apart the lyrics and think of the song differently was really unique.

As well as playing songs slowed down, the rockers also played some of their classic acoustic songs. Living Room Song went down beautifully with the Glasgow crowd. Everyone clapping and singing along to the tune of the song had front man Dan Campbell on his feet and clapping away. As the band closed the first set with No Closer To Heaven, it was a unique and fun way to get the fans ready for what was sure to be a fast paced set.

Coming back on stage the band were ready to do what the wonder years do best, have fun. Opening with new track Pyramids Of Salt, before powering into I Don’t Like Who I Was Then and Thanks For The Ride, it was the perfect three songs to open up the set. The anthemic nature of these songs had the crowd screaming along to the choruses and the whole room felt connected.

Classic songs such as Came Out Swingin’ really went down well, with the smiles and expressions on the bands faces really showed how well the night was going. Perhaps the bands best song live, Devil In My Bloodstream, was next and it felt beautiful. Going from the slow piano ballad into the pop punk masterpiece it is was sublime to hear, and had everyone feeling emotional.

The end of the set featured classics such as Cardinals and Passing Through A Screen Door before closing the evening with Cigarettes & Saints. Tonight felt special, every act put their heart and soul into making it feel special. Not one person left the garage without a smile on their face, and it truly shows that despite some arsehole bands ruining our scene, alt music is still alive and well.

Producer Bruce Rintoul gives an insight into the music industry

By Gregor Farquharson (@grgratlntc)

Bruce Rintoul is a Glasgow based music producer, working in 45 A-Side Studios in the Bridgeton area of the city. Having been in the business now for well over 10 years, both as a musician and a producer, he has some great experience in what the industry is actually like. From watching bands he first worked with grow into rock superstars and even kick starting new bands careers, Bruce has seen it all within the industry.

While playing in bands himself, now established music producer Rintoul needed a quick and cost effective way to demo his work. It was from that point he decided that this was what he wanted to do.

“I just really enjoyed it and everything you could do with the audio and on the computer and ways of manipulating it. My interest just grew and grew.”

Experienced within his field, there are definite high points of being a producer.

“The best thing about the job is the team of people working towards that one common goal. Don’t get me wrong, not everyone agrees all the time, but to know what everyone is working towards is a really rewarding thing.”

Yet, it doesn’t stop there for Rintoul, as the highs well continue after the final product, whether that be an album or a single, is released.

“Getting to listen to that final product and getting to read reviews and see the sales figures, that is a really satisfying feeling.”

Rintoul noted that the album he did for Glasgow based band Vukovi was a particular highlight for him. Not only due to the fun had in the studio, but what that record did for the band.

“After we finished the (Vukovi) album, everything seemed to go pretty crazy for them. They were booked on the Kerrang! Tour and right now are on tour supporting PVRIS. From what they have been telling me the reception they’ve been getting has been incredible.”

Having been based in Glasgow for so long, he has seen many bands come and go and perhaps not quite make it. However, Rintoul worked extensively with Glasgow rock band Twin Atlantic in their early days, helping them get started and eventually turn into the huge band they are today.

“They were one of the earliest bands that I worked with starting out, and now they’re a pretty big deal. It is just really satisfying seeing that and going off to see their shows. They just played three nights at the Barrowlands in Glasgow and I was there each night. Seeing all those people there to support the guys in Twin and being so passionate about their music was just, well amazing.”

It’s not only Glasgow that Rintoul has worked in. Having been in this profession for so long, he has been to other studios across the UK. Some with extraordinary history.

“I went down to Rockfield Studios in Wales for a couple of weeks. It is where Bohemian Rhapsody was recorded and other huge bands like Coldplay, Oasis and Rush have all recorded in there.”

Although Rintoul has been working in the city for so long, the idea of a move to somewhere new has always been something that has crossed his mind.

“I often think it would be a bit easier moving to London but the thought of being self employed there with the rent prices scares me. I would say that either London, Glasgow and Manchester are the three places to be for music.”

Despite thinking about a move, Rintoul recognises the talent and hard-working nature of bands in Glasgow and why this city is such an important place for music.

“It is a slight disadvantage being based in Glasgow, since you are so far away from the music industry in London. That just means bands and musicians simply need to shout louder to be heard, and I’d say Glasgow bands are pretty good at that.”

Gig Review: Casey Lowry @ Broadcast, Glasgow

by gregor farquharson (@grgratlntc)

Already appearing on the prestigious Radio 1 A-List, singer songwriter Casey Lowry has already made quite a name for himself; last night, Glasgow’s Broadcast acted as a bunker, hosting a number of ripe up and coming acts within its walls.


