Album & Live Reviews

The new year means another batch of monthly releases from Frontiers srl and they have new work from some big hitters lined up over the next few months including Harem Scarem, Perfect Plan and W.E.T. The pick of the bunch from January was ‘Electrified’; a 2nd release from Serbian band The Big Deal. Founded around the husband-and-wife team of Marko and Nevena Brankovic, the band have worked with esteemed writers like Anders Wikstrom (Treat) and Jonas Tee (H.E.A.T.) to produce another fine platter of melodic hard rock. The focal point of the band is the beautiful dual-vocalist pair of Nevena and Ana Nikolic and they are to the fore in the band’s promotional videos, grabbing the attention with some salacious outfits and Nevena’s distinctive keytar work – she’s classically trained and there is an air of sophistication to the band’s music, but it’s the catchy and punchy numbers like ‘Survivor’ and especially the defacto title track ‘Like a Fire (Electrified)’ which have the biggest impact. They rock hard too and ‘They Defied’ has a feel of Sabaton-lite about it. The band look like they are an exciting live proposition and they will be showcasing their talents at the Frontiers Festival in Milan in April.

Glasgow has a long-standing affection for Country music: hell, the blue-collar city even has its own Grand Ole Opry club and always pulls in a big crowd for the annual Country to Country shows. Chris Stapleton played at the enormous OVO Hydro last year and sold it out in minutes, so it was perhaps no surprise that modern country’s rising stars Brothers Osborne sold out their first night at the nearby O2 Academy and then did the same thing with a hastily-added second night. This was my first time seeing the Maryland-born brothers but I’ve seen pictures and I’ve heard stories about previous shows at venues like The Queens Hall, Edinburgh and ABC Glasgow on their journey to build a loyal, engaged and ever-growing audience. Word has been getting around, even in the rock community, where the band have huge cross-over appeal. Supporting artist Tyler Braden was a new name to almost everyone in attendance but by the end of his short set, he and his band had won a whole bunch of new friends. Hailing from ‘Slapout’ Alabama, Tyler is a burly, bearded and authentic-looking country boy. He started out as a firefighter before moving to Nashville and he brought a strong deep voice and a pocketful of great songs with him to Scotland. With the band already on stage, Tyler emerged wearing a ‘Still Game’ bunnet and holding just a microphone to deliver ‘Me or the Dawn’ almost in the style of modern country-rap, as performed by artists like Jelly Roll and Hardy. After that, he strapped on a guitar and rocked-up a more traditional country storm with ‘More Than a Prayer’ and followed that with the hard-driving ‘Thank Me for That’ which might just be his best and most-underrated song. In between those two, came an important men’s mental health message in ‘Call Me First’ which Tyler was apparently inspired to write by real-life events and repeat listens of The Fray’s ‘How to Save a Life’ and it has become one of his most-played tracks. In addition to the bunnet, Tyler also shamelessly sucked up to the Scottish crowd with a snippet from our contemporary national anthem ‘I’m Gonna Be (500 Miles), thankfully without doing a Shrek accent and he at least had the good grace to find out what “havering” meant in advance. Tyler’s Mom is over here with him and she was right down the front for this show, so he serenaded her with a brief excerpt of Elvis’ (You’re the) Devil in Disguise, which set-up the next song; a great new un-released one called ‘So Long’ which is an angry and bitter “go to hell” song written for an ex: (“it’s been so long, since you said so long….but it ain’t been long enough”). Could it be any more country? The closing number was ‘Devil You Know’ and this song has been getting a lot of radio play, which certainly helps to raise the