The fourth edition of The Great Western solidifies its reputation as one of the best small festivals in Glasgow and a mainstay in the indie calendar.
Many of the acts are local, and all (as far as I can tell) are British if not Scottish. All the sets this year are either 30 or 45 minutes (barring DJ slots) which, along with the lack of a genuinely standalone headliner, gives a democratic feel to the day. Depending on your endurance levels (and ability to eat on the go) you can easily see ten acts through the day, so the festival acts as a sort of buffet where you can sample a wide variety of music without having to commit to a long set. Maybe it’s well-suited to the ADHD generation, but all ages are well-represented and there’s plenty for all. Most of these bands tour regularly, so you’re unlikely to be far from being able to see your new faves soon.
The Maryhill Central Community Hall (CCH) is the hub of the festival, with two rooms that offer shows alternately, so there’s no real need to leave that building, but the other three venues have plenty to offer as well, all within ten minutes or less on foot. Water Machine open the main CCH room, clearly a little nervous at having to play a relatively big room at only 3pm. They’ve got some nice goofy-shouty punk numbers, but are actually at their best when the arrangements are more sedate and the singer actually sings. (LW)
The most obscure venue of the festival is a small upstairs room in the National Piping Centre. However, thanks to some last minute changes, it’s graced early today by Pictish Trail in a hastily thrown together solo/duo set. Johnny Lynch is in typically irreverent form, making liberal use of his effects board, bantering with the crowd about their shit whistling and introducing songs with wild, twisting introductions (the Wickerman-esque Eigg bonfire celebrations being a highlight ahead of ‘Island Family)’. (LW)
Also at the Piping Centre, the first real show of the day was therefore London-based Firestations, who BM is a big fan of. There was an issue however, which was a partial time-clash with The Wife Guys of Reddit, who BM had not seen live before and wanted to scratch that itch. However, what was seen of Firestations was just gorgeous, a melding of indiepop, Americana and shoegaze which veered between mild-mannered and searingly emotional often in the same song. The five-piece deploy a deft combination of slide guitar (Martin), male/female vocals, Laura’s flugelhorn and the rest to achieve a timeless and often bucolic sound backed by great tunes and evocative, self-reflective lyrics. There are tracks from the new album ‘Thick Terrain’ such as ‘Hitting A New Low” and ‘Hillcrest Static’ plus older tracks like ‘Small Island’ and hopefully they will be back in Scotland soonish. (BM)
Back in the main room, Chubby And The Gang deliver the first barnstorming show of the day, with frontman Charlie “Chubby” Manning-Walker spitting venom about landlords, the Royal family, the police etc. A broken guitar doesn’t hold the band back, and as Chubby swigs liberally from a bottle of Jack there’s a genuine passion that really speaks to the raw power of this type of tried and true (hardcore) punk. (LW)
The Wife Guys of Reddit were in full flow when BM arrive at a packed Room 2 of the CCH – the live approach is shall we say a bit more gonzo than expected, with Arion jumping around the stage like Glasgow’s answer to Jack Black while the others bashed out the tunes. Maybe it was the inclusion of newish track ‘Postpunk Experiment #3’ that may have put her off – excremental it was! After that particular wig-out the softer songs maybe had a bit less power and there was a lot of chatting in the crowd… BM thinks that other tracks like ‘Let Me Play A Serious One’ are just better, but what does she know? (BM)
Victoria Hume was on next, playing, with several other musicians; her new concept album about environmental issues and global warming, another worthy Lost Map release. More like a chamber music set-up, the acoustic combinations were sublime and at times beautiful. Likening capitalism to a ‘Bad Lover’ was both moving and subversive. There were extracts from various climate experts and politicians and Victoria has tried to ground this sometimes quite theoretical material into real Scottish communities and lives. An ambitious work but ultimately successful, this “festival” audience paid rapt attention and it was testament to the fact that Lost Map covers all musical ground, from party anthems to something like this. This brief review isn’t really doing the work done on the project justice but the album is out early next year and there were hopefully be more chances to both hear and review in more detail this important contribution. (BM)
