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I Beth Nielsen Chapman (iii-q: ll.iII \“ \‘ll IL'II.\II1'L'I NH I'll” 2:" \Iii'\ ‘.‘.l;IIL‘ll lni I.llIIl IIiII .lli I \‘-:I‘:; \L'I\"l. I‘L'k'i'l "'-'Clt'iI II} I IIHli II'I.Il .lIiil lhc l)l'.l1'( hill» in Ilt‘l H'.‘.ll llL'IlI
Thursday 22
Glaisgo H
I The Hives \lll \llt'L'I. ‘4: 3.3 4.? ul‘lll \IIHV- \L‘L' < I<\'.l\"II\, {NSC (ill
I Man Must Die .iii.l Ted Maul IIlt' (Lillinuw l‘ I nini; \liu‘li I“ will!» F‘Plll £5 (I'.L'I l1\ \IIH‘.‘.
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I MBX Richter IIIl' \ltllt'x.1< ‘ \l;'_"- Ik' \im-i Vb lHHH 'piii Ll 1*“ HM \I.l\\ll.lI\Illlll‘1'\l'l. pin;,'i.iinnii'i ,lllll plniluu‘i Ru Illk'll \klin Il.l\ \iniliul \‘.llIl lllt' III‘J'\ nl l<nni \l/t' .iniI I llllllt' \nuiiil nl I nnilnn
I Rilo Kiley ( Iiimit (il.lll\I. I\ I.llll.ll\.l \Ilt't'l. 5 I” II\:II “VIII 9. I: Ix’lIH .llk' p.iil nl lhc Hiithl I icx \JlIkIIk' ( "ii-«I \Il.l\|Nll.l nl ilnv vial tnuiilu llllIlk' \Hll\ hul Il.l\\' LiLt‘ii .i llllltIl iiinii' lll.llll\llk'.llll .ippin.it’li nn lIii'ii lllll\l iucnl .ilhuni
I Take That \I ('l '. l llllllt'\IHll (Jim). mm uln ~lllllll ‘pm \i il I) ( it I llii- pininle I\n_\ I‘.lllll Il.l\k‘ ic |il Illt'll nun liic .llllI icuiincil in t’.l\Il lll llimc iinxl.il;:i.i (IUII.II\. .iiiiI Il.l\t‘ pinu'il l.ii llllllt' \Ik‘lIII‘Ik' “M” .in_\ nl ux \Hlllkl Il.l\L‘ iiii.i;:iiiul
I The Piano Men lx'iiiy'x llimiic. 3W ILilh Slim-l. IIXTII Illill (ill-IR ' illlllll Su- .\lnii I‘)
I Radio Clyde Unsigned Bands Night ( )i.in \Ini. " i I i 3 (mail \M'xlcin anl. WHICH“ i :“pm 95 Ix’.iiliii('llilt' linxl .iii cwiiiiiyg nl ll\|llj.' lnt'.il l.lIt'llI
I Amazing Daze (‘(’ \_ WI \JllL'IllL'Ili‘lII Slici'l. “I I‘ll"! \piii Until I K Pl'L'llllL'lL' nl .\lll,l/|llj,' ILi/c .i dun I‘k'l\\k'\‘ll \(lllllll .llll\l \l.iit‘u\ \tIlllllt'Ika‘l .iiiiI lin- Ik'k'lI lll\IllllllL‘lll.lIl\l Il.i_\ilcii ( 'Iiixlinlni.
I Beyond All Reason, Yashin, Dana Walker .lllkl Glamour of the Kill ll.iill_\. jun ( "Ilili- Sui-cl. UV“ UH“ WW .\'piii, t". ()H'l lfix \IIH\\ \li'lnilit' iiicl;il qiiuilcl \\llll \Il‘\\ll liiiicil lelllilH, t‘nnip.ii.ihlc In llic Iikcx nl (iI;l\\|.l\\ .iiiil
'I Illll\tI.l_\.