profile. When Tyler finished the vocal bit, he waved and walked off to leave the stage to the band (Will Martin: Bass, Dan Crawford: Guitar and Eric Schanie. Drums) for a mini-Freebird instrumental freak-out at the end. He didn’t come back but he will have heard the clapping and cheering all the way back to the dressing room after a job-well-done warming up the crowd. We’ll be hearing more from this guy. The Brothers Osborne opened their set with some swirling Hammond Organ before launching into their ultimate party-starter ‘Might as Well Be Me’. You can’t help thinking about the Danny DeVito / Arnold Schwarzenegger film ‘Twins’ when you see the titular siblings on the stage. They’re both tall and strong but guitarist John sports that eternal country look with hat, beard, work shirt and boots, while TJ sports a sharper haircut and a more fashionable city slicker look. They both sing brilliantly but TJ takes the lead most of the time with John providing the lead guitar parts and vibes. Including the brothers, there is a six-piece band in action and for ‘Nobody’s Nobody’ they each have a vocal mic and join in on the harmonies. ‘Shoot Me Straight’ follows that and gives Big John a chance to step on a riser and show his guitar skills. ‘Skeletons’ is a highlight. Lyrically, it borrows a line from Crystal Gayle’s 1978 hit ‘Talking in Your Sleep’ and adds a clever chorus line of “you’ve got skeletons in your closet – and I’ve got a bone to pick with them”. TJ introduces my favourite of the band’s tracks as “one for the love birds”. Of course, it is ‘I Don’t Remember Me (Before You); and the brothers’ vocal inter-play is Everly-level good. The band’s outlaw country swagger and attitude are on display with ‘I’m Not for Everyone’ and ‘Weed, Whiskey and Willie’. I suppose the Weegie equivalent would be ‘Beer, Buckfast and Boaby’ although it’s not that kind of Willie in the real song – its Willie Nelson. That was followed up with the first of two cover songs that are popular with football crowds in Tom Petty’s ‘I Won’t Back Down’ which is a favourite with Gainesville’s Florida Gators. The BO’s version featured on an EP last year. To emphasise that this is not your grand-daddy’s old country & western, TJ absolutely slays on ‘Stay a Little Longer’ with all its ripping off of T-shirts and hands all over bodies. This song was the absolute roof-raiser of the night and earned a frenzied response and extended post-song enthusiastic ovation from a crowd who were bringing it all night long. Unfortunately, just after they had opened up a can of musical whoop-ass and whipped the crowd into a frenzy, the buzz was killed by an inexplicable cover of Bob Marley’s reggae plodder ‘Three Little Birds’ whose “Don’t Worry About a Thing’ refrain is popular with fans of Ajax Amsterdam among others. I think the idea was to supply some musical ganja to mellow everyone out, and maybe some of the people in America might need it, but frankly, I was there to party and that song was a pooper. Some folks seemed to enjoy a wee singalong though, but I couldn’t help thinking about what we missed out on to accommodate this clunker. A tasty bit of slide guitar in ‘Rum’ started to build things up again and a throbbing version of ‘Burning Man’ (the brothers’ collaboration with Dierks Bentley) got us back on track before the main set closed with another absolutely classic live masterpiece ‘It Ain’t My Fault’. This was clearly a crowd favourite and folks were absolutely on-point with syncopated hand-claps and a Native American sounding vocal “woah-oh” chant which they kept going long after the song had finished and maintained right up until the band came back on for a 3-song encore. Lyrically, ’21 Summer’ is like a country take on the Bryan Adams’ ‘Summer of ‘69’ theme and that was followed by ‘Break Mine’ and ‘Heart Shaped Locket’ before we all went noisily into the cold Scottish night. I think the next time we see these brothers here it will be in an even bigger hall – they’ve earned it.

