Music reviews

Barrowland, Glasgow

Jonathan Geddes

At one point in this celebratory homecoming show, Sam McTrusty mentioned that "nearly every song we've written since the last time was designed for you guys".

You cannot deny the success of this method, given that Twin Atlantic now dine at pop-rock's top table, but there are limitations there too.

The style they've hit upon, of big-hearted and equally big sing-a-long tunes, was carried along by sheer gusto here, although if you'd taken a drink for every arms-in-the-air moment you'd have been blitzed five songs in.

Sophomore album Great Divide was played in full, and a heavy diet of chest-beating rockers ensued. Which isn't to say Twin do this badly. They don't, with an engine room of bassist Ross McNae and drummer Craig Kneale providing such a sturdy backdrop than even Kneale's drum solo was acceptable.

There were some fine hooks, played in a crunching manner, such as the barrelling Fall Into The Party, Cell Mate's terrific switch from heavy thud to dancefloor filler and I Am An Animal's suitably wild extortions.

The issue was more just how heavily Twin's set now relies upon such tunes, meaning that fatigue at all the bombast crept in.

McTrusty is a likeable singer, but he couldn't lift the by-the-book rock of Actions That Echo, Be A Kid's soft-hearted pop or the obligatory acoustic strum of Oceans.

There's still a visceral nature to the band, but the jagged tones of oldie What Is Light, Where Is Laughter felt rather alien alongside a constant barrage of straightforward material.

Still, there was an unquestionable feel-good emotion running through the night, which satisfied where the overly rigid tunes sometimes could not.

Caro Emerald

SSE Hydro

Marianne Gunn

Behind a shimmery gauze, Dutch songstress Caro Emerald opened the show with her homage to a Bond theme tune, I Belong To You, the video for which she filmed last year in Glasgow at her sold-out Royal Concert Hall gig.

This time, the step up in venue meant the Hydro's black drapes were necessary to cordon off the upper levels and the infamous echo proved problematic during the earlier moments of proceedings.

Dressed in her signature '50s style (a red lattice mesh dress and quirky beret-style hat), Emerald and her merry band of eight top-class musicians warmed the crowd up with Tangled Up before jocular Coming Back As A Man showcased Ms Emerald's vocals as well as her cracking violinist and trumpet player.

Trumpet fanfares, Wurlitzer- style keyboards and scratch tracks from her DJ complemented the musicality of her voice, which seems to come from a different era.

A lilting Changed Completely entered jazz territory, as she re-entered the stage wearing a tessellated monochrome dress.

Dr Wanna Do (made even more popular by Louis Smith's Charleston performance on Strictly last year) was a more upbeat highlight, before Secret Lovers changed the tone completely and attempted to make the arena a more intimate space.

As Ms Emerald kicked off her shoes during a rousing Liquid Lunch, she demanded everyone get on their feet.

One Day was also a swing-along favourite but unfortunately the Hydro security seemed determined to quash any merry-making in the aisles (quite a joy-kill, as the crowd was certainly not a rowdy one).

An instrumental The Beat Goes On allowed a final costume change, before a cover of the Propellerheads' History Repeating brought the show to a close. A pleasingly indulgent encore led to a Back It Up singalong before a soaring On A Night Like This.

Finally, in a sentimental touch reminiscing about her 11-year-old self, Ms Emerald performed Dream A Little Dream, which she first performed at a school show 22 years ago.

A truly sparkling performer and vocalist (who was the opening act on Glastonbury's Pyramid stage this year), it will be interesting to see where she goes creatively with her third studio album.