The Roadrunners – Ivory Blacks, Glasgow (6th Feb 2025) “Youth may fade, but the music never does”

Third gig of the year, first of five lined up for February, and—unsurprisingly—another night watching The Roadrunners. This time, it was Ivory Blacks in Glasgow, my first time at the venue. Decent size but still manages to feel like a small place, which worked well for the night. The stage setup was nice, and the TV at the back broadcasting the stage was a good touch. Crowd was decent, applause was loud, and a good few whoops thrown in. My own reaction to Fault—"that's a fucking tune"—even got a thank-you from the singer, so I'll take that as a win.

Support came from Four Outta Five and KLV, two bands I hadn’t seen before but will be keeping an eye on.

Four Outta Five

Missed the start of their set but arrived just in time to hear them cover Go With the Flow by Queens of the Stone Age. A song I already like, and they did a solid job with it, setting the tone for the rest of their set. They stuck to covers, with highlights being Stacey’s Mom and Would You Rather Be Lonely by Red Rum Club, which has been a favorite of mine lately. The standout moment, though, was Creep by Radiohead. The singer kept it simple and true to the original early on, but in the middle section, he really opened up and put his own style into it. A refreshing change that worked really well. I had a quick chat with him after the gig and found out the band is just getting started and working on original material. Based on their song choices, I’ll be interested to hear what direction they take with their own stuff. One to keep tabs on.

KLV

Another band in the early stages, and like Four Outta Five, I couldn’t find any of their music online. They also threw in a few covers, ranging from old-school to modern. Beetlebum by Blur was a nice choice—always been a favorite of mine—and their take on Tom Petty’s Mary Jane’s Last Dance was solid. Their guitarist stood out; for a young-looking guy, he could really play, sharp and clean with some great solos. The highlight of their set was an original song called Halfway. Easily their strongest moment, and one I hope isn’t far off being recorded or released. If that’s the standard of their own material, then I’m looking forward to seeing them again.

The Roadrunners

As expected, they were brilliant again. Started things off with a cover of Still Into You by Paramore, which set the energy level high from the off. The whole set was tight, with Devils in God’s Clothing once again blowing me away. The singer’s vocal range was in full flow, and as for Fault—it just keeps getting better. Every time I hear it live, they tweak something ever so slightly, and somehow, it always seems to work. One of the funnier moments came when the drummer suddenly got up and ran to his bag at the end of a song. Turns out he needed different ear buds, but the singer announced she was starting the next song anyway. Cue the guitar intro kicking in, and the drummer making it back to his kit just in time to come crashing in—one of those little live moments that add to the night. They wrapped things up with Home, which hasn’t been in their set for a while, so it was good to hear again. Loved the harmonies with the lead guitarist on this one—great way to end the set. Also threw in a cover of Hot N Cold by Katy Perry, because why not?

Summary

A night full of covers of songs I enjoy, and I felt every one was done justice. The original material I heard was impressive, and I’ll be keeping an eye on both support acts to see how they develop.

Old Souls, New Bands, Same Buzz

Last night marked gig number six of the year and the penultimate gig of February, with Citadels coming up on the 28th. This time, SWG3 Poetry Club hosted a solid night of music with Grange Street, David Moore and The Fachans, Laments, and TRNDS.
This was only my second time at the Poetry Club, and while it’s a cracking-looking venue, with the stage right on the floor adding an intimate feel, I’m still not convinced by the sound. The vocals often sounded quieter, at times getting drowned out by the rest of the stage noise. Despite this, the atmosphere was decent, though the crowd seemed to vary in size from band to band, giving me the impression that some were there just to support friends or family. I understand that, but it always feels like such a missed opportunity to enjoy the full gig experience. For me, sticking around for the other acts isn’t just about being supportive—it’s about experiencing the whole event and potentially discovering a new band that hits you in a way you didn’t expect.
It’s probably just me, but I get a real sense of connection when bands stay for the entire gig, watching and interacting with the other acts. It adds to the sense of community and makes the crowd feel more alive. You never know, sometimes it’s the band you didn’t expect to click with that will surprise you. So yeah, that sense of discovery is something I look forward to at these gigs.

