Michael Malarkey - Stereo, Glasgow, 12/06/16 1

Michael Malarkey – Stereo, Glasgow, 12/06/16

Stereo itself is a nice place.  It’s a Rennie-Mackintosh building, too.  Inside, however, is another story altogether.  Hot and airless, and tonight full of mostly teenage girls, it’s sweaty, and the floor is sticky with some mysterious substance that I’m almost certain isn’t just beer.  Upstairs in the main bar, it is light and pretty and they serve some excellent vegan food.  Down here, it’s not as pretty but there are some large blowsy yellow paper flowers on top of a speaker (with one dangling from the ceiling), which I’m assuming is some attempt to brighten the place up.  The place sorely needs a lick of paint and is in desperate need of some form of air-conditioning.

The audience is predominantly young and female, presumably carried here by The Vampire Diaries TV show, and they are loud and rude, talking incessantly throughout the two tremendous support acts.

A drum beat sounds and Michael Malarkey makes an appearance.  Now the stage is brightly lit, that is until Malarkey motions with his arms for a hush (good luck…) and the lights dim once more.  He sort of gets a lull in the chatter, although it doesn’t last very long.  And up go a plethora of mobile phones and tablets.  I can hear a cello but I can’t see it.  Michael announces the song but the only word I can actually make out is ‘Dancing’.  It starts slow and moody, bolstered by Malarkey’s deep, rich vocals.  He commands the crowd to clap along, and they do.  “I didn’t say hello,” he says, “How are you, Glasgow?”  What a nice chap he is!  It’s his first show ever in Scotland.  Track two – whatever it is – is upbeat and sunny and is fit for dancing, though very few actually take that step.  He’s very softly spoken and it’s often hard to make out what he’s saying.

Many of the songs have a country vibe to them, the third track possessing a rhythm that resembles the steady pulse of an old steam train.  Somewhere along the line, the cellist and bassist vanished though I don’t remember that happening, such is the draw and appeal of Malarkey.  Every now and again, the cello is heard as well as a few notes picked out on a piano – but neither can be seen from my vantage point somewhere close to a speaker – and it all sounds beautiful.  A large chunk of the audience are now drunk and even louder, but he’s very gracious, telling them that they’re a wonderful crowd.  It’s a sweet thing to say, and I wish it was true, but it is not.

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Approximately halfway through the set, the drummer has disappeared, along with the rest of the band, and Malarkey is left alone.  In this crowd that seems hungry for flesh, I find myself frightened for him.  Why there are people talking throughout his set I do not and cannot understand; the man is brilliant.  ‘Bloody Nose’, one of few tracks I find out the title of, is slow and it plods slightly.  It’s at odds with the title; I’d expected a song called ‘Bloody Nose’ to at least sound like it could inflict said bloody nose, and yet it does the exact opposite.  His on-stage banter is good: he’s smart and funny, and fortunately for him, the crowd play along.

His voice is deep, rich, woodsy and warm, and it resonates throughout the evening.  If Johnny Cash was an up and coming artist in 2016, I’d imagine he’d sound exactly like Michael Malarkey.  The 13th track (I think – I lost count ages ago) has a South American twist and really shows off his vocal talents, with lyrics that sound like nonsense.  Before playing ‘To Be A Man’, Malarkey calls for lighters to go up.  Instead, he’s faced with mobile phones.  Further proving just how nice he is he says, “Be careful of your phone batteries, I don’t want them to die.  I want you to get home.”

The encore contains a cover of Lana Del Rey’s ‘Born To Die’, which Malarkey says is his guilty pleasure.  I’m disappointed but only because by default; it implies he likes it but doesn’t want to.  Never, ever be ashamed of liking what you like.  His version is much better than the original, giving it depth.  For a brief moment, Malarkey steps down into the crowd and I watch, waiting, and fearing for his safety and his limbs.  And then, once back on the stage in one piece, thankfully, he finishes the song with gusto and drops/practically throws the mic to the floor.  His final track is one with a sweet melody picked out on his guitar.  The major downside is that a few people who are now far too drunk start cackling.  “I fucked up that song…” he says sheepishly, before going back a few bars and finishing the song as it was meant to be.

Michael Malarkey is a really talented performer who deserves so much better.  You are better than this, Glasgow.  Next time, I want to be able to hear a pin drop.

Photo: Clare Ballott

 

  1. I feel your review is too harsh and very one-sided. Why put down the whole audience just because of two girls that were too drunk? It is a social event, of course you are going to hear some chatter during performances. Me and my friend were standing reasonably close to you and most people were quiet, occasionally commenting Michael’s performance and clapping along. Michael himself made a couple of comments and actions that made the audience respond how they responded.

    I had no idea who Michael Malarkey was, I have not watched a single episode of Vampire Diaries. My friend asked me to go with her so I went and I really enjoyed the show, since I really like music that has sort of country vibe in it (among other genres).

    Also, I do not see a problem with people taking out their mobile phones instead of lighters, since it is a fire hazard and most likely prohibited in most venues like Stereo. It is true that the place needs some serious air conditioning, but that has a purpose: to get some sales on a bar. A girl fainted there, but she was taken care of properly and she was able to come back for rest of the show.

    I also didn’t notice any large crowds of teenage girls. If that was the case, then the crowd would have not been as drunk as you described it. Michael himself had a bottle of whisky there, so I don’t get why so much hate on other people who had one or couple of drinks. I get why you could have been annoyed by those two girls that were too drunk and way too loud. But you could have just laugh at them, like Michael and all other people present did.

    1. I totally agree with you Simona. Myself and my Husband were right beside those girls that were drunk and I was embarrassed thinking that people would think it was me hooting and screaming. There were a lot of teenage girls but I thought they were very well behaved as they were obviously there with adult supervision. The bar were giving out free water for anyone in cups if you wanted it which was good considering the heat. Michael and the support acts were brilliant and we had a great night.

    2. You’re right that only a few were too drunk – but the majority of the crowd were rude throughout. I stand where I do at most gigs so that I can see the crowd as well as the stage. There were some people who knew how to behave, the rest did not and I said as much. The worst of it was through the support acts – indeed, I walked away from them when it had gotten too loud to hear the music. Unfortunately, there will be people who spoil it for the majority. I was disgusted by the behaviour of some (the drunk girls were noticed, believe me, and there were definitely more than two of them – though they were also definitely the loudest/most obnoxious). You have paid to be there to enjoy the show, not ruin it for others. With this in mind, I don’t think my review was harsh at all.

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