I The Boy who Trapped The Sun illlll Andrea Marini llicl. “I I: \\IllHll I..lllt‘. HI I‘Hili .\'piii I'lk'k' Ik'\\l\ \llljJL'l \Ullf.‘\\l'llt‘l \\llIl I\.l\'I\||lf.‘ liniii lllL'lllI‘L'h nl IIlC Rciiiili-ci \i't'linii pcilni'nix .il lIll\ ()m In I’I.i§ lll_L‘Ill
I Bruce Springsteen Tribute Night \Iiit'Siiilt'}\ .\Ill\lL' ll.ii'. ~13 .lillll.ll\'.l Sliu'l. MN 85M. .\'pui I-iu'. Inuil .llll\l\ pa}
0“ Cl \L'|\lHll Illl‘lllt' [H II IIL' “(KN
I Grant Campbell him 'I Ilt‘Jll'L‘. M 'l'i‘niigulc. 5‘3 L‘hfi, .\'piii U» (ii'.i\cll_\ (Ullllll‘)l\ll xiiigrci' \niigui'ilcr piniiinliiiy Ill\ llL‘\\ ;ill\uiii. li'i‘iiini/ Ill'i/l'll
I Hey Molly, The French Quarter, The Sonsie Collective .iiiil Richard Mailey lln\. I ll S.iucliicli.ill Slit-cl. “3 54%|. .\'piii. l'icc llcxnii lllLIlC li'nupc IlL‘utIIlllL‘.
I St Vincent .llltI Peter Von Poehl \it‘c‘ii‘h‘lca/y Ill S.iut‘hicli.ill Sli‘ccl. iii (I‘lllll 8pm. I". Suhliiiic \UlllltI\ liniii lllk' K.ilc liuxh Ilht' SI \ iiiu'iil. .lI\.l lni'iiici |’nl_\pliniut‘ Spicc'Siilmii Sit-\ciix j_‘llll.lll\l ,-\iiiiic (‘Lii‘k
I Marah king: l'iil'x \\.ili \\ilIl Ilul. Ifilii SI \‘iiiu‘nl Sli‘ccl. Ill 53“). .\'..‘lll‘iii. L‘lll l’lul.iilclplii.i ingk lxuitl \\lin i‘t'lcicnt'c \nul. t‘nunu'}. pnp .llltI \Illl‘ \xnp Ill [lit-ii unicd \lllllltl
I Milburn iiiiil The Metros Sugiiligliilc Sludcnlx‘ l‘iiinii. l'iiiwml} nl Sli'.ilht‘l}ilc. Suiilcnlx \\\\\(l.lll0ll. ‘Ill .Inhii Sli‘ccl. 5h" 50:3 ~\,3llpiii. {Ill Sliclliclil upxliu'h \\lin .iic iiiiilcx \\ lIIl numhci‘ UllL‘ \l.ll\ \it‘lic \IUllIxC}\ Itllltl \Ullllkl likc [liciii lll plum lnm.
I Lummox If‘lll \nlc (Kilt. 50 (ill King $1111.55“ 1M8. ‘lpiui Suaiiip |.i// \nmlnn i'nck.
I Ohio, Teapot Jacuzzi dlltl Alex Murray [incu l‘lllh. lllll I)\lIIUI\\Il,l\\\ Rniiil. Ml) HIM“. “pin. I-‘i'cci \lcllnu. uCUlhllC pcrlni'iuiiiiccx.
I Sum 41 Biii‘i'nuluntl. 34-1 (Lillnugiilc. 553 4(‘III4 ('.~\,\'(‘lil.l.lil).
