We’re officially at the half-way point of King Tut’s Summer Nights! Each night I’ve attended has been a curated and original experience, to the extent that I can’t really compare them to one another.
For this particular gig, I resisted the temptation to do a huge Spotify stalk beforehand; deciding not to listen to a single song in order to experience each band live. For me, a large part of music is the stage presence of the band, the reaction of the audience, the jokes made during tuning changes, and the way a group uses the time and space they’ve been allocated. I wanted my first impression of each group to be as authentic as possible.
The Fife-based, post-punk band The Urban opened the show with a level of energy that was impressively and unexpectedly sustained throughout their entire set. I’d scanned though gig photos from their previous shows, so I went in with the expectation that the set would be lively to a degree. Watching this group live was a different experience altogether. The band’s lead singer, Daisy Duncan captured my attention with a personality and storytelling quality comparable to David Byrne – if he were a twenty-something year old who had experienced the female rage.
What I found particularly enjoyable about this set was the way the band interacted with each other. It was immediately apparent that they listened to one another, the band members switched roles in order to spotlight particular members on different songs, and they communicated with the audience in their own true voice. The audience could do nothing but respond to this. As I scanned my eyes over the crowd, heads were bopping in unison – even that of the bouncer…that’s when you know a band has a strong sound and a memorable presence.
Although it’s not a genre of music I particularly engage with, the chorus of their closing number is still lingering around in my mind. And, the fearless way they engaged with current Scottish and British politics in their lyrics was refreshing to say the least. A band that is able to communicate a message they are passionate about is far more interesting than one with material that only scratches the surface of a lived experience.
brnoutbby took to the stage next with a set that mirrored the intensity of The Urban. This Glasgow-based outfit and self-proclaimed producer of ‘ragebait punk music’ intrigued me from the beginning of their set. The emotional intensity behind their work was perfectly clear. With seamless transitions between their songs, a lead guitarist who could not stay still, a real duty of care towards the audience, and the desire to engage everyone with their music, this group struck the balance between professionalism and authenticity.
Of course, no Summer Nights set would be complete without a cover; but a Miley Cyrus cover was not on my bingo card for this set. The most iconic cover of the night by a long mile, and a true demonstration of knowing your audience and not being afraid to experiment with genres, sounds, and expectations. With two singles released this year alone, I’m interested to see what’s next for brnoutbby.
Our final support set came in the form of Tourist Trap. Appearing as a support act for both Quality Control and The Urban at previous gigs, it’s good to see local groups with similar sounds sticking together in the current grassroots gig climate here in Glasgow. Tourist Trap took to the stage with their newly released EP, Granda, under their belts. The title-track particularly commanded my attention, with the lead singer donning a red balaclava during the number. It was impossible to look away with this visually-striking addition to the set, and the unexpected lyrics of the piece only added to my appreciation of this group and their work.
In direct contrast, the bassist casually took to the stage in a kilt – something I didn’t expect to see, and really didn’t expect to see alongside the balaclava. Yet, the use of these culturally relevant props was entirely relevant and enhanced the meaning behind their songs. Moreover, the colour cohesion of all five band members, their ability to fill the stage and the room, and their sold-out merch indicated to me that this group knew how to perform to an audience, understood the importance of a strong visual aesthetic, and knew how to make their work memorable.
With each set, the mosh pit only increased and the energy levels were ramping up for the headliner – Quality Control. The three-piece punk outfit emerged on the Glasgow scene in 2024 and have officially released two singles to date. On the band’s Spotify account, each member has a curated playlist featuring artists and groups ranging from Peach Pit and Dire Straits, to Prodigy and Rage Against The Machine. It’s clear that each member has a unique sound to bring to the table and their own set of cultural references. Despite this contrast, Quality Control communicates a clear sound and image which blends punk with modernity.
Of all the groups that performed, Quality Control had the smallest number of members; yet they physically used the space to their advantage and filled the space with their bass-heavy sound. I appreciate it when a group doesn’t feel the need to over-exaggerate their movements. Their instrumental talent is what sets them apart and they didn’t need to employ aesthetic devices to capture the attention of the crowd. It wasn’t a flashy set, because it didn’t need to be. For a chance to catch them soon, keep your eyes peeled for more news about their appearance at the Tenement Trail later this year.