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.

Are Shame one of the most exciting bands in the country right now? Based upon tonight's showing that certainly appears to be the case. The South London quintet storm the Newcastle O2 Academy stage early on this evening to an already packed crowd who seem keen to catch these guys in the flesh. With their songs being more like spoken word sharply delivered against a driving back beat, their lyrics are definitely the main focus on this occasion. 

Front man Eddie Green is a force of nature frantically dancing around the stage and often jumping into the crowd, there's a real excitement surrounding the band and rightfully so. Their energy is infectious and with a front man like Green who seems to find it difficult to suppress the urge to climb on everything, it's no wonder that the crowd seem to be taken aback by the band's enthusiasm, as are we. Despite being the first of two support bands tonight you'd think they were headlining the show.

It appears to be as much about the performance as it does the songs. However, both tracks from their latest double A side are given distinct prominence by the band, ‘The Lick’ makes an early appearance with its thunderous bassline and it's harsh words. ‘Gold Hole’ closes tonight's set in emphatic fashion, with the room brimming with enthused punters, their last hurrah truly sets them apart from the rest of the bands tonight.

Their tracks paint a true picture of modern day society, Shame are not afraid to shy away from speaking the truth and that shows through on record. Live though they're a completely different prospect, tonight they're merely here to warm up the crowd for Slaves but instead they command this huge stage with a brilliant sound and incredible stage presence. This certainly will not be the last we see of Shame!

Having not seen Primal Scream live at any point in the past twenty years I’ve not really anything to compare tonight’s show against although, given the variety of their work in that time (both in terms of styles and quality), I’m expecting a mixed bag at least. Add to that the curiosity value of how Japanese noiseniks Bo Ningen will go down in the support slot and you’ve got interest on a number of levels.

True to form, given the level of the headliners, most people weren't bothered enough to come into the hall to catch Bo Ningen's 30 minutes. Why see two bands for £30 when you can see one? Then again they're not everyone's cup of tea (when the tour reaches Kilmarnock later in the week I'll wager the town's never before played host to their like) but tonight, whilst not blowing Primal Scream off the stage, their show was fully authentic, not to say also very energetic and underneath the relentless guitar work you could discern a bit of a groove being laid down so they may have gained themselves a few more online listens, if not at least full-on new fans. They're clearly making the most out of what is surely a tongue in cheek idea of Gillespie's.

It's gearing up for the office party season so what better way to get in the mood than head along to see Primal Scream and have a dance to a handful of numbers? Nowt wrong with that if you're not stood stock still for the main part of the show, only coming to life about four songs from the end when 'Swastika Eyes' injects a bit of life into proceedings and the older fans recognise 'Country Girl' and the last couple of numbers. Not that one expected most people to care about anything other than the contents of Screamadelica.

Things started off ropey with a thin sound and recorded backing vocals on opening song 'Movin' On Up'. Clearly this was going to be a workmanlike performance from a less than classic line-up. Full marks though for the setlist not being top heavy with material from new album Chaosmosis but the structure didn't seem to have been thought out past that, ending up disjointed with the likes of 'Cry Myself Blind' and '(Feeling Like A) Demon Again' rubbing up oddly against the faster tracks.

Bo Ningen had no audience input to feed off & for the bulk of the main set neither did Bobby & co. as those standing in the Stalls were largely static. Unfortunately The Scream's performance didn't mask the immobile crowd (it could clap along well when prompted though) and there was that thin sound, a number of drum kit running repairs and a distracting bassy rumble throughout 'Come Together' to top off the less than amazing show.

Last year's nostalgic gig in the same venue was a different kettle of fish entirely but tonight Bobby Gillespie came across very much like his generation's Rod Stewart (even the old punks discussing the show behind me on the bus home hadn't been fired up enough to go out drinking elsewhere) and The Skinny's recent inclusion of the band in a list of those they felt should have already called it a day, something I disagreed with based on the More Light album, now feels entirely justified. And who was that blonde in the kimono watching the entire show from the backstage?