TRNSMT Festival, Scotland’s biggest party, returned last weekend with three days of memorable live music and thrills, welcoming thousands of festival-goers to Glasgow Green to revel in the midst of music legends and breakthrough stars alike.
This year’s broad-ranging line-up jumped from rock and indie, to dance, rap and pop with ease – bringing back some familiar faces alongside a new wave of artists ready to rise through the ranks. And while TRNSMT has been known for its predominantly youthful crowds and party-hard atmosphere in recent years, the varied bill seemed to attract a more multi-generational audience this summer, with Britpop heroes Pulp being the main draw for many on the Friday.
In fact, organisers delivered something for everyone on the opening day – and while having the likes of George Ezra and Niall Horan incongruously sandwiched between Paul Heaton and Pulp may have initially raised some eyebrows, it proved to be a stellar day of entertainment. Combine this with the decent weather; lack of queues; well-organised site and upbeat, lively atmosphere – and it was a flying start for Glasgow’s biggest party.
Our Friday started early with Dead Pony who stormed the Main Stage with all the confidence of rock veterans, ensuring the small but dedicated crowd were rewarded for their early entry. With Anna Shields full of star power, the four-piece sounded bigger than ever before – all grungy riffs and rocking anthems. Their quick promotion from last year’s slot on the River Stage was more than deserved, and the chance to play this kind of stage again in the future will surely come quickly.
Meanwhile, over on the River Stage, fast-rising indie outfit SLIX attracted an impressive crowd given their early slot. A band who are rapidly cultivating a loyal following in their hometown of Gourock and beyond, they all came along for the ride on Friday morning and lapped up every minute of the high-energy performance.
It was a common theme of the whole weekend. As with previous years, there seemed to be a genuine thirst for new music across the festival with the small River Stage attracting large and attentive crowds each day – whether it was for the emo pop-punk stylings of Hot Milk, the rootsy pop of Nati Dredd or the minimalist, dreamy sounds of Cloth. The artists also benefited from the stage’s new location along the river this year, strategically nestled under an intimate wooded area to give them extra space away from the thumping beats of the aptly named Boogie Bar.
Meanwhile, at the other end of the site, another artist making his Main Stage debut was Declan Welsh & The Decadent West who quickly made their presence known – knocking out some fan favourites with real swing and swagger, as well as new material from upcoming album ‘2’. In the middle of the set, Welsh took time out to deliver an impassioned speech in support of the people of Palestine. A striking example of an artist using his platform for good, he touched on Nelson Mandela’s ties to Glasgow and the need for collective action.
Then, after seeing The Joy Hotel deliver some exquisite psych-rock goodness on the King Tuts Stage, it was time for another hometown hero – Joesef – to take to main arena. In the midst of a busy festival season, he delved into his acclaimed debut album ‘Permanent Damage’ in typically smooth fashion – his crooning vocals elevated by a talented band of backing singers, eighties-inspired sax and delectable guitars. While there’s that plaintive feel to his tales of romance and heartache, there was a real upbeat, feel-good vibe to the set as glimpses of the sun started to emerge– with a customary cover of Sister Sledge’s ‘Thinking Of You’ thrown in for good measure.
Less smooth, more raucous indie bangers, The View united the crowd for the weekend’s first mass singalong. Opting for the old classics like ‘Same Jeans’ and ‘Wasted Little DJs’ in favour of promoting their upcoming album ‘Exorcism of Youth’, the band pulled absolutely no punches – delivering plenty of nostalgia for the indie veterans in the crowd as well as big singalongs for the younger fans.
Shortly after dishing out £1,000 to five local bars in the vicinity of Glasgow Green, socialist hero Paul Heaton followed through with a hit-heavy set that had the crowd in full voice. Digging into the back catalogue of The Beautiful South and The Housemartins, with the likes of ‘Perfect 10’, ‘Rotterdam’, ‘Don’t Marry Her’ and ‘Happy Hour’ all on show, he was joined by the brilliant Rianne Downey on guest vocals due to the enforced absence of Jacqui Abbott. Setting the nostalgia factor high, Downey was the perfect vocal foil – taking her quick graduation from River Stage to the main arena very much in her stride.
Later on, those who were looking for a left-field alternative to the radio-friendly One Directioner Niall Horan were treated to Warmduscher on the King Tuts Stage. One of the many highlights of the weekend, they wasted little time in whipping the crowd into a frenzy with their relentlessly heavy funk basslines, sleazy rock guitars and pummelling drums – only briefly stopping when someone had taken a tumble down the front. A live force to be reckoned with, they lived up to all the hype and more.
