THE BIG MOON have certainly had a lot to celebrate this year; a deal with Fiction Records, a string of well-received releases and an equally impressive live reputation have established them as one of the UK’s most promising guitar bands. With a debut album on the horizon and a hugely exciting 2017 ahead, they are looking to round off their busy year in triumphant fashion with a short run of UK dates that brings them to King Tut’s in Glasgow.

Before they take to the stage however, they bring with them a notable lineup of acts that more than whet the appetite. Glasgow’s own Lucia Fontaine opens the night with a set that indicates just why there has been a growing buzz surrounding her this year. Providing an effortlessly cool focal point as the frontwoman of a four-piece band, the fuzzy lo-fi charm and garage rock sensibilities of her recorded material gain a forceful energy when performed live; ‘Best Boy’ packs a snappy punch while the brooding ‘Lose My Mind’ is captivating with its grumbling bassline and soulful vocals, before becoming a full on rocker. Unreleased tracks such as the infectious ‘Saturday’s Dead’ prove there’s a lot more to come from the singer and, with a debut EP on the way, Fontaine and her band already sound remarkably accomplished after a short space of time.

Next up are Liverpool’s Trudy and the Romance. An ongoing battle with the sound engineer throughout their set doesn’t hide their promise, betraying vintage pop sensibilities with a modern swagger. When frontman Oliver Taylor isn’t leading with his distinctive soulful growl, three-part harmonies shine over the thrash of guitars and percussion; the rhythmic flow of their set dictated by a ramshackle and erratic energy. A unique prospect, it’s hard to draw comparisons with other bands and they should be one to watch out for.

It’s not long before The Big Moon swoop in and steal the show though. The four-piece have shown no signs of slowing down this year, their reputation continuing to soar since their last Glasgow show in April when they played Stereo. Following the brilliant reaction to their latest single ‘Silent Movie Susie’, it is appropriate that this is the song they choose to kick-start the gig; its chanting refrains, hook-laden melodies and galloping rhythms setting a precedent for the night ahead.

Their set includes a mix of their familiar releases with some new material, along with a good dose of chat inbetween; the four-piece exuding the kind of warm onstage charisma that makes you feel like you’re on a night out with old friends. With an obvious excitement at being back on tour, it doesn’t take long for these good time vibes to warm up the crowd; the ease of their onstage chemistry clear from the outset. Engaging as they are on record, it is something else to see songs such as ‘Cupid’ and ‘The Road’ performed live; everything is bigger, louder and packed with an infectious, grin-inducing energy.

‘Nothing Without You’ works the quiet and loud dynamic very well, transforming from its sweet, upbeat melodies into a rollicking rocker with noisy fuzzy guitars and crashing percussion. Further on we are treated to the high octane rush of ‘Eureka’ and a fun cover of Madonna’s ‘Beautiful Stranger’; now a staple feature of their set, it starts off with bluesy tones before exploding into a gritty anthem, harbouring a separate new power from its original form.

 ‘The Road’ provides a highlight of the set with the band choosing to forego its quieter opening in favour of a fuzzy onslaught of riffery. Jules’ Jackson’s signature croon sits at the centre of its majestic performance, backed by note perfect harmonies before heavy, reverb-drenched guitars take over. Any signs of Jackson’s bout of the sniffles don’t threaten her distinguished delivery, giving off all the warmth and power that she does on record.

A brilliant take on ‘Cupid’ has the crowd singing along with its catchy hook ‘Sorry I’m not your guy’ before its typically infectious ‘wooh’ refrains while new songs ‘Love In The Fourth Dimension’ and ‘The End’ are met with a roar of approval, set to increase the levels of anticipation building for their debut album.

Without the need for a gimmicky encore, a rousing performance of ‘Sucker’ makes for a fitting finale; luring you in before exploding in anthemic style. Jackson sheds her guitar for a dance before the band leave the stage in triumphant style with hundreds of new friends in tow. Having recalled the last time they played this venue to about fifteen people, there will be no danger of that ever happening again if they continue in this vein of form. The Big Moon are a powerhouse of a band, armed with a knack for great songwriting and the ability to leave everyone in the room with a smile on their face.