Mickey 9′s + KVASIR at St Lukes!
Everybody with just a passing knowledge of Glasgow's musical heritage knows about at least two iconic venues: the Barrowland Ballroom and King Tut's Wah Wah Hut. But if they're the most iconic, are they also the best? Well, no. They're not. And everyone knows that.
Don't get me wrong, there's something special about them both, and that moment when a local band gets on the Barrowland's stage for the first time as the headline act is always going to be something special. But they're not the best venues. Personally, downstairs at a gig at Nice N Sleazy is my happy place. Broadcast, Box, Stereo, and The Hug & Pint are also all right up there on my list.
But then there are venues that are something special all on their own: not because of the iconic acts who have taken to their stages or because they have just the right capacity and vibe to be a particularly good fit for emerging talent to be unleashed upon the West of Scotland (or even, in the case of the Hydro, just because it's f*cking huge), but because they're because they're really bloody pretty.
Òran Mór is one of these. Well, upstairs is. Downstairs where the bands actually play is more a sort of oversized cellar.
And so is St. Luke’s, just around the corner from the Barrowland: once upon a time a Church of Scotland Parish Church, and now more than not often being beautifully lit, playing host to some cracking acts, on a backdrop 200-year-old stained glass windows and pipe organ… pipes.
This was supposed to be about a gig, wasn’t it? Specifically, the Mickey 9s at… (predictably) St. Luke's, for the launch of their second single, “Planet”, from their album “Galatic Radio”. Consider the scene set.
We arrived just in time to see all of Kvasir’s support set, and it's fair to say that this one-man fencing-masked, LED-lit, MIDI-enabled electronica singer/songwriter is not only different to most people you'll encounter on the local scene, but also really, really, f*cking good.
I mean, seriously, the Mickey 9s are great, but I'd have been nervous about following Kvasir's show.
BUT as the headliners bounced onto the stage, with yon frontman rocking his shiny gold hoodie, everyone had a feeling they were going to put on a hell of show, and put on a hell of a show they really f*cking did.
The best way I can think of describing the Mickey 9s to the uninitiated is like RATM, if RATM weren’t so bloody angry all the time. A sort of upbeat “Rage Against The Fannies”, if you will. Unrelentingly full of energy, songs charged with a hefty dose of “f*ck the inequalities”, they belt out song after song of infectious riffs, coupled with the best kind of left-leaning lyrics.
Don’t get me wrong; wishy-washy bleeding-heart liberal stereotype this ain’t: this is the best kind of political artistry—not the sort that depresses you about the state of the world, but the sort that gets you moving and fired up and not so much angry at it all so much as determined not to put up with with the crap any more. F*ck the facists. F*ck Trump and May and Brexit and the lies. F*ck f*cking the poor and downtrodden, and f*ck those doing the treading. It’s time to LIVE, and jump around while doing it.
And all through it, the drinks and the music and sweaty bodies flowed in pretty equal measure until it came to a close, and I defy anybody to tell me that they moped out of that venue with a downbeat feeling.
The vibe was clear, and heartfelt, and spread to everybody in the room: not all superheroes wear capes, but a spangly gold hoodie is f*cking close.