Wayward Sons / MuddiBrooke - The Cathouse, Glasgow 19th April 2025

First off, there was time for a quick bite to eat and catch up in The Howlin’ Wolf. It was great to see the place full of music fans at 6 o’clock on a Saturday night. The band playing was, I think, called The Lonesome Whistles. They were a three-piece comprising guitar, bass and mandolin. I thought they were absolutely outstanding. Their set was all covers which they played with a twist – no drums and an exceptionally talented bass player who was effectively playing lead. I loved them and would love to know more about then so I can get along to another of their shows. Check them out if you can.

We headed down to the Cathouse and just missed the opening band. This was a really early show as the place turns into a nightclub at 11:00 PM. We decided to grab and beer and this resulted in a bit of a challenge. There were six of us and three of us went to grab the drinks. We were refused any more than one drink per person so it became impossible to buy a round for friends. This was a gig for aging rockers at 7 o’clock on a Saturday night; it was not a scene from the Fall of Rome! Whatever the Cathouse policy is, it failed to read the room and, I know, annoyed a good many punters whilst severely limiting their bar takings. It may be good to review that policy before booking similar gigs or at least make the position known when tickets are bought.

So, to the music. MuddiBrooke arrived after an ultra-quick change over and gave us 11 songs in their allotted time. This three piece had a real ‘girl punk’ vibe about them, despite having a guy on drums. They delivered a powerful, grunge rock set which I enjoyed. Hopefully, they will get the chance to head back to Scotland for a full show, they’d be well worth a night out.

Did I mention quick changeovers? It took less than ten minutes to get things sorted for the headliner and just before quarter to nine, The Wayward Sons took the stage.

The first couple, ‘Alive’ and ‘Don’t Wanna Go’ came from the bands 2017 debut long player, “Ghosts of Yet to Come” and the third from their opening blitzkrieg, ‘Big Day’, was a cut of the 2021 album, “Even Up the Score”. This was to be an 18 song set with thirteen of those coming from these two albums.

There was no time for a breath, it was just, bam, into the next salvo – ‘Bloody Typical’, ‘Land of the Blind’ and ‘Radio Denial’.

This is a venue where the ceiling is low over the stage; this gives a sense that the band are moving within a picture frame. The heat was up and, by now, the sweat was rolling off everyone in that tight little room and, of course, the music was rocking. This was a big band playing a small room. If this had been a club warm gig up for a Download headliner it would have neither looked or felt different from what we were watching on Saturday such was the musical stature of the four protagonists moving in that frame.

Taking on lead guitar duties was Sam Wood. Sam has been around the block and played with some great musicians over his career. It is easy to see why, his commanding, front of stage solos were outstanding, and despite his hight and his ever-present sparking grin, he was just as able to blend into the back of the stage and play two strings as others took the lead.

Nic Wastell was on the four string. Nic has been a long-term partner in crime of Jepson’s and that shone out in his playing. His instrument of choice was Firebird bass. As Graham, my mate with the mega music knowledge, pointed out “these things weigh a ton”. Nic was throwing it around, moulding it to his body and pointing it at the crowd all night long. All the while, nailing a bass line that others would find a bit too complex for live performance.

At the back of the stage, sporting a Denis the Menace jumper was Phil Martini. He was the one guy in the room who appeared not to have cracked into a sweat. Phil’s drumming in blistering. Tonight, he was playing a set of 50 year old Ludwig drums and what a tone and beat he got from them. There is no surprise that Phil, his drums and his rhythm skills are in such demand. He gave a fantastic beat to the night and, as Graham pointed out, “no drums, no rock and roll”.

On with the show. The title track to Even Up the Score made a welcome appearance as did ‘Downfall’ and ‘Faith in Fool’s’ from the same album.

Wayward Sons have been a solid base for Toby Jepson for a while but they are not, by any stretch, his first band, so it was good to hear that Little Angel’s favourite ‘Small Talk’ arriving at the end of the set.

There was no heading off to milk the applause. Like most of the audience, Toby recognised that his back and knees just couldn’t take it. Instead the band stayed put and blasted through ‘Joke’s on You’, ‘Feel Good Hit’ and ‘Until the End’ to bring the night to a close.

What a night it was too. I always feel Toby Jepson comes along with a guitar in one hand and his integrity in the other. He always provides a night of fantastic rock and roll. His influences are obvious, but he always comes carrying a passion for, and a commitment to, his fans. I watched a bit of him during lockdown, but, for Graham, Toby’s weekly acoustic shows from his home was a staple. Toby worked hard to get himself and his fans through a difficult period, and, good on him I say. Toby is a fan focused performer, and I often wonder if that has come at a cost to him. As I mentioned at the start of this piece, if that same band were headlining Download with that same set of tunes, the following day, I would not have been a surprised. That level of commercial success has, thus far, eluded Jepson and I don’t know why.

Saturday was the last gig of the tour. This rolling circus of rock and roll creativity will, no doubt, be back and if they arrive in a town near you grab a ticket and get down the front. Their artistry, alive and well within the Wayward Sons picture frame, is joy to see.