Absolutely wild and insanely fun is the short review of Hinds' most recent show in Glasgow.

Reportedly their fourth in the city, clearly the Glaswegian crowds know by this point what the Madrid-based quartet are all about as the energy escalates to a euphoric climax from the beginning to messy end. I've somehow missed the previous three visits, which feels more like a sin than ever in tonight's religious venue, but I've finally received a refreshing taste of what I missing.

After some technical issues earlier on, their perpetual carefree attitude and infectious stage banter propels Hinds through their set with complete ease. Whilst the crowd is packed out and evidently eager to party, it isn't until the ferocious one-two of 'Easy' and 'Bamboo' later in the set that things really erupt, which the dancing and jostling breaking out in force.

Standing off to the side, it's a genuine pleasure to watch the band rock out with smiles on their faces as the crowd reflect their positivity. Following one of those predictable encores (yawn), the band finish things of in raucous style as the last song needs to be restarted after being halted to disperse a stage invasion.
Carlotta Cosials returns the favour by playing out the rest of the song on top of the crowd, bringing the night to a sweaty and jubilant end.

After missing Hinds various times, and painfully opting not to see them whilst in Barcelona, the quartet have injected a hearty dose of fun and sun into the Glaswegian winter, and put some fire in the heart of a very appreciative crowd.

After an Introducing piece and EP review of Holy Water in 2014, and a keen eye on the updates since, it was a pleasure to finally see Southampton's Laurel perform live in Glasgow recently.

Whilst the likes of ‘Memorials’ and most of the now London-based musician’s first material seemed to be steeped in haunting pop, her latest EP Park is primarily defined by its guitar-centred sound. Both flavours of music are equally enjoyable however, and allow for some welcome changes in pace when cycling through the back catalogue.

It's slightly surprising however when the earlier sound appears to be temporarily abandoned, as Laurel takes to the stage alone just after 21:00 with a guitar in hand. No synthesisers, no backing band, no unnecessary frills, just a woman and her guitar preparing to deliver a stripped back musical performance.

Showcasing a mere eight tracks, Laurel’s potent vocal dominates the room as it dances hand-in-hand with the gruff and distorted guitar melodies. ‘Too Far’ and ‘Hurricane’ help to advertise that latest EP with ease, whilst a high percentage of unreleased tracks affirm the wealth of material yet to come. ‘Adored’ specifically is stated as her own personal favourite, and the associated emotive delivery helps to secure it as a crowd favourite also.

For a first venture north into Scotland, the crowd is modest in size, but receptive of the entertainment which Laurel provides. The closing track, ‘Life Worth Living’, is well chosen as it’s clearly the most well-known and brings the crowd together for a closing sing and dance of the night.

With her lyrical content laced with themes of love and yearning, it’s certain to strike a chord with those both in and out of love, and with her talented execution Laurel is certain to pick up an abundance of new fans on this initial UK tour. A debut record and a greater spreading of the word will only bring bigger crowds, and I look forward to her hopefully triumphant return to this Scottish city.

Opening with 'Oh My God' from their new record Divorce, Vancouver's JPNSGRLS have travelled a long way to play to 30 people in a Glasgow basement, but they put on a killer show regardless.

Over a 13 song set, drawing from their latest record and debut Circulation, the quartet impart some thoroughly enjoy rock vibes. Frontman Charlie Kerr shakes his hips in a hypnotic and infectious way, brimming with charisma and stirring the crowd into a dancing frenzy. Meanwhile guitarist Colton Lauro strikes the perfect tone as he tears through track after track, with the rhythm section of bassist Chris McClelland and drummer Graham Serl rounding off the band's energetic sound.

After shooting out the block with a one-two of 'Oh My God' and 'Trojan House', the pace of the night only slowed on the more restrained tracks such as 'Holding Back' and 'Southern Comforting', and the closing cluster of 'Smalls', 'Mushrooms' and 'Bully For You' ultimately ramped the energy back up for a suitably raucous finish.

With the energy flowing throughout, and the quality of the music being played, and the skill of the performance, it seems almost criminal that the crowd is this small, but at least the people in attendance and hopefully the band will keep these positive memories going forward and spread the word to their friends a great turnout next time.