It was set to be a cracking night, an assumption that was justified thanks to opening act Stop The Rain. Setting the room alight with their catchy riffs and huge choruses, the Perth rock outfit made sure the audience remembered them with set highlight Everend: a new track, it’s polished and packs in some huge riffs and gorgeous drum work, showcasing why the band are worth keeping an eye on.

Speaking of bands worth paying attention to, succeeding support False Friends were a surprising act. Incorporating an Irish tinge to an already established rock sound, the crowd lapped up every second of a strong 30 minute set, the band showing off an impressively strong catalogue of songs.


With all the supports finished, it was time for the great Casey Lowery to step on stage. The young singer opened his set with Up and Down, inciting a wave of dancing and singing by the enthusiastic crowd and who can blame them? The catchy guitar and drum pairing sound just as good live as they do recorded. It would be difficult to ignore the cover of cult classic anthem All Star and, as you can imagine, it was an instant hit. It helps that Casey managed to add his own take on the song to create a really interesting moment.

Having only released three songs, most of his 30ish minute set was unreleased music that, for the most part, sounded great indeed. Confused was another huge song – the use of various harmonies throughout really worked well in creating a wonderful atmosphere. The huge bridge  really shined through before launching back into that dance along chorus. Casey didn’t take the reaction for granted, continually thanking the crowd for turning up.

For his last song, Trampolines, the singer made sure the audience boogieing that was a staple of his performance lasted till the final minute. It’s easy to see why he implored those in attendance to get down with it: it was an interactive experience, featuring the cliched but still fun moment of the crowd sitting down and jumping up for the final chorus. No matter how knackered everyone was, it didn’t stop them belting out the lyrics alongside Casey.

If there was major thing to take away from tonight’s performance, it’s the high caliber of young musicians showcased that make the future of music just that bit brighter.


A Flash Flood Of Changes: Stop The Rain Interview

photo and words by gregor farquharson (@grgratlntc)

Working with producer Bruce Rintoul (Twin Atlantic, Vistas, Fatherson), releasing a stunning EP and having a lineup change? That is exactly what life is like for Scottish rock outfit Stop The Rain at the moment. Catching up with Blair (Vocals, Guitar), Kyle (Drums) and new lead guitarist Leonard, we chatted about the last few months and how important they have been.

Coming from Perth, the five-piece don’t get to the city as much as they would like to. Glasgow is undoubtedly a hugely influential place for many young musicians and building a fan base here is important for the five-piece.

B: We’re still working on it. It’s taken us a while to sell the tickets for Glasgow as no ones wanted to travel over so we have kinda had to rely on trying to pack the places ourselves. A lot of that is down to having good support bands. I do feel we are finally starting to make Glasgow fans and are definitely making progress.

L: I actually moved to Fife a couple of months ago but a lot of my good friends are in and around Glasgow. I have a couple of them coming tonight so that’s always good. Thanks, guys! *laughs* 

Grinding and gigging is the best method to accumulate a fan base and while you may assume they’d rather be back home playing, that isn’t the case; as Kyle put it, the Perth scene largely consists of 18 plus venues whereas Glasgow is a lot more accessible considering they’re only 17.

While they might be a young band, Stop The Rain are already being presented with massive opportunities, such as getting to work with the aforementioned legendary local producer Bruce Rintoul on a single:

B: It was honestly one of the best studio experience we [as a band] have ever had. We have never had a producer who has been so hands-on – he was really involved throughout the process and such a cool guy to work with.

K: Yeah totally agree with Blair. It was nice how he threw himself into the track and just went that extra mile for us.

Moving forward, the band recently gained a new guitarist in the form of Leonard to add to the powerhouse unit. Gigwise, Leonard’s onstage presence, and skill didn’t go unnoticed – the enjoyment was easily seen on his face, as it was for the rest of the band. The boys are all very hopeful for what the future has in store with the rejuvenated lineup: 

B: I’m not sure it will affect us, but Leo has brought a new life into the band.

L: Yeah it will affect us man, I’m leaving tomorrow! *laughs*

B: He has brought funny vibes, good chat and he is an awesome guitar player so I think you will see our riffs become more technical. It seems we are going for a more poppy sound and I’m taking up all the vocals now so you will hear a lot more of me now.

K: Leo has brought a style to the band. We have never had a style, now we do. Basically, Leo is now the face of Stop The Rain.