Finally, it was time for the main attraction – and easily the biggest draw of the day – Pulp. The creeping build of ‘I-Spy’ opened the set, before a plush red curtain pulled back to reveal a large stairway and a podium for our hero of the moment – Jarvis Cocker. After this suitably glamorous entry, ‘Disco 2000’ instantly proclaimed take-off, instigating a party atmosphere that never quite let up throughout.
There was absolutely no messing around – it was a set carefully designed to delight a festival crowd, and it worked every minute. A fantastic ‘Mis-Shapes’ followed, before an understated but heartfelt tribute to the band’s much-loved late bassist Steve Mackey in ‘Something Changed’ – bringing a teary edge to a song already packed with feeling.
Every inch the star frontman, Jarvis Cocker was in sublime form. Gliding across the stage with flailing arms and boundless energy during songs, he was a generous and warm host between them – his charisma never shaded even decades after their heydey. Of course, it takes a special figure to connect to a mixed festival crowd like TRNSMT – but he pulled it off with aplomb.
Piling on the freewheeling sense of fun that always defined the band the first and second time around, ‘Sorted for E’s and Wizz’ saw the orchestra don bucket hats before truly euphoric takes on ‘Do You Remember the First Time?’ and ‘Babies’ garnered an emphatic response from the crowd – still every bit in awe of their charismatic conductor.
After a rendition of ‘Sunrise’ to close the main set and a reading of Alasdair Gray’s poem ‘For Tom Leonard’, the energy was palpable. “That’s it, isn’t it? We haven’t forgotten any?” Cocker teased the crowd as they clamoured for ‘Common People’. The song was duly delivered – its communal spirit eliciting a wave of thrown drinks, group hugs and extended singalongs. A song that may have initially derived from rage and class divide, it felt triumphant and hopeful – a moment of sheer unbridled euphoria from a band who are every bit as vital as they were 30 years ago.
Saturday was a tough act to follow then, but it got off to a rousing start with Brooke Combe and The Big Day. No stranger to the festival circuit, the former is a remarkably assured performer and it showed during her early slot on the Main Stage – her four-piece-backed set transforming into a bluesy rock show with big guitar licks and soulful pop tunes. Meanwhile, The Big Day attracted an impressive crowd for their lunch-time slot on the River Stage. The four-piece arrived every inch the burgeoning pop stars – donning matching bomber jackets and armed with huge, soaring indie-pop anthems to boot. Led by frontman Ryan Hunter’s commanding vocals, the barely two-day-old single ‘Born Killer’ had the audience singing along, while ‘Bad Things’ shone bright with its zingy guitar lines and endless hooks. A band destined for bigger stages, we can’t wait to hear these songs in all their fully-fledged glory.
Other Saturday highlights included The Mary Wallopers. Quintessentially Irish in both music and spirit, they were raucous, fun and endlessly captivating. And while their music was upbeat and dynamic, rooted in traditional Irish folk, their craic was even better – sticking two fingers up to the establishment with wit, fire and infectiousness.
Later in the day, The Wombats delivered a jolt of indie disco dancing energy to an increasingly damp audience, while Kasabian had the crowd bouncing from the off. There’s no denying that Serge Pizzorno has revelled in his new position as frontman of the group – some would say there was an air of destiny about it in his position as long-time songwriter, leader and co-singer. Consequently, he commanded the stage with ease, full of swagger and snarl, across the career-spanning setlist – from the grizzled, fuzzy riff of ‘Underdog’ through to mass singalong ‘LSF’ and of course, ultimate crowd pleaser ‘Fire’ which incited utter chaos across the sodden field.
They provided the perfect build-up for headliner Sam Fender. Since playing a tiny pub at our very own Tenement Trail back in 2014, Fender has worked his way to the top of TRNSMT – first appearing in 2018 on the King Tuts Stage to opening proceedings on the Main Stage a year later. Four years on, he’s back and top of the bill – just a couple of weeks after playing two milestone shows at St James’ Park in his native Newcastle.
From the opening searing stomp of ‘Will We Talk?”, it was clear he was up for the challenge – delivering big hitters with gusto like ‘Getting Started’ and ‘Dead Boys’, the latter an unlikely festival singalong with a poignant and timely message. The two-minute punk thrash of ‘Howden Aldi Death Queue’ again fired up the increasingly sodden crowd.
He said: “We’ve played every stage in this festival, from a little stage over there to the main stage. It’s just really surreal.” A large part of Fender’s appeal has always been his humility, unflinching honesty and relatability. And this was highlighted once again with the moving rendition of ‘Spit Of You’, a beautiful ode to his father accompanied by a reel of family photos.