With the devastating news of Tony Clarkin’s passing last year, I wondered if I’d seen the last of Magnum. It was hard to imagine anyone standing in for the co-founder of the band, guitarist from the very beginning and writer of Magnum’s entire body of work. Clarkin truly left a legacy, one that fans of the band have been clamouring for Magnum to honour with some final live shows. Tonight, they get their wish, as the group commence a short UK tour in tribute to their fallen leader. I’m in London (Kentish Town, to be precise), and there’s a notable sense of excitement emanating from the bustling pubs that surround the venue, filled with fans swapping stories and comparing t-shirts, wondering what songs are going to make the setlist. It’s more of the same as we enter the O2 Forum, a significantly larger venue than the originally planned Islington Assembly Hall. We know it’s a show of two halves, no support, and that we’re likely to hear some songs that haven’t been played live for many years. The lights darken and it’s a hooded figure in black that first graces the stage, lights thrown against a reflective mask, providing a suitably dramatic prelude to ‘How Far Jerusalem’. Could there be a more perfect opener? It’s a distillation of all that makes Magnum so wonderful; grandiose, epic and yet somehow accessible. Bob Catley is, as ever, impossible to look away from, his arms in a constant dance, waving us through every note. And he sounds great, or at least he does when I can hear him over the man behind me bellowing every word in my ear! But it’s to be expected, the atmosphere is celebratory rather than sombre, a chance to rejoice in the magic Clarkin has left for us. It’s certainly an adjustment to see an unfamiliar face stage left. But guitarist Brendon Riley is not entirely new to the Magnum family, having served as Clarkin’s guitar tech for many years. Perhaps that’s why his integration with the group seems so effortless, and why, despite looking a little ill at ease at times, he proves to be the perfect man for this daunting job. He seems to relax as the evening progresses, possibly helped by the warmth of the crowd who appreciate his respectful take on Tony’s guitar parts. He plays it straight, no unnecessary embellishments, and we love him all the more for it. It’s fantastic to hear ‘Lost on the Road to Eternity’, a song that has rightfully earned its place as something of a live anthem. I’m surprised to find that it’s the lone representation of anything released in the last ten years. I’m probably in the minority but I’d welcome a little more of the band’s recent output, particularly from ‘Here Comes the Rain’, an album that seems destined to be confined to the studio. But general consensus is that this is the set list of dreams. Admittedly, it’s hard to imagine anyone being unhappy to hear ‘Wild Swan’, ‘Just Like an Arrow’ or ‘Vigilante’. There are some surprises along the way, ‘The Tall Ships’ providing the first, a change of pace with the band seated, Catley and bassist Dennis Ward singing in beautiful harmony, backed up by an audience who are loving this opportunity to sing along. ‘Need a Lot of Love’ also finds a place in the set for the first time in many years and is met with absolute rapture, Rick Benton's swathes of keyboard bathing the number in real elegance. It would be almost sacrilegious, of course, if the band didn’t play ‘Les Morts Dansant’, surely one of Clarkin’s finest compositions. It’s a beautiful moment to witness the phone torches light up the venue and to hear the song brought to a crescendo by Lee Morris’ thunderous drumming. And just when I think my goosebumps are about to subside, the band deliver ‘Don’t Wake the Lion’, a song that has to be heard to be believed, initially restrained and gentle, it transforms into something altogether different as it reaches its dramatic peak. The second half of the evening flies past in a rush of wonderful familiarity; ‘Soldier of the Line’, ‘On a Storyteller’s Night’ and ‘Kingdom of Madness’ keeping us in Magnum heaven. When it comes to encores, a majestic rendition of ‘The Spirit’ is dedicated to Tony Clarkin and ‘When the World Comes Down’ closes the show, a song that feels even more poignant under the circumstances. It's incredibly moving to be part of an audience who are so invested, throwing their all into every 'woah'. For many, it’s an emotional evening, the absence of Tony keenly felt, and surely even more so by his former band mates. Add to that the creeping realisation that this might be our final opportunity to hear these songs live and it’s no surprise that some tears are shed. But there’s a glimmer of hope in Catley’s words that he’ll “see us again sometime, somewhere”. It certainly seems that Magnum are happy to be back on the stage, delighted by the warmth and enthusiasm rightfully shown by the audience tonight. Tony Clarkin would surely be very proud. SETLIST How Far Jerusalem Lost on the Road to Eternity Wild Swan When We Were Younger The Tall Ships The Flood Les Morts Dansant Don’t Wake the Lion Soldier of the Line Just Like an Arrow Need a Lot of Love On a Storyteller’s Night All England’s Eyes Vigilante Kingdom of Madness The Spirit When The World Comes Down