Kinbote are another Lost Map artist and writer/singer/guitarist Matt played today with a live bassist which boosted the sound rather nicely. Sounding like a Scottish relative of the Pet Shop Boys with a dash of Boards of Canada thrown in, this was very effective ambient techno performed adroitly with some pithy lyrics and samples. An act well worth catching. (BM)
Given the amount of bands, they often have to soundcheck in front of a crowd, which is particularly awkward in the Hug & Pint as it is so tiny. But Naima Bock and band get through it like pros and then deliver an absolutely beautiful set, mostly taken from last year’s superlative Giant Palm. The live band is now a fleshed out four-piece (compared to last year’s solo affair), but the main draw is still Bock’s brilliant voice, pitched somewhere between Joni Mitchell and Shirley Collins, with songs to match. (LW)
It’s been a stellar year for Fat Dog who are fast becoming favourites on the live circuit thanks to their riotous shows, despite only just releasing their first single in August. And they live up to the hype tonight, with their heavy punk sound (verging on metal at times) getting their first pits of the day going; frontman Joe Love whipping up the masses into a frenzy. (LW)
In Room 2 Last Boy conjure up a curious mix of Incubus, Nirvana (Unplugged) and Frabbit, with their takes on old folk songs especially affecting (‘Little Pink’, ‘Hares On The Mountain’), Euan setting off the whole affair with some excellent violin. (LW)
Weird Wave (all eight of them packed onto the smallish stage) played a similar set to the one at Platform the previous Saturday – if anything it was more amped-up despite the smaller room. The set ended with Pictish Trail and LT Leif almost at the back door of the room, screaming at each other over the cacophony of noise generated on the stage. Another vastly entertaining performance with ‘Big Jetty a particular highlight. (BM)
Wu-Lu is famously uncategorisable and tonight’s set demonstrates a love and deep understanding of many genres (grunge, hip-hop, electronica etc.), but there’s a clear sense that he’s inspired by a genuinely punk sense of righteous anger as his lyrics delve into racism and gentrification. Towards the end he and the guitarist drop their instruments for two straight-up rap songs, ‘Blame’ and ‘Ten’, which are the best moments of the set, along with the high energy ‘South’ to finish. However, being sandwiched amongst Chubby And The Gang, Fat Dog and Warmduscher has a slightly jarring effect as the brute force of the punks seems to outshine Wu-Lu’s tinkering experimentalism. (LW)
Warmduscher are on typically brilliant form, with Clams Baker Jr. marching into the crowd within seconds of the set starting. The sleazy vibe of last year’s ‘At The Hotspot’ is borne out in the best way possible, with ‘Hot Shot’ and ”Fatso showing Clams at his crooning lounge-lizard best. (LW)
Glasgow-based Sulka were to have been the first act at The Piping Centre but they ended up going on last, down to a three-piece on this occasion. Tonight they seemed to be channelling Nirvana, with Lucas and Fionn’s guitar work and the pounding drums full of energy and charge. Another memorable performance of great songs, with much love in the room from the mainly Lost Map loyalist crowd. (BM)
Sadly, an early exit is needed to catch ‘Forest Swords’ in the atmospheric surrounds of the Mackintosh Church, but it’s certainly worth it. The darkness, the sharp architecture and the general sense of pervasive antiquity are right up Forest Swords’ street. Matthew Barnes is joined onstage by a saxophonist who contributes lilting trills and expressive honks that complement the harsh, yet beautiful electronic compositions that Barnes ekes out of his relatively small rig. The visuals are reminiscent of The Caretaker’s live set: trippy, creepy and often disorienting – especially when the clay/dirt figure from the cover of ‘Bolted’ is brought to life. Even if the vibe is completely different to the rest of the day, Forest Swords make for a fantastic end to another wonderful year at The Great Western, even if the walk home just got a little more terrifying. (LW)
Photos: Dale Harvey (except where noted).
Words: Lewis Wade / Betty Mayonnaise