TRNDS

I arrived a bit late, which seems to be a recurring theme in my reviews (I’ll aim to change that!), so I missed a couple of songs, but what I did catch was thoroughly enjoyable. TRNDS played all original material, with SOS and If I Could standing out for their great harmonies, especially on SOS. They also debuted a new track, The One, which was a slower, more measured tune. The drum beat on this track really caught my attention, adding a nice touch to the song’s vibe. The real highlight, though, was their latest single Love If You Want It. From the instantly memorable riff to the dynamic build-up throughout the track, it’s the kind of earworm that sticks with you long after the gig. That riff is playing in my head as I write this.
The band’s stage presence was solid. The lead singer interacted well with the crowd, sharing some stories behind their songs, and the whole band seemed very comfortable up there. The crowd was into it too, with plenty of heads bobbing along during their set. Overall, TRNDS made a good impression, and I’m definitely looking forward to seeing them again.

Laments

Next up was Laments, a young five-piece band with a sound that grabbed my attention. I’d put together a playlist leading up to the gig, and I was curious to see how their sound translated live. They didn’t disappoint, offering glimpses of potential with some stand-out moments. Where Are You Now and I Don’t Know Her Name were definitely the highlights for me. But the real magic came towards the end of their set when the frontman took his mic stand and wandered into the crowd, creating a mini circle. The band joined him, jamming out the outro of one of their songs, and it was a brilliant way to break the usual stage boundaries. It really pulled the crowd in and showcased their ability to connect with their audience. Overall, Laments looked at ease on stage, with a decent level of crowd interaction, though I think they’ll benefit from more stage time to continue developing their sound and presence. I’ll be keeping an eye on them and looking forward to seeing how they grow in the next few months.

David Moore and The Fachans

Next up, David Moore and The Fachans brought a bit of a different vibe to the night. While the crowd still felt like friends and family, these guys delivered a slightly softer set but still packed a punch with their performance. It’s been a while since I’ve heard a harmonica used in a live set, and it was a refreshing addition to their sound. Tracks like Down and Out and Hunger Pangs stood out, but the real highlight was when the band left the frontman alone with his acoustic guitar for a stunning rendition of Frank Sinatra’s My Way. It’s a big song to cover, but they did it justice, and it stirred memories in the crowd, proving that even a song so well-known can still feel fresh when done right.

David Moore’s stage presence was solid, though there wasn’t as much crowd interaction as some of the other bands. That said, when he took the stage solo, he looked completely at home, demonstrating the courage and confidence it takes to stand alone with just an acoustic. Whether a solo performance or as part of a band, everyone deserves credit for getting on stage and putting themselves out there.

Grange Street

The final act of the night was the headliner for the evening Grange Street and they delivered a strong closing performance.
I Saw The Light was a personal standout, with an intro that reminded me of Rock Lobster with a hint of Bloc Party thrown in, and it was a great way to get the crowd moving. Another track that stood out was Two Sugars, an unreleased song inspired by a now-shut club in Kilmarnock (I think)—but as the night went on and my beer count rose, my memory of the finer details got a little hazy. That’s why I try to get these reviews done as quickly as possible!
One of the more amusing moments of the set came during the introduction to We Feel Cheated, with some Trump/Musk bashing that got an approving “Fuck Them” from myself, met with a “Testify, brother!” response from the frontman. Highly entertaining moment and I'll say it again. Fuck. Them.

Final Thoughts

Overall, it was a solid night with a varied range of sounds from all four bands. The crowd may have been a bit more scattered than I would’ve liked, but that didn’t take away from the performances. While the sound at SWG3 Poetry Club didn’t fully do justice to every band, it’s a venue with a lot of character, and I’d be interested to see how these acts fare in a different setting. Each band brought something unique to the table, and I’ll definitely be keeping an eye on their socials for new releases and upcoming gigs. I look forward to seeing all four of them again and witnessing their continued growth as live acts. It’s nights like these that make me remember why I keep coming back for more—always searching for that next great gig.

The Roadrunners at King Tut’s Wah Wah Hut – January 16th, 2025

The "Gig Life Crisis" continued in style this year with The Roadrunners taking the stage at the legendary King Tut’s in Glasgow. A venue that speaks for itself, King Tut’s is a rite of passage for any band on the rise, and The Roadrunners proved they’re more than ready for the challenge.

The night was supported by a strong lineup, though I arrived late and missed the start of The Take Backs’ set. However, what I did catch has put them firmly on my radar for 2025. They delivered a standout cover of Primal Scream’s "Rocks", which had the crowd fully engaged, and just before that, they played an original track called "Midnight Queen".

With its fantastic bass line and overtones of ‘80s classic rock, it was an instant like for me. I’m hoping this track makes it to a recording soon. While the vocals were a little raw in places, you get the sense that with more live experience, the singer’s voice will naturally polish up. I’m already looking forward to seeing them again.

Unfortunately, due to the midweek timing of the gig and a 4 a.m. rise for work, I wasn’t able to stay for Spectral View or The Karavats.