L: That’s inspiring!

We wrapped up the interview talking about the bands’ EP Sinking (here’s our glowing review for reference) and how the positive comments made the band feel, and grow stronger as a unit.

B: It was great folk could hear a collection of songs rather than just singles, but all in all, we were blown away by the feedback we got. We gained a lot of true fans.

K: Yeah it was really nice to release more than one song. I mean, singles are good but having more than one song is better. It’s really great now to play more song people want to hear. Before we would play our set and people weren’t getting into it as much until we played Home Is Where My Heart Is, and then they would engage.

Being such a young band, Stop The Rain still have a lot to learn and a lot of time to do so. Yet, being a bunch of 17-year-olds and playing gigs in different cities, as well as having a full EP out, is nothing to roll your eyes out and is a dazzling achievement for the boys. The band are ready to take on whatever is thrown at them and with this new lineup, they show no signs of slowing down.

Catch the band at broadcast on the 6th of February, supporting Casey Lowery. Tickets available on the band’s website.

Top 10 Bring Me The Horizon Tracks

by gregor faruqharson (@grgratlntc)

It’s not uncommon for bands these days to have a huge change in sound from their early days, and Sheffield metal-core turned synth-rockers Bring Me The Horizon have perhaps had the biggest change over the years. Their debut EP This Is What The Edge Of Your Seat Was Made For and first album Count Your Blessings is perhaps some of the heaviest metal/death-core out there. Yet, the band progressed to the point where they’ve donned the huge, arena rock sound we adore the band for today.

BMTH’s extensive discography and change of sound throughout their career make them the perfect alternative band to critique and list the ten best tracks from the band.

10. Chelsea Smile

A live favourite and arguably the band’s breakout track, this wee metal-core banger is recognisable by not only fans of the band, but any fan of heavy music. The opening screams of “I’ve got a secret” and subsequent lines pave the way for the tremendous breakdown that awaits listeners at the end.

The screams on this song when were frontman Oli Sykes was in his prime and it’s clear throughout. The way he utilises his voice box to effortlessly reach the high and low pitches is exceptional and any fan of the genre should appreciate the skill of Sykes.

9 – Doomed

The first song on the band’s latest album, That’s The SpiritDoomed is an excellent example to show how the act’s music has matured since the early days. The beautifully produced track starts slow and builds up to that exceptional chorus that fans all over just love to shout along to.

The synth work by Jordan Fish really adds a different element to the track, with noises and lyrics fading in and out making Doomed a standout, utterly cinematic release. If you were to listen to this without knowing the band, you’d be baffled at the older material.

8 – Antivist

Antivist is just one of those songs that make you want to mosh and crowdsurf. Just listen to it; the built up anger on this track is apparent straight from the first line. The shouts of “Middle fingers up, if you don’t give a fuck”  are lyrics to make anyone stop, listen and subsequently lose their shit. The rebellious nature along with the harsh vocals and guitar truly sum up what BMTH stood for at this moment in time.

7 – Oh No

The closing song on That’s the Spirit, Oh No is one of those tracks that stands out as being truly unique amongst the abundance of other BMTH songs out there; tamer compared to others, but nonetheless astounding. The chorus alone makes you want to have a slow dance, and there’s no sign of mosh pits to be seen during this.

Overall, the song is a masterpiece and uses every member’s strengths to their advantage. The perfect close to a tremendous album.

6 – Go To Hell For Heaven’s Sake

Appearing on the album Sempiternal, the track is heavy yet has a softer side, no doubt due to the new additions on this record. The riff that opens the track is signature BMTH and the guitar and synth work go hand in hand, as does the drumming from Matt Nicholls which keeps the up the pace. It’s the final section of the song that makes it special – the repeated lyrics of the title with the performances behind driving it results in a sonic charged yet tense listen.

5 – Can You Feel My Heart

Another one from Sempiternal and perhaps the track that defines the modern BMTH sound, CYFMH is one of those songs that makes you go “wow”. The start with the huge synths, the distorted vocals, even the huge chorus and scream along moments, the song defines what this new age of BMTH was going to be like. Even live, the song is just as popular, with fans using it a cathartic method of letting loose.

