Bleachers have played Glasgow once before. It was July 2015 at the Garage. At that point in his career, Jack Antonoff was “the guy from Fun. that isn’t the singer”, or maybe even the Steel Train guy, if you were super into your noughties US indie rock bands.
Despite having released a couple of pretty much perfect pop songs – ‘I Wanna Get Better’ and ‘Rollercoaster’ – Bleachers and Antonoff were still in the minor league.
Of course, Jack had already begun laying the foundations of a lucrative career, and since then has, well, pretty much taken over modern pop music. If he’s not working with Taylor Swift or Lana Del Rey, it’s The 1975 or Lorde … in between winning all the Grammys, he does things these days like casually drop a single featuring Bruce Springsteen.
So sure, Antonoff is a massive deal … but are Bleachers? Who’s here tonight and why? The man? The music? The acclaim?
As the ballroom fills up with a crowd of no particular age, scene or other common theme, it’s hard to say.
Support act Kaeto takes to the stage.
The singer – originally from Glasgow but now based in London – is a curious creature, with a floaty, genre-drifting sound. Her guitarist, standing moodily stage right, is wearing chainmail; while her bouncy bass player bounds around, occasionally interacting with the singer as she pulls her on mysterious dance moves.
Some of Kaeto’s tunes are more compelling than others. She’s at her best and most distinct in the darker, spookier songs. Weird works for Kaeto, and if she can keep pushing in that direction, her career could get very interesting indeed.
With layered white sections and a huge white banner reading “FROM THE STUDIO TO THE STAGE / BLEACHERS”, there’s an aesthetic for the headline set tonight that feels borrowed from a certain Matty Healy and friends.
A “RECORDING / STUDIO IN USE” light box illuminates for the opening number, the band appearing otherwise unlit behind a dense fog of dry ice.
‘I Am Right On Time’ is a brooding opener – which is probably fitting since the group is barely visible – and then big bop ‘Modern Girl’ takes things up a notch.
The stage is packed with drummers and saxophonists (well, two of each!), who are giving a mini Springsteen and the E Street Band vibe: just a bunch of seriously talented and passionate musicians who, sure, will enjoy that the crowd are there, but could equally get lost in the thrill of their collaborative artistry.
Jack Antonoff tells the crowd about that previous show they did in Glasgow, and that ‘nine people were there’. It’s an anecdote he’ll come back around to over again throughout the night, as he expresses his love for the Glasgow spirit, the venue, the crowd and everything they’re giving on a Monday night. If there’s even a shred of sincerity in all the platitudes, Jack’s having a really good time.
Now, not every Bleachers song is a banger on record. Some can feel like the ideas that are too weird to present to his popstar friends(!). But live, it all makes sense. Each part of every song sounds massive, anthemic and meant to be. And a cover of ‘The Whole of the Moon’ slips so seamlessly into the set that it feels like it could be an Antonoff original.
‘Rollercoaster’ and ‘Let’s Get Married’ are perhaps the most blistering back-to-back combo of the night, and after an acoustic section, Bleachers don’t leave for an encore but dive straight in to a massive final run of five more top notch pop songs.
‘You’re Still A Mystery’ fits the party vibe that has been honed over the preceding 90 minutes like a diamante-encrusted spandex glove. And ‘I Wanna Get Better’ is one of the most underrated bops of our generation. In any other, it would’ve been a chart topper – and it’s extra powerful live with a sold out crowd screaming along.
The band is introduced in an all-out jam session, with Antonoff prompting each musician to hop in and out of a twisting musical melee. After ‘Tiny Moves’ and ‘Stop Making This Hurt’, the show wraps up with the brilliant, ’80s-tinged treasure ‘Don’t Take The Money’.
With all his elsewhere success in music, Bleachers truly exists for Antonoff as a passion project in a way that only a handful of artists can ever really know. And that love and enthusiasm for making music, and this untethered creativity, are a powerful and magical thing to witness. Let’s hope he can make it happen a little more often.