Some nights life just throws a heap of new things at you and Thursday evening was one of those for me. I am rarely in Leith and, so, a night in a venue on Leith Walk was something a bit different, particularly as tonight’s venue, Leith Depot was a place I’d never visited before. I arrived to find a buzzing, trendy bar, the sort of place that’s all wooden and has had a fortune spent on it to make it look old. On a Thursday in early January, it was good to see it packed out. There was a sign pointing the way to the venue and it took me to a big old door, behind which I could hear some music wafting out. Opening the door took me into a concert space the like of which I had never experienced before. I was literally standing in what had clearly been a living room. Now, it was a pretty big living room, but it was a living room nevertheless. The place had a funny feel to it, really nice, but also a little unusual. It felt like it was a mix between, a music club, somebody’s front room and a chic, underground, hipster joint that somebody like me had no business visiting. The crowd mirrored that mix. There were folk in leather jackets, others in V-neck jumpers and some so styled they could cut themselves. It was a really eclectic mix, but it was also a cool one with a mega welcoming vibe. I liked it. I reckon the space held about 70 and tonight it was chalk full. It was great to see people out on a Thursday having a couple beers with friends and spending a fiver to come see some live music performed on a stage that rose no more than 4 inches above the carpeted floor. Regretfully, I arrived too late to hear any more than the ending bars of the Heartbreak Diet, who deserve a listen just for the name alone. The crowd were enthusiastic, and I will look out for them again. I always enjoy an intimate gig, but this was a new level. Before they started, the singer announced that a set of keys had been found. Pockets were checked and the owner identified themselves and the keys were returned. Now, time for the music. The Cartoon Boyfriend’s have been around the Edinburgh music scene, in one form or other, for the last five years or so. The band write their own stuff as well as playing a few covers that very much point to their style and influence. And that influence? It's clear the five guys who make up the band all enjoyed the jangling, guitar driven music, that came out the post punk scene and which made the ’90 so much fun for guitar bands. First up was “Something to Say”. Like most of tonight’s set, this was drawn from their 2022 album ‘Get Up and Dance Together’. The album is on Bandcamp and very much worth a listen. “I Never Told You I Was Perfect” was next then a cover of “Psycho Killer” and, already a theme was starting to emerge. This was a band who were introspective and self-deprecating with their lyrics and who enjoyed a strong punch through with the guitar. No long guitar solos either and very few singalong or call and return song lines, this was a no nonsense approach to music, and, I think it worked. “Extravagant Party” which described an older guy looking back to times of greater freedom and success was followed by “I’m Not Playing Without You”. This had a really nice riff to it and had a bit of a dance-along vibe. That said, there was not too much dancing going on, however given the setup of the venue, singer Chris was able to jump of the stage – remember it was a perilous 4-inch drop, have a wee pogo, and return to voice duties without losing a beat or his breath. Another cover and, I think, The Cartoon Boyfriends did a good job of making The White Stripes “Fell In Love With a Girl” their own. Back to their own stuff and I really enjoyed new song “Crush”, it was song of the night for me. “Crush” was followed by “Arsehole” which was a far kinder song than the title suggests. Again, it was self-reflection and self-blame that came battering out of this song. Like most of their stuff, I thought this was witty, pithy and came with a wee touch of Buzzcocks Pete Shelly both in style and delivery. The night ended with two more from the album, “Nothing to Lose” and “Croydon/Sutton”. There was a shout for an encore but the band had run out of songs so “I Never Told You I Was Perfect” got a re-run. It is important to doff the cap to the sound guy. What a fantastic mix he got out of the night. Guitars were sharp and vocal crisp and clear. There are a few, higher profile, Edinburgh venues that would benefit from giving him a call, he did a great job. This was certainly a bit of a different one for me. When there were moments of guitar tuning going on, the crowd shared stories of crofting and the challenge of naming cows as well as debating the best kind of soup – Heinz tomato, for anyone interested. I guess that’s what happens if you have a gig in a living room, the conversation can go anyway. What was important was that this was good music being played to a paying audience in a small venue which was packed. Sure, the surroundings made it feel like you were crashing a private party, but that just added to the atmosphere. I will certainly be making a return to the Leith Depot and will be looking out for The Cartoon Boyfriend’s next gig.