4 – It Never Ends

The only song on this list to come from the bands’ third LP, It Never Ends is a glorious example of what the Sheffield rockers were going for on There Is A Hell. Blending the sounds of violins and cellos with metalcore seems unlikely to work, yet this song manages it. The massive bridge of Sykes screaming “every second every minute every hour every day” is enough to send shivers down your spine. Despite the track not being widely appreciated in terms of live performance, it doesn’t take anything away from the fact that it’s one of the best songs the band have ever produced

3 – Throne

This was the second single we heard from That’s the Spirit, and boy is it a cracker. Throughout the majority of the track, we’re graced with some glitchy yet lavish electronic noises, backed up by some monumental riffs and drumming. The song as a whole is huge and made for the biggest venue possible. While some may dismiss the band’s latest album as too poppy, Throne shows that Oli and co. are more than capable of going hard when needed be.

2- Sleepwalking

The biggest hit from their 2013 release, Sleepwalking is an outstanding example of when electronic and metal collide for the better. The huge rock chorus blended with the screams in the verses works brilliantly. This album was the first which used the ability of Fish and it’s easy to see why he was such an influence on the band. Sleepwalking is one of those songs that when you hear it, you couldn’t mistake it for anything other than a Bring Me The Horizon tune. Absolute belter.

1- True Friends

A controversial choice but this is arguably the pinnacle of BMTH’s attempt to balance their harsh origins, synthy rebirth and pop-friendly attitude. The isolated vocals, which are more in turn with the singing Sykes wanted to go with on this project, smack delightfully into a rip-roaring clash of chilling violins and guitars. 

Live, this song is beautiful as it really does exemplify the versatility and talent of the band, something that can be seen on the faces of everyone in attendance as they, once again, cavort and kick off. True Friends is the manifestation of elements that any Bring Me The Horizon fan will adore, and it’s why it’s the top pick for this list.


check out the tracks above in this handy playlist

Album Review: Hold On To Your Heart by The XCERTS

by gregor farquharson (@grgratlntc)rating 9

If you know The Xcerts, you know the band’s knack for catchy songs and a firm sound. Latest release Hold On To Your Heart shows not only a step up for the band but blends the sounds of pop and rock together. Innovative tweaking and huge arena rock blasts through the record, but the emotion factor that many adore the Aberdeen/Brighton three-piece for remains there.

Opener The Dark has a similar feel to 2014 track There Is Only You with the isolated piano and vocals of Murray Macleod, a man who remains to be in impressive form. The beauty this song radiates continues until the very end, closing with Macleod belting the lyrics “Tell me when the worst is over”. Going straight into one of our top picks of 2017, Daydream, we already have a feel for this album – the high-school love story vibes are totally intended and blur the lines between cheesy and anthemic, easily allowing the act to stand out in a genre that can be too afraid to let their hair down and get a bit nostalgic. Lead single Feels like Falling In Love is much the same, the funky riff and chorus providing smiles and dancey moments, while still not losing that much-needed rock aesthetic which gives the album its edge.

First Kiss is an unapologetic feel-good cut off the album, in a way that it perfectly suits the Aberdeen rock outfit. The buildup to the chorus each time never gets old, featuring the elements that will be sure to make it stick out and become a huge favourite for the fans. It’s at this point in the record that it becomes apparent that the last three and a bit years have been put to good use, the constant grafting and new organic way of songwriting providing some stellar results.

Continuing with huge riffs and that pop-rock feel, Crazy fits in with it all perfectly. Title track Hold On To Your Heart was released as the third single and feels like one of the most innovative cuts off the whole album. Much like First Kiss, Hold On To Your Heart retains that feel good factor while packing in a beautifully crafted guitar and bass beat that is a total head bop. The chorus feels absolutely colossal and it’ll be no surprise if you’re struggling to scrape it out your cranium once the album’s done – it’s the band’s best song to date and stands out enough on this album while not screwing with the overall cohesion of it.

As the album progresses, The XCERTS don’t wind down: Drive Me Wild incorporates some saxophone which adds to the variety without bordering on being gimmicky. The huge guitar and sax solos in this track are astounding, perfectly intertwining and showing off the band’s great attention to detail, down to the tiniest of sounds. We Are Gonna Live sounds more similar to something off one of the band’s earlier albums, with the catchy riff paired up well with a dancey little chorus. It doesn’t feel quite as fresh as the rest of the record, but this doesn’t take away from how good it is.

The final two tracks Show Me Beautiful and Cry are much more slowed down and, sadly, the former isn’t quite as strong as what has come before. Cry, on the other hand, is a piano lead song, similar to that of older XCERTS songs of the same nature. Utilising the immense vocals of frontman Murray Macleod, the ballad closes the album wonderfully though, clocking in at a strong five and a half minutes, it may come off as a bit stretched for some.