Opting to miss the last train and pay for a taxi home instead to avoid missing the end of the show is really the highest compliment that can be paid here, and the rest of the words are meaningless by comparison, so we'll just end here.

Fibbers’ downstairs venue has changed since our last visit. A new bar and new furniture, but not only that; the famous dank has gone, and with it the pungent aroma that Dublin’s rock community associate with their wasted youth. Gone too is the nu-metal background noise, replaced by some freaky funk. It's a trade-off that divides opinion but if it means more gigs with bands of this quality in the middle of the week, then it'll be worth it. Tonight is a Dublin stoner rock special with Screaming Giants, Slouch and Nervvs.

First up are Nervvs. It's the first we've heard of this band. The burgeoning stoner scene is a shot in the arm in an increasingly slick and conventional Dublin rock scene; heavy and tuneful, it’s easy to see why it appeals. The two-piece have a similar setup to The Bonnevilles or The Black Keys but are trashier and thrashier, with an emphasis more on rock than blues. With the frontman alternating between singing and screaming while the drums reverberate and roll like an ocean current, Nervvs are an invigorating and confrontational proposition.

We lose sight of the band in the fug of the smoke machine but the relentless pounding and churning of the instruments and the screaming refrains are impossible to miss. A new song, ‘You’re Fired’, has a Fugazi feel, sans the dub bass guitar. Nervvs really get the blood pumping and, suitably enlivened, it's time for Slouch.

The Slouch Corporation roll in like they own the place. The trio manage to get tuned up before the artificial smoke envelops them. They open with new instrumental ‘I Want The Gold’. The heavy groove lets everyone know what they are in for. Singer and guitarist Conor Wilson asks if it ok to turn his guitar up. With this music, the louder the better.

When he begins to sing it is a surprise. You expect screaming and shouting but Wilson is more Rivers Cuomo than Kurt Cobain. Their hefty, precise riffing complements the infectious melodies. The tempo varies from a gentle sway to neck-snapping staccato jams, often within the same song.

They use tonight to road test some of the material that they have been recording for release next year. The evolution of their sound since the Feminine Elbows EP is clearly audible. The main focus of the tunes are the lyrical and chord progressions rather than revolving around a particular riff or beat, and the jammed outros tell of hours in the practice room together. They finish the set with ‘Plain Clothes Sharks’, leaving our ears ringing and the anticipation builds for Screaming Giants.

An atmospheric tape intro and another wall of smoke announces the headliners. They open with ‘Throb’, a song so prototypically stoner that it could be a cover of Queens Of The Stone Age. It’s the perfect introduction for the band. After ‘Shotgun Sexy’, Dave switches his Gretsch for a black Telecaster. It’s the first time I’ve seen a guitar tech in Fibbers. Things really have changed. And it’s well that she is there as Ryan has broken a string during the song and has to call for her aid. With Dave’s spare guitar called into action, the band give the Scissor Sisters’ ‘Laura’ the stoner treatment. It works surprisingly well.

The music has a horror theme and the four band members are dressed all in black; like a groovy Misfits. ‘Deep In The Woods’ is slow and moody. Jazzer ornaments the doomy riffs and ambient guitars with howls and mournful screams. After the initial technical difficulties, Screaming Giants really gather momentum. A new song, provisionally titled the new one is a doomy rocker lead in by Dave’s searing riff and driven like the devil by drummer Liam. They continue with the second song on Found Footage, ‘Burning Black’. It starts with a simple descending riff and flips over into a Soundgarden tune.

The rifftastic ‘Nightmare’ sounds even better live with a riff from Bob Rock-era Metallica and a chorus straight from Josh Homme. A Stooges cover makes way for the haunting chain gang harmonies of ‘No More’. “That last song is called No More” retorts Jazzer when the crowd chant for one more tune. I love a band that eschews encores. With Screaming Giant’s Misfits of doom, Slouch’s Kyuss meets Weezer and Nervvs’ Iain MacKaye-isms, it seems there is life in the old dog of Dublin rock still.