Welcome to the dollhouse dear readers; your hosts are Sisters Doll, a four-piece band of Mileto brothers (yes actual brothers) from a wee mining village called Collie in Western Australia. Having relocated to Melbourne they have crafted and grafted for over a decade producing two albums and countless live shows that have swelled their doll army at every turn. Now we arrive at album number three and if I’m any judge of rock music, any judge at all, then this is the album that will send them over the top internationally. Like I said in the single review of ‘United’, when you state on your band bio that your sound is for fans of Kiss, Motley Crue and Van Halen and you add in the band is named after Twisted Sister and the New York Dolls you damn well better have the cojones, charisma and craft to back that up. Let me tell you right now these four firebrands tick every single box then promptly burn them to the ground. Kicking off with a ninety second, scene setting instrumental entitled ‘Purgatory’ it allows you to acclimatise to the sound, mix and frankly outstanding audio assault that’s about to follow. Big, open, almost flamenco chords give way to an acoustic riff that’s builds beautifully to an electric finale. As the opening instrumental fades, we’re met with a wall of amplified thunder as ‘Climbing Out of Hell’ explodes into life. It softens just slightly before quickly going back up through the gears to be an all-out rocker. An incendiary guitar solo with subtle yet sublime bass runs take it firmly into fist pumping anthem territory. Yes, we’ve just had Purgatory into Climbing Out of Hell…somewhere back in time two Winchester brothers had this blasting from a 67 Impala! Quick breath and we’re launched into another glorious anthemic rocker called ‘Prisoner’. The ascension through the chorus is classic unapologetic eighties and it’s bloody marvellous, melodically dirty would about cover this one. After two huge hard-hitting anthems it’s time to lighten things up a little with a brilliant power pop piece called ‘Change’ and a chance for the listener to connect with the lyrics as opposed to their neck muscles. Beautiful mid-tempo rocker with another perfectly placed and tasteful solo, the gang chorus vocals with lead over the top to finish is just perfect. We’re firmly in ballad territory next for the ‘First Time’ and it’s unashamedly lighters in the air time or if you’re a younger doll then pop the light on your phone on, sway and enjoy. Track six already and we pick the pace up ever so slightly for a classic on the road story of long-distance love. The tribal feel of the drums carry the song brilliantly and once again the gang vocal chorus is a thing of absolute beauty, particularly in the closing sixty seconds. Side two (yes, I’m that old) of the album kicks off with more than a hint of dirty sleaze about it as ‘Baby Doll’ grinds her way to the fore. Very much a darker doll but still very much a looker nonetheless. Track eight is the lead single ‘United’ and at the want of repeating myself I’ll simply say again what I said in the single review…monstrous riff and a groove so deep it should come with a palaeontologist. Seriously, it’s HUGE! Having dabbled in the dirty melodic and sleaze worlds on previous tracks, up rocks the absolute filth of ‘Take You Away’! Another disgustingly deep groove opens into three minutes of rocking raunch n roll with just enough fret wankery to loosen knicker elastic from fifty paces. If we’re extending the doll analogy, then this is very much dive bar Barbie action and it’s absolutely glorious. Three songs to go and we’re back in the pomp of power pop territory. ‘Kiss Me’ is just a right good fun pop/rock song with just enough bontempi action to help shape it into some fluffly loveliness. In an album full of earworm action, you may have this chorus stuck in your head for days! Proving to be the perfect counter point to the previous power pop, the penultimate track draws very much from the New York side of the antipodean dolls as ‘You Can’t Bring Me Down’ is positively punk complete with a classic down tuned finish. The twelfth and final track, and we finish as we started with an acoustic intro as the title track of the album, ‘Scars’ pirouettes into life. Wonderfully poignant lyrics with a hauntingly beautiful sonic backdrop highlight a stunning four-minute build into what you think is an electric and drum laden finale before over the top comes a bank of strings to finish you off. A truly magnificent magnus opus moment to end a potentially career defining album. ‘Scars’ releases on the 24th of January and the Dolls bring their unique brand of antipodean anarchy to the UK in May 2025 culminating in a UK festival exclusive at Call of the Wild. Welcome to the dollhouse…bring your scars. Brennan Mileto – Lead Vocals/Guitar Austin Mileto – Lead Guitar/Vocals Sage Mileto – Bass/Vocals Bryce Mileto Drums/Vocals Spectre Scribe for Rockfiend

