Later in the evening, Big Country’s Tommie Paxton summed them up with a grin: “Three crazy people that hang around the studio”. He wasn’t wrong. Pistol Daisys are gloriously off-kilter, and never more so than on “Saint Glasgow,” a riot of contradictions that manages to wrap a tale of a playground blowjob around a sugar-sweet “na na” hook. It shouldn’t work — but it absolutely does.
The band’s two-singer approach adds extra colour to the set, with harmonies that are as unconventional as they are compelling. New track “Jealous” is a standout — from a vantage point at the side of the stage, it’s easy to see how much the band pour into it. There’s real joy in the delivery.
“Whiskey And Wine” dips its toe into bluesier waters, while “Crying In Marseille” — title notwithstanding — is a kinetic, funky burst of energy. Driven by an irresistible beat and dynamic drumming, it even veers briefly into a cheeky snippet of “Gimme! Gimme! Gimme! (A Man After Midnight).”
They close on “Calling Your Name,” the new single, which keeps the fizz alive right to the finish.
MV has caught Pistol Daisys twice recently — here and on tour with When Rivers Meet — and on both occasions, their slightly eccentric brand of pop has slotted in seamlessly. It’s a testament to their crossover appeal, and their ability to surprise and delight in equal measure.
The Vapors hit the ground running — quite literally — with “Hit The Ground Running,” the opening track from their latest album Wasp In A Jar, and it’s as infectious as anything they’ve ever released. In fact, it almost writes this review for us: sharp, vibrant, and full of purpose.
It’s not long before they dive back to the early days with “Live At The Marquee,” where the energetic guitarist Danny Fenton — son of founding member Dave — adds a gritty edge with a filthy, driving guitar sound that more than honours the band’s legacy. “Jimmie Jones,” another gem from their formative years, keeps the momentum high.
But this isn’t a nostalgia act. “The Human Race,” from the new record, shows how The Vapors have smartly updated their sound for 2025 — retaining the core DNA while pushing things forward. There’s an easy, breezy pop charm to the title track from 2020’s “Together”, a song that practically glows with summer warmth, while “Trains” chugs along with rhythmic precision and an evocative pulse.
Wasp In A Jar is represented again by the superb “Forever And Ever,” a track that cements the strength of their new material. And of course, the crowd knows what’s coming next — “Turning Japanese” remains iconic, and it still hits with the same brilliance it always has.
“Nothing Can Stop Us Now” feels like a mission statement at this point, and by the time they close with “News At Ten,” it’s clear the energy hasn’t dipped a bit. That final sugar rush drives home the point: there’s no retirement plan in rock ’n’ roll — and The Vapors’ second coming is far more than just a cheap thrill.
In 1989, I was given a compilation album for Christmas. “Rock City Nights” turned out to be a defining moment—it unearthed music I still hold close today. Among the tracks was “King of Emotion” by Big Country. They didn’t play it tonight, but it was that song that first cemented my love for the band.
Now, 36 years later, Big Country open with the big, familiar riff of “Driving to Damascus”—a sound that instantly takes you back. It’s unmistakably them. When “Look Away” follows, you’d be hard-pressed not to smile; this is a band that knows how to pull you in.
“Steeltown” arrives with a funky strut before erupting into strident rock ‘n’ roll, while “Lost Patrol” brings that uniquely Celtic atmosphere that only they can summon. “That’s us warmed up,” smiles frontman Tommie Paxton, with a touch of understatement.
Paxton explains that this tour doesn’t have a theme, just a bit of everything—and that approach pays off. Older cuts like “Porrohman” are dusted off and delivered with a militaristic, marching feel. There’s something thrilling about hearing a band so connected to its past without being shackled by it.
Support act Pistol Daisys are welcomed back on stage for a couple of numbers, including a thunderous rendition of “The Seer,” and the band digs deep into the catalogue with B-side “Winter Sky”—a reminder of the depth and quality that has often gone underappreciated.
In the week we lost Mike Peters, it feels only right that “Never Take Your Place” is dedicated to him—a poignant reversal of roles, given how Peters used to pay tribute to Stuart Adamson on stage.
“East of Eden” remains powerful, while “Ships” gets a lovely airing, its Lizzy-esque guitar work lending it extra weight. “We’re Not in Kansas” sounds as vital as ever, but it’s “Chance” that truly cuts through. Adamson’s words—”Oh Lord where did the feeling go. Oh Lord I never felt so low”—still bruise, still resonate.
Then comes the song—the one that changed their lives. “In a Big Country” turns 42 this year, but its chorus remains utterly sensational. The encores keep the fire burning: “Wonderland” soars and “Fields of Fire” blazes with the energy of a band of much less ‘experience”.
At one point, Bruce Watson – the one original member tells the crowd, “As long as you keep wanting us to come out, we will.” Judging by the reception, they’re not going anywhere soon. Yet there’s still a sense they fly under the radar more than they should. Because, Big Country have the songs—and the show—to stand taller than most.
All photos courtesy RIch Ward