The Roadrunners, though, made my shortened night worthwhile. Their set was a lively mix of originals and well-chosen covers, including "American Idiot" with the lead guitarist stepping in on vocals and "Teenage Dirtbag", which sparked a nostalgic singalong. The highlight of the night was an unexpected Sabrina Carpenter cover, which ended with a pair of pink fuzzy handcuffs being thrown onstage. The lead singer handled it with charm, casually twirling them around her finger mid-performance—a moment that perfectly captured the band’s playful confidence.

While the lead singer’s vocals undoubtedly steal the show, it’s worth highlighting the impressive talent behind her. The lead guitarist delivers some genuinely technical and memorable solos, the drummer’s skill shines through particularly on the original track "Evil Angel", and the big bassist exudes coolness, effortlessly locking in with the rest of the band without ever seeming fazed by what’s happening around him. Together, they’re a tight, gifted group that elevates their sound to a whole new level.
For me, their originals are where they truly shine. "Fault" continues to stand out as a personal favorite, with the lead singer’s incredible range on full display. Another highlight was "Devil in God’s Clothing", an upcoming release with a lyric that feels worthy of superstardom. If a modern icon like Beyoncé or Taylor Swift released “Devil in God’s Clothing,” you could bet the music world would be falling over itself with praise.

The Roadrunners are a band moving confidently in the right direction. With their ability to balance catchy covers, strong original material, and natural stage presence, it feels like it’s only a matter of time before they attract the attention they deserve. If they keep delivering songs of this caliber, the sky truly is the limit.
If you haven’t caught them live yet, now’s the time to do it — you won’t regret it.

Apna – A Perfect New Age

Catchy riffs, undeniable grooves, and a vocalist who knows how to carry the energy—Apna’s A Perfect New Age is a confident full length debut that grabs your attention from the first listen and rewards repeated plays.

There’s a clear sense of identity here, even as the band borrows influences from across the indie rock spectrum. Break Of Day kicks off the album in style and stands out with its Arctic Monkeys-inspired swagger, blending clever guitar work and rhythmic precision with a touch of modern grit. On the other end of the spectrum, Onto You feels built for a live audience. With its chanty, speaky-style chorus, you can already imagine a decent-sized crowd shouting along, making it a guaranteed highlight in a gig setting.

While much of the album leans into rock, Apna isn’t afraid to dial things back. Tracks like Luxury Of The Lucky showcase a more relaxed, introspective side, with its standout melody and understated instrumentation adding depth to the record. It’s a refreshing change of pace that highlights the band’s versatility.

One of the album's strongest qualities is how tight the instrumentation feels. Basslines groove effortlessly beneath sharp, punchy riffs, creating a backbone that keeps you hooked. The vocalist ties it all together with an engaging blend of charm and conviction.

Listening to A Perfect New Age, you can’t help but wonder how these songs would translate live. There’s an energy here that feels ready-made for the stage, and with tracks like On To You, Apna has all the ingredients to deliver unforgettable performances.

Relaxed, catchy, and brimming with potential, A Perfect New Age marks Apna as a band to watch. Here’s hoping a live gig is on the horizon soon—I, for one, will be there to see how they deliver.

TRNDS - Love, If You Want It

TRNDS have crafted a track that lingers long after the final note. "Love If You Want It" hooks listeners with a sharp, infectious guitar riff that feels like something Franz Ferdinand might have dropped at their peak—a perfect blend of indie edge and dancefloor energy.

Yet, beneath the toe-tapping exterior lies a deeply emotional core. Tackling the difficult subject of losing someone to suicide, the lyrics navigate the raw pain, unanswered questions, and enduring heartache faced by those left behind. It’s a powerful exploration that doesn’t just stay at the surface but delves into the complexities of grief and healing.

TRNDS use "Love If You Want It" as a platform to challenge harmful norms like “boys don’t cry,” urging listeners to embrace vulnerability. The message is clear: sharing your struggles is not a burden—it’s a lifeline. They’d rather hear your story than your eulogy.

In support of this vital message, TRNDS have released a T-shirt to accompany the single, with all profits going to the Scottish Association for Mental Health (SAMH). Check out their social media channels for details on how to grab a T-shirt and support this important cause.

If you want to experience their music live, TRNDS will be playing at SWG3 in Glasgow on February 22nd. With their ability to balance musical brilliance and emotional depth, it’s a show you won’t want to miss.

TRNDS aren’t just making music—they’re making a difference. Don’t just listen; get involved.