Has it really been a year since we lost Tony Clarkin? As a Magnum fan, I recall a sense of profound sadness at the news of his passing; a sinking realisation that as the band’s lone songwriter the possibility of a future for Magnum had surely died with him. A sadness somehow deepened by the release of 23rd studio album ‘Here Comes the Rain’ just days later; an album that proved Clarkin still had much to offer, both as a guitarist and a wordsmith. Whilst the likelihood of any new music from Magnum remains remote (and possibly even unwanted without Clarkin’s input), the release of ‘Live at KK’s Steel Mill’ on January 10th is certain to garner some excitement as the last official live recording of Mr. Clarkin in action. Captured at the end of the European tour in 2022, it’s a bittersweet listening experience, now marked by sorrow but ultimately joyful, boasting an impressive setlist that successfully strikes a balance between the classics and more recent material. From the keyboards that introduce ‘Days of No Trust’, this is Magnum as you remember them, alive, on stage and seeming to relish every moment. There is a magic radiating between band and audience, a genuine warmth in the interactions captured. Bob Catley is reliably affable, and in good voice (despite what you might have been told!). Yes, there’s the occasional wobble (shall we pretend we don’t notice Bob missing his cue on ‘The Monster Roars’?!), but let’s not forget that Catley is a man very much in his 70s and still singing better than should reasonably be allowed. His performance of ‘Les Morts Dansant’ is particularly moving, and his invitation for the audience to sing ‘On a Storyteller’s Night’ with him could not be better received. As the set progresses, the old favourites are dispensed with greater frequency, to the delight of those in attendance. The noise that greets ‘Vigilante’, ‘Kingdom of Madness’ and ‘Sacred Hour’ is something to behold. But I would argue that there’s as much majesty to be found in the dramatic ‘Where Are You Eden’, the adrenaline rush of ‘Lost on the Road to Eternity’ and the moody strut that dominates ‘Dance of the Black Tattoo’. Overlook modern Magnum at your peril! With tribute shows to Tony Clarkin fast approaching, ‘Live at KK’s Steel Mill’ successfully whets the appetite; a reminder of what we’ve been missing, and igniting the desire to hear these songs live once again. Magnum will never be the same, but it seems appropriate to keep Tony’s songs alive.

Big Al and I were out having a few beers and playing some really bad darts back in June. Just as one of us, him probably, managed to score a magnificent 27 with three darts at the start another leg, my phone pinged to let me know Bad Nerves were playing Tut’s in December. Before we had completed another 34 dart leg, I had tickets booked and a hotel sorted. This was one I was right keen to see. Back in April, I had come back from a punk weekend in Scarborough and forgot I had tickets to see The Hives on the night we returned. I got to that gig just in time to see the support band, you guessed right, it was Bad Nerves. They blew me away. Fast forward to the end of a challenging last week of work before the Christmas break and Big Al, Andy and I met in Glasgow for our day out. A few beers and bite to eat at the Howlin’s Wolf later, we pitched up at Tuts. This is one of my favourite venues, but not one I get to as often as I’d like. We arrived in time to grab a quick pint in the bar before heading though to the concert hall. This is a place with a capacity for only 300 gig goers; it is a small room and, tonight, it was bursting at the seams. We caught the tail end of the support band, Ultra Q. Not one for Big Al but I enjoyed what we saw. Bad Nerves hail from Essex and are making quite an impact in the world of fast music. Think Ramones and Manic Street Preachers fast and you are just about there. Bad Nerves have been touring incessantly this year and have become quite a hit on the other side of the Atlantic. Find me a band that doesn’t want to crack America and I will show you a band of fibbers. It looks, certainly to this listener, that Bad Nerves are well on their way to doing just that. They have all the vibe, presence and sound that you’d want to hear in a New York punk dive. Good luck to them, I say. Tonight, their brand of music showed off Tuts, what I think is it's, best side. Grungy, packed, dry ice and backlighting like there is no tomorrow. This is how I like my Tuts gigs and Bad Nerves didn’t disappoint. Bang on 9 o’clock the onslaught started. The show was only going to last an hour and there were 19 songs to cram into those few precious minutes. No time for chat or filler. “Baby Drummer” kicked us off and the crowd jumped to action, an early pit appeared. A lot of feedback and a screaming guitar took us to the third song of the night “Don’t Stop”. This one is a cut from the second album, ‘Still Nervous’. All tonight’s songs are drawn from the bands two albums, the first, ‘Bad Nerves’ and, this year’s, ‘Still Nervous’. By this point I had moved from my normally safe berth at the back of the room to the outskirts of the mosh pit. I’m