An album that has undoubtedly had time and care put into it, Hold On To Your Heart delivers some of The XCERTS best work to date. There’s a great deal of variety on display that helps it to stand out as their most polished and impressive work to date: it’s a natural progression for a band that has put the work in and are finally reaping the benefits of their graft. 


Gig Review: Seaway W/ Woes, Lizzy Farrall & Remind Me Of Home @ Stereo

photos + words by gregor farquharson (@grgratlntc)

Love it or lump it, there’s no denying that pop punk is one of the most fun genres out there. Seaway hadn’t been over to Glasgow in a year so tonight felt like a kinda big deal. Bringing along three top-notch acts in the form of Remind Me Of Home, Lizzy Farrall, and Scotland’s pop-punk heavyweights, Woes, everything was in order for the night to be a rip-roaring success.

Remind Me Of Home

First on the bill was the local support Remind Me Of Home. Being hit with what is often regarded as the graveyard shift for gigs (15 mins after doors), it was amazing to see the number of people that had turned up early to catch the set. The young band did well enough to make an impression, making them an act that is definitely worth keeping an eye on in the future.

Lizzy Farrall

Lizzy Farrall was next, a different act to the rest of the bill, but certainly one of interest. Singing sad acoustic songs, the emotion captured on stage from the Manchester singer was something of beauty – truly a change of pace, it helped to keep the night varied but no less amazing.




It’s no secret that Woes have made an impression on pop-punk fans both in Scotland as well as the rest of the UK. Known for their lively shows and raw passion for what they do, the band put on a headline-worthy performance. New song Real World sparked mosh pits in the crowd and the cover of Last Resort went down a treat. Charismatic both on and off the stage, 2018 is going to be a colossal year for an act that truly deserves it. 




After an exceptional bill, the crowd were 100% ready to see the headliner in Seaway. As soon as first song Best Mistake played, it unleashed what can only be described as utter mayhem throughout Stereo. Crowd surfs and stage dives galore, the set was a beautiful example of how fun the genre is. New songs London and Apartment proved to be just as good live as on record. Even playing older songs such as Your Best Friend and Shy Guys, the set tore the venue apart. Closing the set with the utterly beautiful Slam and Seaway classic Sabrina The Teenage Bitch, tonight’s gig was over.

While there’s no ignoring the bad stuff that is still prevalent in the genre, tonight served as a reminder of what pop-punk can achieve when it focusses on everyone having a good time. Fun as all hell, every act tonight put on an incredible show that was enough to reinforce why people who love pop-punk, well, love it.

Gig Review: We Were Promised Jetpacks + Fiskur @ Garage, Glasgow

By Gregor Farquharson (@grgratlntc)

Returning from a one year break, We Were Promised Jetpacks were set to finally play shows again, much to fans delight who have been eagerly anticipating their comeback.


Set with the task of kicking off tonight’s proceedings was Fiskur, a young singer-songwriter who definitely left his mark: with a unique sound and impressing with various tracks, especially midway through the set, he’ll be one to keep your eye, or ears, out for in the future.

The headline act were finally on stage and they made sure to kick off in suitable style: We Were Promised Jetpacks opened their set with a new song, a slow starter into that huge instrumentation the band are known for. The theme of playing new material continued for around 5 songs, with every sound sounding fresh, yet still sticking to the roots of why Jetpacks are such a powerhouse.


Finally, however, the band played some older stuff. The huge Sore Thumb rocketed through the tiny room, and the raw emotion from the frontman was seen as well as felt. Fan favourite Human Error felt something special, perhaps because it was the first time in the set the fans could let themselves go a bit. It has to be said though that only time will tell if the new material the band played will become staples of future sets.

The band played more new tracks, perhaps too many for a headline gig: the gig almost felt like a practice session that fans could sit in on as there wasn’t really any crowd reaction unless they played older songs, of which there were only a handful of. When they did play some old tunes, however, the crowd were ecstatic: as soon as the drums built up into the rocky guitars of Short Bursts, the room erupted into applause. 


To finish, the band played some more new material, except this song felt a bit different. The track seemed to fuck everything into the one, harsh guitar with melody’s and slow drums, then flipped to a more mellow sound on the guitar, rougher vocals and the drums going crazy. 

Moments like that went to show that the new material didn’t put a dampener on the night though the lack of older stuff definitely did. This probably wasn’t helped by expectations being incredibly high due to the wait and while it was a good night, it felt likes more of an album listening party at times as opposed to the comeback gig some fans may have hoped for.