70 THE LIST \
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QotSA pretty much define the phrase ‘stoner rock‘. They may have
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lost some of their power and fury with the departure of Nick Oliveri in 2004, but new album Era Vulgaris is a return to form. a snarling Josh
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I The Ocean, lntronaut, War from a Narlot’s Mouth, Zillah .lllxI Friday Night Gun Fight IIlC lliw. l5 1" \iililij. Slim-l. 55h Hill (i. illl‘lll Ll) \igglil nl lllL'l.lI'_‘_‘lllllIL'HlL‘.
I LIMbO IIIK' \HMIHH Rnnlllx I‘M \\ (\l I<\':_'l\lk'l Slim-l. 550 "Will. .\pni I;iiii. [I Illk' Ill.it‘l\ \piiiig I),I\ iii.iii the dub .llltI him}: )nu l\\n Iiw .lt'I\ init‘h \wck. S.ilnn Ilni'ix .lIlkI Su lllllllt'l' ()llL' i3: \nx i IUIIH“ HI I\_\ \IUlIlCl i\' IIlC .\\I\Il\'l\ .llliI Ixuu‘chN I)” \\l\ I.
I My Tiny Robots, The Low Miffs, Come in Tokyo .llltI The Futuristic Retro Champions IIL'lll‘} \ ('cll.ii “Al. N lm \IUI'I'IM‘H Sliccl. 335‘ ‘I “H
hpiii idlll. t5 iLlli, Iiiiiiipci IlllL' up .ll lIll\ llL‘\\ lllkIlC lllfJIll. Rulm.
I Annie Christian illltl Transaudio IIL'l‘llll‘\\'.lIl l'iiiwi‘xil} l'iiinii. I\)l\\';lllllll. ~15] 5 i i i. “I‘m. [3. 'I lit" St‘nluxli llltIlL‘ l_\pt'\ l'L‘llllll liniii lL'Ill'ClllL‘lll II.l\l \ccii .l\ luxl (ii‘ml \Vililcincxxi,
I The Paranoid Monkeys
\\ Ill\lIL'I‘lllI\lL‘\. I (i Snulh lliiilgc. 55" 51M ‘lpni l'icc. l’.ii.iiiniiI \IUllIxL‘}\ .ii'c ii I'ilc Ixiiiil \xhnw \l‘IIlltI cngnuip.i\w\ Ihml‘x .IIIlI (‘)IIL'CII\ HI IIIL' Slllllt‘. fJC iiilluciiu'x
Glasgow
I Dan Le Sac V Scroobius Pip 'l IlL' \l'L‘IlL‘\. {II \IItIIdlltI \ll't‘t'l. 505 IIIIIII. “I‘m (5 I Ullklllll clct'li'n tlun \khn \gnicil .i (ull Illl \\llIl lhcn uiiiiiiiuiiiliiicnix xiiiglc ‘Ihnu SILiIl .\l\\.i}\ Kill' pcilni‘iii ;in mil} lni 1—1 I‘) Mun Ulti‘
I Axolotl, Mark Morgan, Tight Meat 8- Sonny Simmons .llkI Family Battle 8- Nackt Insecten Duo (‘('.\. 35H Siiut‘liiclmll \li‘ccl. 35: 40”“. (i zllpiii t3 «LINN. \iglil nl li‘cc llUl\L‘. li'cc iii/x. mpcruuciiliil \IlUllk' i'nt'k .llItI UlIlL'l ilixpalt'lio liniii lIlC ICIIIIL'hI lkuipci .lIltI .Innkln l)un cniiiplclc lIic Iiiicrup
I Alexisoniire, Saosin .llltl Ghost of a Thousand .\ll(‘. 31H ~\'.iiigliicliiill Slit-cl. 3‘3 33‘: ~piii. {IFSH ()\L'l- l-lx \hnu St‘it'iiiiin tiuiiilcl liniii Snulht'i‘ii (Illldl'lll. (‘.iii.itlii. Il.lllk‘\I iix \utt'cxxni‘x ln .\1 [hr lli‘iwlu. \kllll (licii‘ \l;ii' iii IIlC im‘cntliiii.
