It was set to be an interesting night, with an odd juxtaposition of stylistically different bands all previewing new material and bringing their own brand of Rock and pop sensibilities to the table.
First to take to stage were Brooklyn young blood, MGMT; anyone who’s listened to Time to Pretend and were expecting set full of synth-pop tunes may have been thrown a bit of a curve ball, as MGMT’s sound is closer to 60’s psychedelia, with a few prog. rock moments and even evoking some mid 80’s era Prince, albeit with a bit less flamboyance and stage craft. Their first few songs didn’t exactly enthuse the crowd (albeit not helped by a decidedly muddy sounding PA lacking full punch), provoking little more than muted applause, but eventually they found their groove and by the time they reached ‘Time to Pretend’ (now synonymous with Skins) with its killer synth hook, and ostensibly obtuse lyrics alluding to rock n ’roll clichés, it gained a rapturous applause from the “Too Cool for School audience” who wouldn’t look out of place in an episode of Skins.
Sunderland’s quirky quartet of Post Punk Revivalists took to the stage soon after with a new album to promote which was to be released on their own label after being dropped by Warner subsidiary 679 Recordings - according to guitarist Ross Millard who I spoke to preceding the gig, who described the forthcoming album as being simpler, more direct and immediate and seemed excited about being on such an eclectic bill. It is safe to say the Futureheads were never a band prone to slow burners or overcomplicated compositions in the first place but new tracks ‘Radio Heart’ and ‘The Begging of the Twist’ definitely have a catchy immediacy and urgency that should have audiences up and down the country bouncing and singing along. Although not tonight it would seem, as only pockets of the rather lacklustre crowd appear prone to movement. Their reworking of the Kate Bush classic, ‘Hounds of Love’ with their now staple act of splitting the crowd in two to sing the obligatory a cappella “ah ah….oh..oh” provided some much needed audience interactivity, mixing a Glaswegian drunken sing along with the groups Geordie harmonies.
Then it was left to Brazil’s premier, perennial, party purveyors… CSS; surely Lovefoxxx could provide some synergy and enthusiasm. With the stage adorned in colour, the front row of the crowd all with balloons in tow, the mood was set for a party. The band took to the stage with Lovefoxxx in an iridescent catsuit, kicking off with ‘Off the Hook’ and its opening line “Why is that we stand so still? (still)… People gonna start thinking we’re statues” which seemed very apt. It took the effervescent, exuberant front woman a while to invoke the carnival, but her radiant infectious smile and boundless enthusiasm did the trick; that and a costume change into a huge floral headdress and firing of a large bazooka-like weapon full of streamers. The band’s set consisted of almost every song from their debut apart from the conspicuous absence of ‘Art Bitch’ and regular live cover of L7’s ‘Pretend We’re Dead’. In their place we were treated to new songs like ‘Rat is Dead’ (a recently released free download), and the other new material previewed on the night was in a similar 90’s alt-rock vein but way more fun and danceable than anything Billy Corgan and co. could knock up. Declaring Glasgow a virtual home from home then jolting the crowd into a belated, frenzied response with ‘Let’s Make Love… Listen…Death From Above’, the night ended on a high note and a party spirit that left Glasgow bathed in a ray of Brazilian sunshine.
//CRaig harkness