cracking on and should know better, but this is the style of music I love and watching it whilst trying to stay vertical just added to the night. “Radio Punk”, “Television” and “Mad Mind” proved to be a great three song mid set combo. Another three followed and then three more. With each onslaught the crowd jumped some more. I was surrounded by people who knew these songs word for word. It was great to be a part of it all. What I also loved was looking at the demographic. I was brought up on Green Day and The Clash and tonight’s sound were an echo of that with a modern twist. People my age were, thankfully, in the minority. This was a venue full of people who still had their own hair and who had not, yet, developed a beer belly. It is great to see the torch being passed to younger fans who will, hopefully, keep this style of music alive. After the proper punk entitled “The Kids Will Never Have Their Say” the main set ended 45 minutes after it started. I was knackered. After a short break, the band were back, three more – “You’ve Got the Nerve”, ‘Can’t Be Mine” and “Dreaming” ended what, for me, had been a top 60 minutes. Big Al and Andy, who had, wisely, watched from the back agreed, a top night was had. This is a band on their way up and are spanning two different price codes. The ticket price was £15 which I thought was a bit light, particularly given the quick sell out. The t-shirts were £30 which I thought was a bit on the dear side for a gig at this level. By the time we were having a final nightcap in the hotel bar, I was goosed. My hips were starting to nag me for my mosh pit endeavours and I found a couple of bruises coming up on my arm where I’d been grabbed by random others. Forget that though, for those 60 minutes I was 16 again, I was down the front, I was bouncing and loved every second. Bad Nerves can come again whenever they like, I will be there to see them, though next time I might listen to wiser heads and stay at the back. On the other hand…1-2-3-4!

Saturday was my first visit to the QMU in Glasgow. Set in Glasgow’s, student laced, west end it's amongst some lovely flats and bars in Ashton Lane. Unfortunately, we didn’t have time for a beer there and headed straight for the venue. When we saw the queue, not going for a pint all of a sudden became a really good idea. The tailback to get in was huge and, I certainly felt, the admission process was not the best. Lots of staff and very slow movement, as Andy put it, it felt like we were being “man marked” on the way in. Once we got inside the concert hall, it was another story. I really liked the room, and I was, at last, able to see the band I’d been listening to in the queue for the previous twenty minutes. The main support act was due to be Rebecca Downes. I’ve seen Rebecca a good few times and really love her voice and vibe so, it was with disappointment, I learned she’d been set about by the lurgy and was unable to make the journey north. This meant the opening act were given a full support slot. Now, I had never heard of Bison Hip before tonight and my only experience of them was listening to them through a wall whilst waiting in a queue! What a sound! This Glasgow five piece were, to my ear, a really interesting mix. On one side of the stage, the guitar and drums drove a solid rocking, blues vibe, whist on the other side of the stage the be-suited bassist and keys unit had a much more jazzy sound coming on. I thought the fusion, coupled with a really strong vocal made for a great listen. Bison Hip took the chance they had been given tonight and really delivered. I look forward to going to see them on their own headline show soon. I’ve been going to King King shows for years, support slots, muddy fields, festival tents and headline shows. Line-up changes along with their various highs and lows, I have always enjoyed seeing them live. Alan Nimmo brings a humility to the blues guitarist/singer role; he always seems to be enjoying himself and, at times, despite the success and full rooms, is still a little disbelieving that people have come out simply to hear him play. The Hammond organ bristled and 2013’s “More Than I Can Take” kicked us off. For me, that is one of the things that give King King a bit of an edge in the blues world, the liberal use of the Hammond. The organ just gives them options many of their contemporaries do not have and, I think, that’s a good thing. “Waking Up”, is the first of four tunes from the ‘Reaching for the Light’ album. I’ve always thought that was the best of the King King long players and, this cut along with “Stranger to Love”, “You Stopped the Rain” and personal favourite “Rush Hour” really give the 13 song set a fantastic grounding. It was nice to see Alan welcome his mum, who he said “had not been to many gigs lately” before launching into “I Will Not Fall”; I’m guessing there was a wee irony in that. Alan is not the only one of Mrs Nimmo’s boys on stage. For the last few years big brother Stevie has been a commanding figure playing the other guitar. I use ‘other