Written by Olivia Ross
Photos by Murron Gallagher
Headliners may sell the tickets, but it’s often the smaller acts that define a festival. As TRNSMT Festival returned to Glasgow Green for its ninth edition this June, the rising artists proved exactly that.
Friday began under relentless rain, but a particularly strong showcase of female-fronted talent quickly proved that poor weather was not enough to send the Scots inside.Indie-rock outfit Cliffords, opened the King Tut’s Stage with a performance that justified their promotion from last year’s BBC Introducing Stage. Opening with the song ‘Shattered Glass’, the band showcased the qualities that have made them one of Ireland’s most exciting emerging acts. Frontwoman Iona Lynch’s commanding vocals cut effortlessly through the downpour, while layers of guitars, keys, trumpet and drums combined to create a rich, cinematic sound that was impossible to ignore.
A quick dash over to the BBC Introducing Stage then offered a chance to catch Alice Faye, whose timeless songwriting stood out for its simplicity. Armed with little more than two guitars and a voice full of character, Faye delivered a set that felt refreshingly stripped back and unique amid the festival chaos.
Back at King Tut’s, South Arcade provided the injection of energy that the increasingly drenched crowd needed. Racing through favourites ‘HOW 2 GET AWAY WITH MURDER’, ‘Supermodels’, ‘2005’ and the appropriately titled ‘stone cold summer’, the quartet got the crowd of soaked festivalgoers bouncing, singing, and forgetting about the relentless rain for the duration of their fun set. Had the weather been kinder, their audience would undoubtedly have been larger, with mosh pits almost guaranteed to break out across the green.
Thankfully, the clouds finally relented in time for Galway alt-rock band NewDad. “Look at what we’ve done for you,” joked vocalist Julie Dawson. “I drank it all.” A ray of sunshine in their otherwise moody set, Dawson easily got the crowd on side, with her sweet, airy vocals providing a welcome contrast to the band’s wall of pummelling riffs, driving rhythms and atmospheric shoegaze textures. As the sun began to peak through, their set felt perfectly suited to the changing conditions, while a cover of Yeah Yeah Yeahs’ ‘Heads Will Roll’ slotted seamlessly alongside their own material.
However, Friday’s standout performance ultimately belonged to Wolf Alice. Framed by a shimmering, 70s-inspired stage design, the band once again demonstrated why they remain one of Britain’s most compelling live acts. Fontwoman Ellie Rowsell was magnetic throughout, moving effortlessly from the ferocious energy of ‘Formidable Cool’, ‘Yuk Foo’ and ‘Play The Greatest Hits’ to the delicate vulnerability of ‘The Sofa’ and ‘The Last Man on Earth.’ Few bands possess such a diverse catalogue, and even fewer can navigate those extremes with the confidence and chemistry that Wolf Alice displayed throughout this career-spanning set.
By Saturday, the sun had well and truly arrived, with Scottish festivalgoers acquiring that familiar shade of bright red that appears whenever temperatures creep above average.
Among the day’s highlights were Scottish six-piece Lacuna, who played the BBC Introducing Stage with the confidence of a band performing to a headline audience. Their gorgeous harmonies and infectious enthusiasm made them one of the weekend’s most enjoyable discoveries, before alt-folk act Madra Salach continued the weekend’s strong showing of Irish artists.
Frontman Paul Banks instantly had the crowd hanging on every word, slyly remarking “it gets better” when a fan let out a guttural cheer during opener ‘Blue & Gold’. Whether it was band member, Jack Martin, informing the audience that a new number had been found between 4 and 5 (much to the amusement of his bandmates) or the captivating instrumentals of ‘Ribbon Factory’ and ‘I Was Just A Boy’, the group struck a balance between humour and sincerity that kept the crowd engaged throughout. So much so that despite tackling weightier subject matter, their set was impossible not to enjoy.
Keo also received one of the warmest receptions of the weekend. Latest single ‘That’s Me’ was sung back word-for-word, while Finn Keogh’s passionate vocal delivery confirmed why the band continue to build momentum at such a rapid pace.
As the afternoon rolled on, the crowds continued to swell. Dublin rock quartet Basht. delivered one of the weekend’s most chaotic performances, sparking mosh pits during ‘Dirty White’ and getting directly in fans’ faces at the barrier for latest single ‘Keira Knightley’.
But even though Basht. thrived on disorder, King Tut’s Stage headliner Loyle Carner brought a welcome sense of calm. With the sun beating down and fans singing every word, his optimistic hip-hop sound felt perfectly suited to the setting. Sporting an Ally McCoist football shirt and regularly acknowledging the city around him, Carner connected with the audience effortlessly. Backed by a slick live band and buoyed by his natural charisma, his set left the green feeling lighter, warmer and a little more hopeful, making him the perfect artist to end the day on.
Sunday continued the festival’s support for fast-rising guitar bands. Westside Cowboy’s sprawling, atmospheric set swung between unrestrained percussive blitzes to ethereal vocal passages as they raced through fan favourites ‘I’ve Never Met Anyone I Thought I Could Really Love (Until I Met You)’, ‘Can’t See’ and ‘Don’t Throw Rocks’. Noisy, ambitious and overflowing with life, they lived up to every ounce of the hype surrounding them.
Birmingham indie-rock band overpass then followed with another energetic showing on the King Tut’s Stage. Their balance between soaring melodies and driving guitar work felt more refined than ever, while Max Newy’s vocals were the strongest they’ve sounded to date.
Back on the Main Stage, CMAT further strengthened her case as one of the finest live performers around. Dressed in a yellow polka-dot outfit that she explained was an ode to Tennent’s Lager, she was an unstoppable force from start to finish: theatrical, charismatic and endlessly entertaining. Constantly in motion, she somehow managed to pair phenomenal vocals with effortless crowd interaction, leading mass singalongs for ‘Take A Sexy Picture Of Me’ and ‘When A Good Man Cries’ and even getting everyone to two-step for the entirety of ‘I Wanna Be a Cowboy, Baby!’ It was the most animated the audience had been all weekend, and the clearest argument yet that CMAT is ready for any and every headline slot.
What became increasingly clear across the weekend was where TRNSMT truly thrives. While the festival’s biggest names will always command attention, its real strength lies in the emerging artists, alternative acts, and the artists capable of turning a group of strangers into a community of music lovers. Whether battling torrential rain on Friday or basking in sunshine by Sunday, those artists consistently delivered the festival’s defining moments.
So, as TRNSMT approaches its tenth anniversary, this year’s edition serves as a reminder that its heart beats loudest away from the billboard names, in the side stages and rising stars that continue to give the festival its identity.
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