I Barclay James Harvest l’lit- (hiixigc. J‘Nl SJUCIIICIIQIII Sum-I. 333 l 12H. "pm. if“. ()xcir l4x \lum.
Homme leading the charge though the depths of psychedelic rock.
\}iiipliniiu pinz' int'k IK‘IlL'lllUIIh liniii IIIK' I Dark Funeral, Endstille .llllI Dead Beyond Buried llii-(Liiliniiw. Ii 1 iiinii \illk'k'l. j.l.\ (mun. “piii LI l W ()wi I‘I\ \Ili\\\ \unluh \‘lIJlllt iiicl.iI nullil liniilul h}. l llll‘L‘lUl \I‘lfjll\ (Lilipulii I Take That \ll ‘( '. l'iiiiiicxlnii ()iiii}. ll.\Wlll-Ill~lllllll “pm \‘()I [MN I \i-i- Iliu I) I The Piano Men lx'iiigg'x llimuc. 3‘)" [Lilli Slum-1.llhfilllllillhhlk " illpm \k‘y \IHll I‘). I The Apple Scruffs, The Yellow Bentines, The Rail .llliI The Little Kicks Hull}. Inll ( lulu \lici'i. li.\‘ii UH" H‘N‘l .\piii 2.3. Iluiiipci iiiilic pnp .iiiil ingk hill. I Damon & Naomi \IL'ICU. 3H 2.\ RL‘IIIICIKI l ;lll\‘. \pni Uht' Spa-gnu. |\\}t'lit‘ili'lit' \lllllltI\ liniii llicw lllllllk'l (lilI.l\lk‘ 51H) lllL‘lllI‘t'h I The Poems .\I.if::_'lc \l.i} "x. (in \II‘lHll \li't't'l. \IL‘lt‘IlJlll ('il}. ‘15 l ‘5'! \piii U» it-Ii (iI‘l\:_'ll\\ iiu IHII\ pinup Ili'lllt‘tl h} Ixui‘inc l’n|\\.ii'l\ xixlci Ix'cii}. I The Bleeding Hearts Brigade .llltI Lost N Motion \itc’iiNIcJ/i. III S.iutliii~li.ill \lici'l. “i ll‘lllll \piii Ui (‘nuiilu pnp lliilll llic I‘dlllI IUllllt‘lI} kiinuii .l\ \//iiii I The Ramblers .iiiil The Naturals Ilill'll} lll[‘\l.lll\'. In“ ( lulu \Iit'cl. NV" NH" H‘N‘). \piii Us Iiiilic int'k .iglx I Underground Jam, Big Hand, The Zimmers illhI The AMs Hm. ‘1 :1 Saut‘lucliall \liu'l. “I ‘1‘] \piii I lt't' .I;uii liihulc .it'l Ilk'JkI [Ill\ punk .llliI \I\.l hill I Underling “it I“ l\It'\I \\ IIL'CI. “1 I‘lllt't'll Slit‘t'l. ZZI -I\,<I \I‘lll I ICC \II Iiip linp I Independence \iiiiucl I)n\'. "x. (i- "I \lIII\\I.IIL'I<ll.l\I.‘1:IIIIII-‘ \ zHpiii I in- I “(ill I'lk'I’x I Scout Niblett, Devastations illl\I How to Swim Kin; liiik \\,lIl \\ilIl IIUI. ‘_I.i\l\iiit't*iil Slim-1.2:] 52'” \ :IIl‘lll 0 Rim tIIlkI \xillull} nlllkul Inlk} iiiiil hluo} \IIIIIU\ liniii \l\ \ihlcll. I James William Hindle, Calvin Nalliday, Early Songs .lllkI Skeleton Bob lFili \nic (Liic. 5” Ni Kin; \‘im-i. 553 um ‘lpiii l’nigii.iiil \iiigci' mugm‘iliiig. plux ln-li pml lnlk clct‘u’niiitgi liniii IlillI} Sniip .llltI Scnuixli :\lllt'l'l\‘.lll.l liniii Skulclnii Huh ill IIll\ ('li.illiiigli Rm'ni‘ilx iiiglil
I Scott Nicol 1\ \\i-.x:'.;-- n I\'~ 1*?
