The Bosshoss : Glasgow Barfly

There’s not many bands that I’d unabashedly yell YEE-HAW at during a gig and The Bosshoss had me doing so several times over the space of their incredible hour and a half show. I’m not alone, the crowd here tonight love it and the Barfly has more enthusiasm & fun in the air than from a month’s worth of better known or more indie-cool scene bands.

All seven members of the band are obviously loving it as well, having a high old time of it as they play the part of good ole boy Country & Western stars performing rocking cover versions of everything from Britney, Outkast, Dionne Warwick and Gun Cameo. As the night rolls on the band each get their own solo jams on everything from electric guitar, double bass, banjo, shakers, bar stool drumming and spoon & washboard. Each one of them is clearly enjoying their set and the atmosphere this manages to create ensures there’s a near constant stream of drinks proffered by the grateful & adoring crowd. Don’t worry though, they pass round their own bottle of booze for us all to share in return.

As we leave, I think there’s a little bit of a cowboy drawl in all our voices and I’m maybe walking just a wee bit more like John Wayne than normal. On arriving home though the recorded material feels so quiet & restrained compared to the show that blew us all away so I’ll finish by quoting my own initial posted reaction: “Excellent, excellent, excellent gig.”

[flickr tag=bosshoss]

Late Of The Pier : Glasgow Barfly

I’m not certain what I witnessed tonight, unparalleled pretentious bullshit is probably the most succinct description. But let’s put that to one side for a minute and aim for a less emotive recap of the gig if we can.

The Displacements are four rather smartly dressed young boys from Leicester and totally inoffensive & forgettable tonight. The empty room and Glasgow’s often surprising apathy for bands touted as “Ones To Watch” leave them fighting a losing battle during much of their stage time. It ends up as a fine, by-the-numbers jaunt through 2008 indie trends but the scene kids just aren’t there to listen so it all feels like wasted effort from the band.

And talking of wasted time, we come to Late Of The Pier‘s set. Now don’t get me wrong, I was unbiased when I turned up, I liked & grew to enjoy their single The Bears Are Coming, the follow up & most recent release Bathroom Gurgle I’d tentatively filed under “nae to bad”. I ignored the reports of the band acting like wankers on T4′s Green Room and didn’t take any notice when the venue staff rolled eyes with a story of the ridiculous rider asked for by a band at this level. I was unconcerned, the band are hotly tipped for big things, this could be a gig to list in future years, “I saw them when…”

Gods was I wrong. Disbelief at the utter, utter festering shite I was being subjected to kept me going through the first few minutes, commitment to myself to work taking photos and to write a fair review kept me going for while longer. But all too quickly the bands superior better-than-thou attitude had removed from me any desire to give their music a chance. From what I took note of before giving up, the guitars are for fashion rather than playing, the synths would be better in the hands of three year olds or Ross from Friends and the tunes barely deserve to be recognised as music.

Late of the Pier are like a really bad movie that you’re meant to laugh at because it’s so bad. Except it’s so bad that it isn’t even funny, no matter how wasted you could get. The only enjoyment is the self-conscious laughter at ourselves, to hide the embarrassment that someone out there has played such a joke and managed to fool anyone into thinking that this is a real worthwhile band. Their attitude throughout was so overpoweringly superior and self-important that I seriously considered the ethics of whether they were worth the time spent on reviewing them.

So I left. It’s ill-mannered, rude and unprofessional but I left halfway through, and felt relieved when I did. So Late of the Pier end up with an accolade after all, they are the first and only band I have committed to review that have been so unremittingly awful that they’ve driven me to go home and watch BBC’s Sign Zone instead.

[flickr tags='displacements,lateofthepier']

Zombina And The Skeletones : Glasgow Barfly

Zombina And The Skeletones is just the sort of band name to conjure up a cheesy faux-fifties horror movie psychobilly gig and the last time I saw them play at the Glasgow Barfly they shared the stage with the fake blood & gut’s of Karloff and the aptly named Groovie Ghoulies. Could Zombina hold their own as headliners on a non-themed bill?

Openers for the night, Crossfire sounded good right up until they started shouting. Punk vocals have never had a reputation for subtle beauty but some semblance of singing is still required rather than getting the words out as loud as you can. It’s a pretty tight performance though but I’m left a little disappointed, it’s what I would hope from my punk bands when they’re in the studio, on stage I want more attitude, more fuck you, more drunken inability to play instruments and to feel that the bassist is gonna kick my head in if I write a bad review or at least spit on me if I look at him funny. It’s punk, in fact it’s good punk – with a skinhead ska tune thrown in for good measure – but it feels very safe.

