In their first of two sold out London shows at The Lexington, Big Thief brought their fantastic debut album Masterpiece to life, and grabbed the opportunity to air new material in an impressive signal of what’s to come.

Before Big Thief’s headline slot, support came from the bizarre and dazzling Mega Bog. Frontwoman Erin Birgy sits between Laura Marling and Regina Spektor in terms of style, and does so with ease. Backed by complicated synths, jazz-infused licks and even gorgeous wind chimes, her wispy voice and meandering stories nestle perfectly to pack a much firmer punch than you’d first expect.

It was a tough act to follow, and appearing on stage, Adrianne Lenker & Co. of Big Thief described themselves as “overwhelmed… in a good way”, and this was palpable throughout as they flitted between Lenker meticulously delivering acoustic-folk numbers with great care, to the band driving full-throttle into rock and roll tracks such as ‘Real Love’ and ‘Masterpiece’. The contrast was stark and a delight which kept the crowd captivated throughout. 

Between each song, the sound technician was asked to make tweaks, or they’d have to pause to retune, making clear the fluctuation in the style of the tracks they were playing, and the perfection they were trying to achieve. This was no surprise from what is a noticeably tight group of musicians, though almost all attention is absorbed by Lenker. With moments of delicacy her voice leaves the audience spellbound, only to suddenly change gear, effortlessly belting notes that must have even caused a stir in the bar downstairs. 

It’s possibly hackneyed to say, but even in the heavier songs, Lenker’s powerhouse of a voice, pierced through the jarring guitar riffs and rhythm section, like a lighthouse across stormy seas; it seems to tie it all together and bring order to moments of chaos. Lenker has previously discussed the confidence that her band affords her, saying, “these guys feel like a pack of wolves at my back. They make the songs howl and bark with a fierce tenderness that gives me courage.” This was particularly clear in the new tracks which hinge on this growing confidence. 

Both Mega Bog and Big Thief are brilliantly innovative bands and ones with plenty more to offer. You can expect them to be staples of the festival scene for years to come, as they sell out even larger shows and belt out even stronger vocals.

Recommended by a friend of a friend, and preceded by several listens to most recent record Instigator, I always felt like I should be more acquainted with the music of Kevin Devine. Accompanied by The Goddamn Band, his latest performance in Glasgow confirmed that suspicion beyond any doubt. 

Whilst the enjoyment of bands such as Modern Baseball has always been the taste of my companion for the night more than myself, the hints of bands such as The Xcerts and Manchester Orchestra are more than welcome to my ears, with all three of those artists sharing musical ancestry with Mr Devine & Friends. Additionally, the undeniable vein of political discontent running through the performance was particularly enthralling for me, although it didn't seem to spark a tangible fire in the audience, rendering the night "deceptively political" at best. 

As a relative newcomer to The Main Man, the night's expansive 21 track set was a whirlwind tour of Devine's craft. From the solemn and solo opening of 'Ballgame' to the frenetic run from 'I Could Be With Anyone' through 'No History' via 'Bubblegum' and others, the tracks just kept coming, and they were all delivered as if additional pieces on the way to completing a perfect jigsaw image of the night's musical landscape. Aside from the opener, a rendition of Bad Books' 'It Never Stops' and closer 'I Was Alive Back Then' provided respite and downbeat touchstones throughout the energetic onslaught of track after track after track. Most notably, the penultimate track and evident crowd favourite 'Brother's Blood' was delivered with jarring emotive power as Devine stepped back from the microphone to allow his impassioned delivery to blend with the crowd's, with hair-raising results.

Littered between the emotional peaks and troughs of the vast list of songs was endearing and genuine thanks and crowd interaction. From discussing previous visits to the city, and attempting to remember venue names, to telling confessions about song inspirations (namely how the likes of 'No Time Flat' and 'Nobel Prize' remain relevant in this time of political turmoil), Devine was nothing short of absolutely lovely throughout. 

Ultimately, having watched in awe at the outpouring of music and emotion, my familiarity with this artist has been drastically increased, and will no doubt expand in future weeks as I explore the darkest depths of his back catalogue online. Aside from holding some deeper internal revelation about the rediscovering the beauty of new music, the show was simply thoroughly enjoyable, and I look forward to considering myself a fan of Kevin Devine from February 1st 2017 onwards. 

Despite last year's Goodness being my first proper introduction to The Hotelier, I can't help but feel they are the band my heart was yearning for about seven years ago, which is about the time they first formed. The band blend the strands of Biffy Clyro and angst, the two flavours of choice throughout my high school years.

On their second visit to Glasgow, they play Stereo, an appropriately tight basement venue in which to broadcast their sound. That latest record is well represented, with the one-two of 'Soft Animal' and 'Sun' showcasing a duo of the stand out tracks, whilst an encore of 'Opening Mail For My Grandmother' was a fittingly endearing end to the evening.

Euphoric singalongs of 'Your Deep Rest' and 'An Introduction To The Album' made me guilty of my unfamiliarity with the band's second - and perhaps seminal - record Home, Like Noplace Is There. There's a late New Year Resolution in there, and I hope to be able to scream along those same lyrics should the band return.

Like those aforementioned Scottish rockers, The Hotelier's sound borders on epic, yet unlike that trio they have a much more tangible grip on emotional songwriting. Starting with Christian Holden's lyrics and crooning vocal performance, and ending with some enthralling loud-quiet flows on the instrumentation, the Massachusetts outfit know how to jerk a tear.

Despite starting 15 minutes early, following a swift soundcheck, the band simply launched into their set with gusto, and the tentative Glasgow crowd was likely treated some additional tracks to make up the difference, which is an unexpected treat. Throughout the set, Holden gives sincere thanks to the crowd, and they respond thanks in the form of singing and dancing.

There's no frills here, just an emotive band who've traveled thousands of miles to play to their eager fans, and at the end of night everyone appeared to have lifted spirits, and surely that's all the matters? Gratefully received, The Hotelier's dynamic emo-tinged sounds are welcome in Glasgow, and it was a pleasure to watch them play, and to be part of such an emphatic crowd.

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Gigs where you feel you're amongst a privileged few to have witnessed something special, rather than part of a well entertained mass, are few and far between. Seeing Pale Angels play to a criminally small audience earlier this week was though one of those times.

As power trio performances go this was surely up there with the best that Bob Mould et al have pulled off in their time. Racing through a set of tunes from current album Daydreaming Blues as well as its predecessors Imaginary People & Primal Play, this was a tight and visceral show from a band clearly happy to be on the road whether filling halls or playing to a man and his dog.

The trio barely drew breath between numbers, other than to thank folk for turning out on a Sunday in December, battering along as if their lives depended on it (or at least because some heat was needed on stage). In the meaner margins of the indie scene it's the likes of Pale Angels who're slogging away so that you can get the buzz of a life-affirming show in your veins - keep an eye peeled for when they return and get your fix.

In support tonight there was the opportunity to see Lachance play a more compact space than afforded them when in Dundee on the BYAF bills. Not that they don't do the Buskers' stage justice but seeing them in a smaller & more intimate space, allowing for roaming amongst the crowd, along with the bonus of a longer set time, seemed to show them in their most natural light. Tight as ever you'd not have thought they were easing in a temporary drummer.

Having missed new act Bright Notes at the very start of the night things had been kicked off for me by a third viewing of the Joyce Delaney show in 2016. This year's been a bad one in many ways but the Glasgow trio certainly let you know all about how they personally have been messed about by the passing of the last 12 months, all the time laughing it off and being certain that 2017 will be better as they'll make it so. Yet again it proved impossible to disagree with them.