Headlined by Liam Gallagher, Gerry Cinnamon and Calvin Harris, an honest take on Scotland’s premier music festival.
The second weekend of July now means one thing in Glasgow – for three days, the TRNSMT Festival circus rolls back into town. Now in its sixth edition, Scotlands largest city welcomes tens of thousands of revellers to Glasgow Green for a thrilling weekend of performances from bona fide music stars and breakthrough talents.
Friday
With Scotland being Scotland, July has already seen its fair share of torrential rain, but somehow were in luck on day one. On Friday, the suns appearance encourages the more exuberant attendees to go "taps aff”. And for those with "taps oan”, theres a noticeable retro football kit theme going on: plenty of classic belters are on show from 86 Argentina to 98 Brazil to replace the banned Old Firm tops. And every third person appears to either be wearing Oasis, Liam Gallagher or Pretty Green clothing gear in ode of the first nights headliner.
Getting through security is surprisingly quick on each day, as are the bar queues throughout the venue. So, with a £6.80 pint of Brooklyn Pilsner purchased, we saunter on towards the main stage for our first performance of the day, Declan McKenna. The indie pop singer-songwriter is in fine form and rallies through psych-pop new album What Happened To The Beach, while the glam rock-inspired The Keys To Life On Earth' and 'Beautiful Faces' (from 2020s Zeros) change the temperature towards the more peculiar. Where much of the audience are ambivalent to this point (more ranting about crowd disinterest to follow…), 2017 single suddenly creates a mass singalong and a sea of bodies on shoulders.
After watching McKenna tear off his top during 'British Bombs' to finish his set, we rush towards the King Tuts Stage for the remainder of Wunderhorse. The Jakob Slater-led band are arguably one of the most exciting indie acts of recent years and they deliver an impassioned set of hazy rock songs from acclaimed 2022 debut Cub and new tracks, finishing on a one-two of melodic latest single 'Silver' and the abrasively grungey 'July'. This is our first venture to the King Tuts Stage and it’s an area that'll become like a second home this weekend, possessing an atmosphere more comfortable for your maturer music fan. Next up on this stage is the theatrical, all-female act The Last Dinner Party who charismatically perform tracks from their recent number one album Prelude to Ecstacy. Singer Abigail Morris is overflowing with charm and her dancing ensures entrancing performances of ‘Caesar on a TV Screen’ and ‘Sinner’.
Last year on the River Stage, Afflecks Palace singer J Fender declared Spirit of Spike Island label-mates Pastel the future of British guitar music and a year on they proved their potential with a swaggering set at the same stage. Closing on the dreamy and atmospheric Isaiah, the Manchester band deserve a longer slot than their meagre 30-minute allocation but, overall, its enough to whet the appetite for their forthcoming debut record.
Its then back to a packed King Tuts Stage for Example, the 42-year-old London rapper competing with Garbage on the Main Stage for crowd numbers. Prior to his arrival, the packed crowd are hyped by a medley of indie and dance classics (including Scotlands unofficial national anthem Bits And Pieces) before the London rapper races through deeper cuts 'Won't Go Quietly', 'All The Wrong Places' and 'All Night' to keep the party atmosphere going. In one chaotic mid-point moment, Greenock-born actor Martin Compston rushes onstage to lead a "No Scotland No Party” chant, before Example jubilantly finishes on his two biggest bangers 'Kickstarts'and 'Changed the Way You Kissed Me' - the perfect vibe for a Friday night.
And so onto Fridays main event itself, Liam Gallagher. This is the fourth time he's played Glasgow this year ("we'll soon be sick of the sight of each other” jokes Liam), a fact that had many cynics call the headline selection uninspiring. Tonight, the Manchester singer leads a buoyant 30 year celebration of Oasis' seminal debut Definitely Maybe and proves any naysayers wrong by absolutely smashing his 90 minute set (not that it was ever in doubt, right?).
His gusto on opener 'Rock 'N' Roll Star' is matched in enthusiasm by the adoring audience, and the same can be said of the other big tunes from the Britpop icons 1994 debut; 'Columbia', 'Cigarettes and Alcohol' and 'Supersonic'. There's no room for any of Liams solo work or even this years record with John Squire and he throws in mass singalongs of Oasis B-sides 'Whatever' and 'Half The World Away' (surely a move designed to irk Noel!). As he arrives back on stage after 'Live Forever', Liam delivers a raucous encore performance of The Beatles-cover 'I Am The Walrus' to end the set with faultless bravado. A satisfying finale to day one that even the teenagers born after the demise of Oasis seem to enjoy.
