Designed by Charles Rennie Mackintosh, its charm these days stems from the muted greens and greys with the striking red – although seemingly in desperate need of a lick or two of fresh paint – and the slight rickety wobble of the tables, not to mention the back- achingly hard chairs that don’t quite match. And the vegetarian/vegan friendly menu is deliciously posh-yet-trendy and very much affordable. On top of that and down the stairs (that I’m almost certain increase in number every time I visit) is a pretty sweet venue that draws a mixed bag of bands, musicians and events, although on appearance seems a bit… well, it’s a little off-putting. But that doesn’t seem to matter when the music starts. Just try not to touch anything.
The doors opened at 20:30. At 20:45, I’m still the only one here– apart from the sound guy and a couple of bar staff, that is. And it’s dark, save for the handful of spotlights glaring blue and red towards the deserted stage. Even in semi-darkness the place still looks grim. I refer to the previous note to not touch anything. The venue needs more than a lick of paint, that’s for sure. Closer to 21:00 and few more folk appear.
Ah, finally some human occupation of the stage! But what is it with bands and faffing? First on is the unexpected Waterday and they begin with their backs to the measly crowd. Fortunately it’s pleasant enough and just on the right side of loud, with the brilliant vocal harmonies provided by the bassist. So far, it’s clear Waterday make damn good indie-rock sounds with a twist of fun and simple, groove-led melodies. There are perhaps too many na-na-nas, though. Their second of the evening is pieced together layer by layer; guitar, drums, bass, rhythm guitar and followed perfectly with the vocals. Waterday are fun to
watch; each looks as if he’s on his own wee planet and yet it’s so brilliantly composed and constructed, they make it seem utterly effortless. By now, for some reason I can’t fathom, the lead guitarist looks suddenly very uncomfortable. The track sounds a little clumsy and plodding on the first listen, but it soon tightens up into a pretty darn good song. Track three and they’ve switched it up, beginning in such a way that’s reminiscent of early 90s pop with a slight moody edge that’s slower in temp than the previous and the harmonies are still spotless, before switching back to the up-tempo and back to the now with track four. This time it’s more confident, especially in the lead vocals, and even the rap insert isn’t out of place. Quite frankly, Waterday deserve better and much bigger crowd, but it’s been a real privilege; they are a real treat. I don’t think I’ve ever smiled so much in one evening.
Somatic are back and they’re just as predictable. Starting with the standard touch of ear drum-piercing feedback in the intro, it’s not an entirely bad start, but I fear I may have spoken too soon. Yes, there we go. The vocals are almost instantly lost underneath the music although it’s becoming very obvious that it’d work very well instrumentally. I know what’s coming. For now, I try to enjoy the 90s indie-rock throwback. Technically, it’s actually pretty good it just sounds incredibly dated. The music is damn-near perfect but the vocals spoil it, as usual. The backing vocals are pretty good, maybe he should have
a shot or two at the lead vocals, although I’m not convinced he has the confidence for it just yet. The girls talking and almost yelling behind me and the conversations going on elsewhere around me… It says it all, really. Even the bassist can’t be arsed; he’s sitting behind a speaker so nobody can damn well see him. It seems everyone is quickly losing the will to even try to enjoy them, band included. The bassist reappears and strips of his t-shirt and even that does nothing to liven things up, although the rhythm guitarist gains far more confidence than before and should definitely try lead vocals some time.
The crowd has increased considerably, though many have gathered in groups dotted around the place. SOS start into ‘Today’s The Day’ and people are still talking. This does not bode well… Given the atmosphere it’s unsurprising that the lead vocals/guitar looks unbearably uncomfortable although he very obviously has the ability. Also unlike last time, the sound is much better in Stereo than the last time I heard them. And some of the crowd have finally stopped chattering. Things could be looking up after all! ‘A Challenge To The Dark’ is well, a bit of challenge, actually. Skinner still hasn’t relaxed much and the vocals are still too tight (and I just can’t seem to figure out exactly why) and the crowd aren’t moving. Why aren’t they moving? It’s Friday, it’s SOS and they’re bloody good.
Come on, Glasgow – what the hell is wrong with you? Ok, so there’s one dude dancing, however briefly. On SOS’s part they seem to be trying, at least. There’s much more energy to them this time around, which is nice to see. ‘My Condition’ is its usual loud self, bright and upbeat and the backing vocals are far more confident. Perhaps there’s a lot to be said for better venues with better sound, although the crowd don’t seem to be doing as much as they did the last time.
A few of the gathered soldiers at the front are singing away quite happily and singing back each and every line as loud as possible. That’s something, ‘eh? ‘Carry On Suzie’ is one of the few highlights, but there’s a little too much feedback and this time, sadly, the backing vocals are unheard over everything else. Ending with ‘SOS (Are Coming)’ it seems as though everything is pinned on this. Just like before, so much energy, effort – musically, lyrically and in the performance itself – and confidence, and only now does Skinner seem to really let go and actually relax. You can hear it. It’s a perfect ending but it seems to me that everything is just a build up to this, this moment. If only everything else was as good as this. If it was, SOS would be unstoppable.
