Meursault / Over The Wall / Capitals / Miaoux Miaoux
King Tut’s Wah Wah Hut, Glasgow, Mon 25 Jul 2011
It's always exciting to find a new band that gets you going, you know, one that really does it for you. To have four of them on one bill is another kettle of fish entirely, one we at The List welcome with open arms on this leg of the second annual Summer Nights programme at King Tut's.
Glasgow's Miaoux Miaoux warms up the already clammy summer night's crowd with a set of vibrant, enrapturing electronica, showing immense promise and setting the tone for the parade of electronically-tinged heavy-hitters set to take the stage.
Next up are Capitals, originally comprising of two Highland migrants who found themselves holed in the capital (ahem) sharing a mutual love for experimental electronica and ambient textures. After a couple of years peddling their wares as a duo, they take the stage tonight with full live band in tow to give us a run through of tracks that range from intensely pounding dance-fests to brooding, atmospheric soundscapes. Minus a few sound bugs, this is surely a taste of great things to follow.
Over The Wall, however, are a wholly different affair. Notoriously energetic with an entertaining goofy streak, they effortlessly treat us to a half hour of gloriously fun, multi-layered pop songs rallying against mundanity and heartbreak. Ben Hillman and Gavin Prentice are naturally great hosts and are so obviously comfortable with performing that it adds an extra charm to the likes of 'Settle Down' and triumphant brass-led closer, 'Thurso', which, with Hillman taking on the role of some kind of quirky pied piper manages to coax a sea of ear-to-ear grins.
Finally, we have Meursault, arguably the most seasoned of the four tonight, and undoubtedly deserved headliners. As expected, the Edinburgh collective sound impeccable and well-rehearsed, commanding the crowd from the onset. There is a noticeable lack in electronics this time round, with the bulk of their new material – which makes up most of tonight's criminally short set – seeming to focus more on sheer anthemic size and multi-layered fullness as opposed to the hazy, kaleidoscopic sketches of old. This kind of progression is intriguing more than anything else but seems to stunt the reaction of the faithfuls waiting to hear more familiar gems. It's a bold move, but with the inclusion of the likes of 'Settling' and 'What You Don't Have', it would be hard to think anyone really left disappointed.