Franz Ferdinand at The Liquid Rooms, Edinburgh

January 12, 2025 "Receding Hairline, Rocking Till I Flatline"

My first visit to The Liquid Rooms in Edinburgh left a great impression. Despite its modest 800-capacity size, the venue felt surprisingly spacious, with an upper section offering a clear view of the stage. The sound quality was excellent, and the acoustics were well-suited to Franz Ferdinand’s punchy, dynamic performance.

The crowd was a little subdued in the lead-up, but that changed the moment Alex Kapranos and the band walked out. From the first note, the energy in the room skyrocketed, and the audience was completely hooked.

Franz Ferdinand’s performance was brilliant from start to finish. Kapranos has undeniable stage presence, commanding the room with ease and clear enjoyment. The setlist was a perfectly curated mix of new tracks from their sixth album, The Human Fear, and timeless classics.

Standout new tracks included Audacious, Hooked, The Birds, Build It Up, and Night and Day, each showcasing the band’s ability to evolve without losing their trademark energy. The classics, however, truly lit up the night. Take Me Out—played early in the set—sparked an unforgettable singalong and ramped up the atmosphere to fever pitch. Other highlights included This Fire, Do You Want To, Walk Away, and Matinee, each greeted with an enthusiastic response.

The sound on the night was flawless, with a perfect balance between instruments and vocals. Every element was clear, and Kapranos’s voice sounded just as sharp and distinct as on the records.

Franz Ferdinand proved yet again why they’ve endured as one of the UK’s most exciting live acts. With The Human Fear already showing promise through these live renditions, this gig was a celebration of both where they’ve been and where they’re going.

Stu’s December Rundown

December was an electric month of live music, with a mix of familiar  faces and exciting new talent making their mark. I kicked off the month with The Roadrunners on 7th December at Classic Grand. Their live version of "Fault" was a true highlight, transforming the haunting, slow-paced Spotify track into an electrifying performance. They really bring their songs to life on stage, showcasing impressive vocal ranges and powerful electric guitar work.

Next up were The Kairos, performing on 12th and 13th December. The first gig was at Sneaky Pete's in Edinburgh, which I was overly impressed with. The narrow, intimate space really made for a fantastic atmosphere. The support acts, Twisted Ends and Red Vanilla, brought their own energy, though Red Vanilla was held back by poor sound issues beyond their control. Still, their vocals reminded me of Heart, and they’re definitely a band I’ll be following in 2025. The Kairos were the headliners, and their performance was nothing short of spectacular.  The buzzing atmosphere before they took the stage turned into an all-out party once they started playing. "Punchline Fistfight" hit hard, and the band’s raw energy, killer riffs, and strong vocals had the crowd jumping from start to finish

The very next night, I caught The Kairos again on 13th December at SWG3 Poetry Club in Glasgow. While the initial atmosphere was quieter, I put that down to the difference in venue size and setup. Once The Kairos hit the stage, they quickly brought the crowd to life with the same high-energy set. Ample House and Levengrove, the support acts, held their own, with both bands showing promise and good sound. The Kairos once again made the night feel special, with "Punchline Fistfight" bringing the crowd into a frenzy, leaving no doubt that these are guys to watch in the coming year. I even had a chance to chat with the band after their Edinburgh gig, and they were genuinely down-to-earth and happy to sign items and share a used drumstick—just solid lads who seem destined for bigger things

Then came The Shambolics' performances on 21st and 26th December. Their gig at PJ Molloys in Dunfermline was going to be my final gig of 2024, but as fate would have it, the band announced a surprise Boxing Day homecoming gig in Kirkcaldy. With all funds raised through ticket sales going to the Kirkcaldy Food Bank, it was a show I couldn’t miss, especially since it was their first return to Kirkcaldy in five years. The gig itself was a celebration, with the band delivering a polished set that had the whole crowd singing along. The intimate venue and the band’s infectious energy made the night one to remember. It was a special moment that perfectly kicked off the festive season.

The Shambolics made both their December gigs feel special, proving their ability to connect with fans on a deep level. Their chemistry on stage was undeniable, and the crowd’s excitement only added to the sense that these are still relatively new, up-and-coming bands with massive potential. Their catchy melodies were evident in the singalongs throughout their set, and the atmosphere was electric.

Lastly, The Shambolics' Boxing Day gig in Kirkcaldy lived up to all expectations. The hometown crowd gave them a warm welcome, and the energy was through the roof from the moment they took the stage. The intimate venue again played a big role in creating a personal experience for everyone there. This gig felt like the perfect end to the year, and I’m certain that 2025 is going to be another exciting chapter for these talented bands.