He largely let the music do the talking on the night – ‘The Borders’ is still lyrically one of his greatest songs to date, elevated by the Springsteen-esque saxophone, while ‘ The Dying Light’ returned to the heart-cleaving sadness of ‘Dead Boys’ before pivoting into a triumphant and rousing singalong. ‘Spice’, accompanied by a ‘F*** the Tories’ chant, was lit up with jets of fire, while there was a rare airing for the Scotland-inspired ‘Angel in Lothian’. He spent “some of the best times of his life in Scotland” he tells the crowd. “It’s my second home.”
Continuing with the theme, a cover of Frightened Rabbit’s ‘Modern Leper’ soon followed accompanied by his Scottish guitar tech Fraser, with the ecstatic crowd carrying him through to mass singalongs of ‘Seventeen Going Under’ and ‘Hypersonic Missiles’. Anthemic and emotional, mass pogoing ensued and fireworks burst in the air – the closing refrain echoing around the park long after Fender’s departure. It was a triumphant finale, deserving of his heroic ascent to festival headliner.
Day three of TRNSMT was perhaps the most eclectic of the lot, opening with Pale Waves strutting their stuff on the Main Stage, tearing through their catalogue of indie-punk singalongs, and Lucia & The Best Boys treating fans to material from their eagerly anticipated debut album ‘Burning Castles’ over on the King Tuts Stage. Brooding, heartfelt and backed by an expanding troupe of musicians on stage, Lucia was the star of the show – with expectations of that upcoming record even higher than before.
The rest of the day showcased a range of personalities – from the charismatic, political punk of Bob Vylan to the glitchy hyperpop of Ashnikko. Festival veterans The Kooks delivered a crowd-pleasing set with classics from ‘Inside In/Inside Out’ while The Enemy continued the noughties indie revival over on the King Tuts Stage with a set focused on debut album ‘We Live And Die In These Towns’.
They may have ruffled a few feathers last time they were in Scotland, but Royal Blood were all about the heavyweight riffs and raucous rock music this time around. A classic festival set, they bulleted through all their biggest songs, giving the audience exactly what they wanted – including electrifying renditions of ‘Little Monster’ and ‘Figure It Out’.
It was left to The 1975 to see out TRNSMT 2023 in truly memorable fashion. “Ladies and gentlemen, you are so lucky to see one of the world’s greatest bands,” Matty Healy said, in typical self-aggrandising mode, after entering the stage via wheelie bin.
There’s no denying that Healy, seemingly always in the midst of some online furore, is a divisive figure – but it also doesn’t take away from the fact that his band are about as good as a headliner you can get at the moment. Offering a reworked version of their ‘At Their Very Best’ performance, a half-sitcom, half-gig-style show that rocked up at the OVO Hydro earlier this year, there were less theatrics this time around and more straight-up fun.
Either way, it was a far cry from their last performance at TRNSMT – a time when Healy was in the depths of his drug use. “Was anyone here last time? That was a weird time” he reflected. The four-piece are now as slick as they can get – and it showed on Sunday. Kicking off with the synth-charged ‘Looking for Somebody (to Love)’, their recent album ‘Being Funny in a Foreign Language’ came into its own – the likes of ‘Oh Caroline’ and ‘I’m in Love With You’ received like old classics.
Brimming with hits, the set was a celebration of their entire discography – digging out much-loved deep cuts like ‘Ballad of Me And My Brain’ and the more plaintive ‘A Change of Heart’ to the politically charged ‘Love It If We Made It’ and big-chorused anthems like ‘Robbers’ and ‘Sex’. With Matty Healy declaring them one of the best crowds of the year, his adoring fans were treated to one final gift in scorching rocker ‘People – its lingering buzz leaving the crowd in awe of such a hit-strewn set. Few bands elicit the same emotionally charged reaction as The 1975, and combined with the beautiful pink sunset behind them, it made for a glorious festival-closing set.
So, it was a triumphant return for Scotland’s biggest live music showpiece. Not only does it continue to bring the biggest and best names to the Green, but its focus on new music can only be commended. It’s always encouraging to see the new local acts thrive on the bigger stages – and with a genuine route for progression showcased through returning acts like Sam Fender, and those in the formative stages of their career like Dead Pony, Swim School and Rianne Downey, it can only mean a bright future for the festival.
Photos by Ryan Buchanan, Cameron Brisbane, Ryan Johnstone, Rory Barnes and Tim Craig.