Saturday
Saturday’s line up is arguably the weekend’s weakest. However, for fans of guitar music, there’s plenty of treats on offer early doors. Acclaimed Irish dream-pop newcomers Newdad open the Main Stage, indie veterans The Vaccines play an early afternoon set of indie bangers, while the hard rock of rising Scottish band Dead Pony and breezy Aussie guitar pop duo Royel Otis thrill the King Tuts Stage. For us, the day starts by joining a sizeable Main Stage crowd for Glaswegian singer-songwriter Dylan John Thomas. Thomas released his self-titled autobiographical debut in February and leads a celebratory singalong of his biggest songs; the bouncy, skiffle-inspired ‘Jenna’, the sweet ‘Nobody Elsewhere’ and fan favourite ‘Fever’ – put your money on this guy headlining the festival someday.
We then hang about at the Main Stage for one of the most intriguing (and unconventional) picks of the weekend, Rick Astley. The English pop icon is an unexpected weekend highlight, not just playing songs from his discography but a heap of well-received cover versions - CHIC’s ‘Good Times’, Sam Fender’s ‘Seventeen Going Under’, and he has a shot on drums for a cover of AC/DC’s ‘Highway To Hell’. The karaoke, people pleasing nature of the set (I mean, realistically how many people can name more than one or two songs of his?) raises spirits during a rare moment of weekend downpour. And of course, his defining 80’s pop anthem ‘Never Gonna Give You Up’ superbly closes the set. Soon after on the King Tuts Stage, Caity Baser provides an enjoyable injection of pop entertainment. The Southampton-born sensation keeps the energy high with several highlights including infectious Radio 1 favourite ‘Pretty Boys’, defiant pop anthem ‘Oh Well’ and ‘90s cover ‘Would You (go to bed with me)?’.
Disappointingly, train cancellations force an earlier than planned departure (thanks again, Scotrail). So, our Saturday headliners won’t be Gerry Cinnamon but The Courteeners. It could be argued the Manchester indie legends should be headlining, anyway. Liam Fray and co raise the (metaphorical) roof by opening on 2013 live classic ‘Are You In Love With A Notion?’, before racing through much of their classic 2008 record St. Jude. During the set, Fray sings ’Take Over The World’ and ‘The 17th’ with as much intimacy and power as he can muster. While later, signature tune ‘Not Nineteen Forever’ is faultlessly executed, met by flares and ecstatic crowd participation. The Courteeners finish on ‘What Took You So Long?’, and, dare we say, its a question that could very well be aimed at the Main Stage crowd in general. Until their last two songs, there’s often a distracted and subdued nature to many areas of the arena. And this isn’t just exclusive to this performance.
For many of the Main Stage performers, groups in the crowd loudly talk amongst themselves, while a constant stream of people come and go to the bar as if the performers are merely a secondary after-thought. It doesn’t feel like we’re at a gig, at all. And both factors make it extremely difficult for those who’ve actually turned up for the artist to fully enjoy themselves. Then all of a sudden, the artist plays their best-known song and the mood ever so briefly turns up several notches – the group chats end, the phones are raised and lyrics are chanted back word for word. For a while, at least. Half way through said song, a mass exodus begins and off the crowds head towards the bar in preparation for the next performer. Rinse and repeat.
A lot of self-congratulatory “Scottish crowds are the best” back patting goes on this weekend, but much of the Main Stage crowd isn’t the best representation of that by any measure. Maybe its the second day lull, but it all leaves a sour taste in the mouth as we depart the arena. “Had enough?” remarks one security guard and we smile back in agreement. Well, not quite, but an early finish is more than welcomed to ensure freshness for the following day.
Sunday
And so onto the final day of the festival. On the walk towards the festival site, the heavy number of Buckfast-swigging, Nike-wearing teenagers singing Scottish football songs is enough to make anyone within the vicinity question their life choices to this point in time. They have gathered early, of course, for Calvin Harris’ homecoming appearance as final day headliner. The entrance queues are their longest yet and inside the retro kit theme has been replaced by cape-wearing individuals in Spanish or English flags, showing their allegiances ahead of the nights big Euro 2024 final.
