Despite it being the end of the month, Glasgow is uncharacteristically quiet for a Saturday evening and even King Tut’s pre-gig has less bodies in it than it usually would for the doors opening. But there’s still that same energy in the downstairs bar regardless. The same you feel in venues across the country and world, tonight generated by metalheads and goths as the two genres collide into the dark and twisted yet bright-sounding Unto Others.
Openers Royal Bloom break tradition by playing to a good number of people as opposed to the usual sparse crowd offered to the opening act. What does remain is the practiced and almost intentional indifference amongst the crowd as they take to the stage to play their grunge wares. Whilst it’s a tight performance from the Ayrshire trio, it’s not so much taking those classic influences and figuring out what grunge sounds like in 2022. Instead, they sound like a Nirvana tribute band (perhaps Nirvana and co. have only just made it to the deepest recesses of the shire) and with a couple of dodgy wigs and a wardrobe change, they’d likely make a fortune on the tribute circuit.
However, as they progress through their set, the nods from the crowd get more and more noticeable and the passion is obvious from the band. It may be a touch jarring for the theme of the night with what follows but they’d likely go down very well on a more punk/grunge bill. They’re captivating enough to keep people reaching for their phones but they never push past the mark to find them genuinely interesting – mainly because I’ve got Nirvana’s three albums already in my music collection.
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Zetra are all about creating an atmosphere with their set which they do remarkably well. As goth, shoegaze, rock and dark ambient mingled with one another, it’s a great fit for tonight’s headliner as screens showed off dark artwork to add to the atmosphere. As melodies are both ridiculously heavy yet refreshingly light at points, the combination from the duo makes for some interesting soundscapes, never trying to do too much and knowing when to hit the light and when to hit the shade. Add in the well-produced drum beats from the synths so they sound real rather than the usual cold and sterile noise and it makes for a well-polished set.
The band manage to strike the fragile balance of not taking themselves seriously whilst simultaneously taking themselves very seriously. Indeed, such a practice can usually come across cringey but by not interacting with the crowd, effortlessly transitioning from one song to the next and focusing on the music, it forces the crowd to focus on why the people are gathered here – music. Even opening with an Unto Others song in the shape of “Destiny” is a ballsy move for a support act but they pull it off. As they leave the stage unceremoniously, it underlines what this band are about to ensure they give a memorable performance and a warm response from the crowd.
As Rush’s “Subdivisions” fades out, four black-clad men take to the stage and attack the audience with “Heroin”. Unto Others are here and before they’ve hit the second song, they’ve made their presence known. Whilst vocalist and guitarist Gabriel Franco is soft-spoken and mild-mannered in person (interview coming soon!), with his black aviators and guitar strapped to him, he cuts a far more imposing figure. Indeed, it’s his vocals which make for the most impressive part of the performance as they sound exactly like they do on the album. Not dropping or raising a key to match it, he rattles through the set with the rest of the band in fine form and if you shut your eyes, it’s as if the band had pulled Franco’s vocals from the masters of their material.
Every song is met with as much enthusiasm as the last whilst as the metal fans of the crowd headbang non-stop or mosh. Meanwhile, the more goth-type people in the room dance or attempt practiced nonchalance. However, it’s obvious the band aren’t playing to any particular portion of the crowd, instead they’re playing for everyone assembled. This, the last night of the tour, acts as their victory lap. If there’s any signs of fatigue, it’s hidden and there’s a sense they’re going harder because it’s the last night with Franco joking he was going to blow his voice out.
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“Downtown” is full of snarls and has even more punch to it in the live setting as the doubt-ridden song allows the doubts to become louder but there’s a defiance to it. And as “Jackie” shows the band are truly hitting their stride, they leave the stage, only to return for a second half. Indeed, this is a band that reveres yet challenges the traditional live experience.
“When Will God’s Work Be Done” reintroduces them before they pay homes to The Ramones with “Pet Semetary”. Bass rumbles throughout from Brandon Hill, adding to the darkness and works in perfect lockstep with drummer Colin Vranizan. As the band rely on their instruments alone to recreate the songs from last year’s Strength and debut album, Mana, the bright guitar tones mesh with the gnarlier riffs of Sebastian Silva to show you can play this kind of music without synths and keys and it still stands up. Indeed, a lesser band would bluff it with backing tapes but this is the real deal.
As jokes are made about hardly anyone being at their Audio gig a number of years back, the far larger crowd tonight, regardless of subculture enjoy themselves for the 75-minute set and it’s safe to say if Unto Others make a return, King Tut’s will either be uncomfortably full or they’ll be playing in a larger venue. There’s a thrilled and satisfied atmosphere in the room as the band finish their encore of “Cosmic Overdrive” and despite the dark, moody tone of music, sonically, people are smiling. Admittedly, Unto Others aren’t the sort of band I’d listen to but on hearing Strength last year, there’s something hypnotically great about them and it translates perfectly into the live environment.
Photos by Paul Hutchings (from Cardiff show)
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