The Retrofrets do their best to dodge my genre pigeon-holes, the male vocalist has some nice high-heeled boots and the female lead guitar wears a boys shirt & tie but this playing with gender fashion stereotypes has nothing to do with their music so lets not mention it at all. They’re good, playing a blues song, a jazz tinged number, an indie ballad number and some rock, and some more rock. One set doesn’t feel like enough to get to know them though and it’s noted to look out for their next local gig. However they lose a few cool points by committing the incredible faux-pas of sideswiping their headliners by encouraging their audience to head upstairs to hear the Bitchfits, luckily through chance or sensible planning Zombina hold back their stage time until folk filter back downstairs.

And Zombina are well, they’re Zombina and the Skeletones. Describing Zombina as psychobilly is a misnomer, more bubblegum-punk than psycho and much more doo-wop than rockabilly or any other -billy in fact. Neither are the band horror-punk, they’re far too cute and playfully tongue-in-cheek. Singing rock n roll love songs about teenagers who, purely incidentally, may yearn longingly after evil scientists, have psychopathic killing tendencies or who may indeed be dead (or undead, obviously). The set is pure rock n roll fun, full of favourites, full of songs catchy enough to pick up by the second chorus even if you’ve never heard them before. All that undead zombie blood & make-up and cross-boned skull on the bass drum can be ignored and there’s still a good time party band that would entertain anyone, Yes, they’d even make even the dead get up and dance.
There I said it, I like the sixties sci-fi and b-movie horror theme, I like that Zombina gigs are an excuse for dressing up in antique top hats and skeleton tights. But what I like most is that there is no need, the band are good, the tunes are excellent, their gigs are never a disappointment.

[flickr tag=zombina]

Operator Please – Glasgow Barfly

Glasgow’s Barfly on the edge of the Clyde is a long way from Brisbane and Australia’s Gold Coast. It’s a damn long way for five teenagers to come and play a gig. Formed to take part in a school battle of the bands, Operator Please are a disco-punk five-piece who have since gone on to tour with Kaiser Chiefs, Arctic Monkeys, The Go! Team and Maximo Park as well as gaining a #10 spot in the UK indie charts with a song about ping pong. The cynic in me is ready for a poor show with their success down to good PR and slick production on the recorded material. I couldn’t have been more wrong.

As soon as they take to the stage their energy infects the room, lead vocalist Amandah Wilkinson belting out the tunes with a power and command that impresses and will no doubt see her become one of the most lauded front women out there playing to the indie rock scene. Classically trained Taylor’s violin out performs any guitar they could have chosen for the role as she never misses a note while still managing to bounce up to the mic for her backing vocals. Again the enthusiasm of the band overwhelms anything describable, Ash on bass seems in a world of his own throwing out the rock bass for the rest of the band to play on—Timmy on drums grins away as he beats out the punk rhythms as if there could be nothing in the world more exciting & entertaining than to be up there playing this gig. Sarah,doesn’t stop moving for a second, continually dancing along and visibly enjoying the tunes and the show while still keeping her mind on the business at hand of technically perfect keyboards and other matters such as fixing Amandah’s outfit!

The tunes themselves are spot on, a mix of bubblegum pop punk anthems like Just A Song About Ping Pong to slower almost bluesy ballads every one played with more confidence than the most experienced international superstars usually manage. Leave Me Alone showcases the bands talent for performing perfectly as Amandah dedicates the song to a fan and then realises the choice could be taken badly, she cringes, apologises, the band & crowd laugh, and the song intro never misses a beat while recovering from the ad libs.

In fact for the whole show the band play so tight together and with no discernible mistakes that at one point I’m double checking for evidence of them miming to tape or some hypnosis trick—maybe the balloons strewn about the venue have mini-CD players hidden inside; anything to explain why this band are playing support tours and smaller venue shows rather than being top of the world & selling out headline slots at Wembley Stadium. Quite frankly I’m blown away and left simply flabbergasted without much more to say at the end of the gig than a string of hyperbolic adjectives. “Amazing.” “Impressive.” “Really great.” “Astounding.”

The year is only two thirds done but I’m already marking Operator Please down as my best live gig for 2007.

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