On the Main Stage, Stockport synth-pop five-piece Blossoms show why they’re routinely asked back to play TRNSMT with songs like ‘There’s A Reason Why (I Never Return Your Calls)’ and ‘Charlemagne’ performed with a meticulous stylishness of an indie band in the peak of their powers. Its then over the to the King Tuts Stage to watch London punk rock duo Nova Twins whose fantastic performance deserves more onlookers than the handful who’ve turned up to watch them. Those in attendance certainly do make up for this with exuberant head banging for set highlight ‘Cleopatra’ and later a mosh pit for ‘Antagonist’ and ‘Choose Your Fight’. As for Nova Twins, their blistering set is a 40-minute assault of noise, meaty basslines and “boss b*tch” vibes - definitely amongst the weekend’s highlights.
As Nova Twins depart the stage, a group of lads wearing The Reytons t-shirts make their way towards the barrier for their hero’s performance. There’s often a snobbery aimed at the Rotherham band and their Yorkshire-brogued lad rock style, but they’ll win over many tonight with an explosive, fun-filled garage rock set. Singer Jonny Yerrell jokes about the number of “Spanish” people in the crowd before declaring his love of Glasgow to diffuse any tribalistic difference. By the time they finish on soaring anthems ‘Kids Off The Estate’ and ‘Low Life’, even the harshest critic will admit that The Reytons have done an excellent job in getting the crowd going in front of them.
There’s a twinge of sadness leaving the King Tuts Stage for the final time. Throughout the weekend it’s become a mecca for new music and more alternative acts, a safe haven from the often-disinterested atmosphere of the Main Stage. Which is exactly where we’ve headed to next for dance duo Chase & Status. In many ways, the dance duo are the perfect warm up act for Calvin Harris, with 2023 drum and bass smash hit ‘Baddadan’ sounding epic in delivery, the acoustic-led Plan B-featuring ‘End Credits’ taking a melancholic turn, and Nottingham singer Liam Bailey brought out for an emotive version of 2011 hit ‘Blind Faith’.
So, onto the headliner himself, Calvin Harris. Arguably the biggest DJ in the world, his selection as Sunday headliner is definitely a coup for TRNSMT. Amazingly, we get into the front circle with moments to spare and the excitement in the air is palpable. Whispers circulate around the crowd as to the Euro 2024 final happenings, but any regrets for missing the game are quickly put aside by a euphoric two-hour greatest hits set. The Dumfries-born DJ has so many big songs up his sleeve and the performance contains a joyful serving of wall to wall of dance bangers. Beyond a well-received announcement that Spain had scored, Calvin’s audience interactions are kept to a minimum, hyping the crowd up only every few songs. But in truth, they need little encouragement on that front.
The light show from the stage creates quite the visual spectacle and the crowd are in audible awe at the opening of each new song, aware of the star power in front of them. Highlights include the Rihanna featuring ‘This Is What You Came For’ and ‘We Found Love’, ‘Feels So Close’ and an epic close of last year’s 90s dance flashback ‘Miracle’. Oh, and ‘Bits and Pieces’ gets another welcomed outing too. You can only imagine Calvin’s services cost the festival a kings ransom to secure, but the ecstasy his presence creates proves he was worth every dime.
So that’s TRNSMT done for another year and this year’s event definitely has had more upsides than down. There’s an impressive weekend card - an eclectic mix of artists catering to fans of indie, alternative rock, dance and pop (though, perhaps lacking hip hop artists). The healthy mix of new and contemporary means there’s only a sprinkling of nostalgic acts rather than a dominance which can only be a good thing for the future of music. The main gripe people have – particularly on social media - is not so much the organisation of the event but the clientele. A sizeable minority of ticket-buyers have only a scant interest in the performers and this can ruin the enjoyment of fans of said artists. As we later came to realise, this is more of an issue between the middle and back of the Main Stage and can be avoided by going early into the front circle – meanwhile, such problems don’t affect the smaller River Stage or King Tuts Stage.
TRNSMT is by no means a perfect festival - some suggest a strict over 18’s policy would work wonders for the event’s reputation - but those attending the 2024 edition appeared to have an absolute ball - your writer included.
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