24th July at King Tut’s in Glasgow was a walk through the foggy woods of guitar music in 2024. As the night continued and the fog began to clear, so did the direction of this era of Scottish guitar music going forward, culminating in what was surely one of the best newcomer debuts at King Tut’s in recent times.
In a night of youthful experimentation, Bird Cage Theatre were the adults in the room, standing sentinel outside the playground like watchful guardians. Speaking to fellow attendees, comparisons often circled back to noughties Coldplay. Coldplay being a band with millions of album sales under their belts, how could anyone object to their tasteful blend of sentimental balladry and soft, acoustic sonic palettes? After all, it worked for the Beatles. Resting their hopes and sound on a reliable pop rock formula, Bird Cage Theatre have mastered the fundamentals of song writing, and to those paying attention, the group Theatre produced more than one nifty hook, accompanied by a sense of emotional gravitas rivalling only James Blunt. This was a night dedicated to artists on the edge of their respective genres, whether it be the trad folk-meets-queer pop of Sphinx or the art rock sophistication of Springhouse.
Sphinx, a folk three-piece composed of vocalist, guitarist and violinist, graciously offered the antidote as the second group to perform. The interplay between the violin and acoustic guitar created a sound so expansive and lush they could be called an acoustic power trio. The highlight of the set was undoubtably their euphoric cover of Chappell Roan’s belter ‘Red Wine Supernova,’ infused with a rhythmic sensibility that rejuvenated a still-fresh joint. Sphinx was a band that oozed charm and effortlessly endeared even a rock audience, helped by the warm vocal tones of their lead singer. However, it was their violinist who added a distinct personality to their sound.
The arrival of Ample House at King Tut’s was a return to rock, with heavy guitars against the backdrop of pounding drums. Playing their debut gig, Ample House served up a refreshing take on 90s alternative rock, with strong quantities of shoegaze and hints of noise. Though the lack of a bass guitarist necessitated the use of a backing track, the basslines were a powerful anchor in their songs, reminiscent of Kim Deal and even of the Stone Roses in some parts. This is a group invoking some of the greatest bands to ever pick up a fuzz pedal, with nods especially to the Pixies and the Jesus and Mary Jane. If ever there is a pedalhead in your life, remember Ample House, and consider getting their debut record from them for Christmas.
Thus far, it had been a night of inclining quality. I had expected to be pleased by Springhouse, a young band of six members who have been gaining hype around them despite having only one gig under their belts. What I had not been expecting was to finally understand what it must have been like for Brian Epstein when he first descended the stairs of the Cavern Club in November 1961. That feeling of revelation, excitement, and pulsating atmosphere is difficult to convey in words and is better suited to exclamatory noises. Though any point of comparison is futile to describe such an original sound, they channelled elements of English Teacher, but with more reverence to great melodic songwriting, something like man/woman/chainsaw if they were able to express more than one emotion, reminiscent of the craft of Tyler Cryde and Skydaddy but with an infinite capacity for instrumental experimentation. It is only possible to compare Springhouse to the newest acts in Britain right now because their vision is that fresh.
The restrained harmonies between saxophone and trumpet, playing anything from ethereal jazz riffs to chaotic no-wave, are certainly worth noting. As is the drumming, which achieved Ringo Starr levels of feel for each song. But the true powerhouse behind Springhouse must surely be vocalist and multi-instrumentalist Daisy Casemore. Though her lyricism stood out thanks to perfect mixing, her ability to execute an effortlessly catchy chorus on songs like ‘News’ and ‘Cowboy Poetry’ brought an accessible side to the band’s art rock edge. Her voice perfectly matched the versatility of Springhouse’s sound, being equally at home with shouted sprechgesang and delicate, Joni Mitchell-style vocal runs. As Britain’s acclaimed bands of the last five years increasingly diverge in sound, and the future of indie in Scotland and elsewhere becomes less certain, bands like Springhouse are a reason to stay optimistic.
Nights like these are precisely the reason why King Tut’s remains steadfastly iconic. Exhibiting a cross section of Scottish music, with acts ranging from art rock to diluted backwater pop, Tut’s gave us a showcase for why guitar music will always have a place in the pop cultural landscape. Its commitment to the best that genre has to offer in all its forms is why Tut’s will always be visceral and vital – and putting on bands like Springhouse especially.