guitar’ deliberately, Stevie’s is not a role which only supports the work of his brother, he sings and takes on lead a few times across the night. He does both with skill, good humour and an awful lot of quality. It’s great to see him as part of the band. The second guitar also give the band a greater depth than they enjoyed with just one six string contributing. This is a band who continue to develop. One of the other things that stands out is the quality of the singing. Across the set there are often four voices joining together producing a great harmony piece, again, this just adds to their offering. During “Stranger to Love” the solo keeps getting quieter and quieter, now this is a trick Alan has been deploying for a few years now. The problem tonight, and I am sure going forward, is that the rooms the band are now playing in are just too big. Where we were standing, the sound was lost amongst the other hubbub of gig, which was unfortunate. “Finding Your Way Home” was a cracking tune to finish on and to bring, what was, once again, an excellent night to a close. After the obligatory short break we were treated to Thin Lizzy’s “The Boys are Back in Town” as the first encore. It was unrehearsed and more than a bit raw and I, along with the full room at QMU, loved it! “Waiting for my Heart to Fall” brought the entire evening to a finish. The lights came on and a room full of tired smiles started to head to the door and the cold December air. Tonight, very much, had an end of term feel to it. This was the last King King show of the year. 2025 will, I hope bring great things for the band. We are going to be getting some new music, the first for a while. King King have found a place in the firmament of the British blues/rock scene. I hope some new music will see them climb further up that particular mountain. As Andy and I headed back to the car, we chatted about how tight the band had been tonight, about how every time we see them, they just get a little bit more slick. We are both looking forward to seeing them soon again. When though? January did you say? In Edinburgh at the Queen’s Hall? See you there.

In the immortal words of Sir Neville Holder “It’s Chriiiiiiiiiiiiiiiiiiiiiiistmaaaaaaaaaaaaaas!” Yes, it’s that time of year when sensible muscians wear Santa hats, dance, prance, and dash with reindeers and make snow angels in fake snow shooting a video in the middle of summer. That time of year when such musical luminaries as Bob the Builder, Mr Blobby, LadBaby, St Winifred's School Choir, Renée and Renato and Mariah Carey thrust themselves towards the pinnacle of the music charts. This year to save us from tears and to add some class to the proceedings, Tantrum have followed up last year’s Christmas effort, “Santa Time”, with their “Now That’s What I Call A Tantrum Christmas” EP. The “The Jolliest of Times” has guitars chiming like Christmas bells before the track takes of into a galloping little Christmas ditty. There’s so much drumming going on you’d think Mark Riches had mutated into an octopus. The track itself is an interesting take as to what happens at Christmas. If I have this right, Santa is a demon that knows who all our fears. He slithers down the chimney, does what he needs too and leaves us special candy that erases all trace of what he does. It seems that according to Tantrum, “the jolliest times are protecting our minds from a demon that comes out of nowhere,” and that we are “walking in a bloody winter land.” It's great stuff, fun and played at a furious pace. The guitars play off each other in the middle instrumental passage before blending into a twin attack. And, in the play out we do get some genuine jingling bells. Second track on the EP, though not a Christmas song is an absolute gift as the band tear their way through Gary Moore’s classic “Out In The Fields.” Without dramatically moving away from the original version, no bluegrass or hip hop rendition here. Make no mistake though, Tantrum manage to put their own stamp on the song. Tantrum follow “Out In The Fields” by unwrapping another cover. This time they take on “I’m Alive”, from Helloween’s “Keeper Of The Seven Keys (Part I).” It sits very comfortably in to Tantrum’s style. “Turbo Tyrant” is Tantrum’s final gift for 2024. A re-working of one of their earlier tracks. There’s more twin guitar solos and the rhythm section does a good job of keeping up. I got a sense of Judas Priest around the time of “Turbo” in how Tantrum delivered this track. “Oh, Holy Night” start off with gentle acoustics and a synth with Mark Reid delivering his vocals over them. This gentle approach is swept away at the chorus as Mark Riches drums crash int and the guitars pick up the melody. Tantrum deliver an epic take on the on the carol. Soaring guitars are matched by Mark Reid’s soaring vocals, which he delivers with energy and passion. It’s clear that Tantrum are simply having a wonderful Christmas time. Tantrum are: Mark Reid – Vocals Baz Fitzsimmons – Guitars Chris Horne – Guitars Liam Barrie - Bass Mark Riches – Drums