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I Ben Sturrock, Esther .izxf Davie Lawson l-u- Inuit-g hi lung-.izc \‘7 ;:I\. \I ;|':\-v t(\ \“H‘ \\‘5L:\:I\ \"
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I San Sebastian 13:; \ulzix in
\l;i:':.itui \Ircc' ‘75 NW" "'1": L"' Il.:i;_g :‘u 1-. :vlwi': .ifit\‘\ ‘1'. Thu ‘tx‘wiliilcit fix: ( \‘ll'il.t\ \nixiti \‘izl‘ iIl'_'III Spiders on Mars \Itl IllllII\ 'o" II11'I1
\ux‘l ‘3‘ .1‘ :I'l‘ll. IKK' lln‘Ai; itil‘iilc I Broken Records .llli'i Dead Beat Club Ilit- \Hicxl Iii?” Ilclui.\l\:;i:‘? Il'l\\', Iniil.ii;liil'. L" ( niiiplm .lIIx'lILlIWx' :liillc .lI‘HI iiiilic pup
Firewater Records: Electric Drugstore l llt‘\‘-i!I\'l, €22 \iiii IL‘I'I‘. iil \Iiccl. “1H3” \ilijlg iiiiiI I.:I\~I I.lIlIi\I‘i .l\ ( il.i\:nx\. iiiilic int Itch ICICJN‘ lligii iInuI‘Ii' \ xiili‘ \lflt'h‘ 'I’iiII lIiv I!i:':'\'* I\‘l\\‘ iinil | iiII' nn llic ll\‘\\I\ Ii‘lllhIt'iI I ucv..ilci
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I Annie Christian, The Fusiliers. Postcards from Home .llliI The High Lines ( Liluii-i \nliuiia in W IIIJII \iii-i-i. JIM «il‘h ‘piii ed \l'.'Ill nl iiii.ilil§ lllxIlC .iII lll .lI\I nl ll.iin.iiln\
I The Love Goods, Eight Line Poem illlil Fishtank Frank \M-i- lx’cil ll.ii. I ilinhuiuh ( 'nIIu'c nl \ll. I .lllll\It‘ll I’I.iu'. :3" l H.‘ "pin liw \II\'IIl.lIl\i' inllii‘ Illl‘Ik' hiII
I MORW A lIic llniipn ( Iiin \lni.i\ IIl'lI\L'. i. IIUIHINNI I\'H.1\I. *‘\ "ill;
"pin LI ‘ it llii l’nli\h Iiip linp
I Scouting for Girls IIii' l lllllllI lx’nnin. "I \ It'll‘llil \lin'l, I.“ .‘*(»l ‘piii L" \k'\' IIIK' I"
I Y’all is Fantasy Island, Das Contras, Sabai .llliI Ross Clark l’«» \u \.i. I 4h I It'lIt‘llxIx \liu'li .‘Ih i‘.‘_‘l "pin ‘5 l\‘.lIIl liw ciili} In piixl \t'nihlit t“\[\'lllllt‘lll.lIl\l\ I Carrie MacDonald, Stephen Mcleod .llliI Dldown Ill'lll_\ \( qlliii Il.ii. \ Ifiii \lniiiwii \Ilk'k'l. .‘.‘\ Vi";
“ liipili LI \ nii\l:iii' nl .IKHII\II\ .lIIlI pnp \niigx liniii xiiivui \Hll;'\‘.lllx‘l ('.iiiic \IIILII‘IIIJLI
I Junior Priest, Saz .llliI Vantage Point IIIK' \il.. l '\\.iu'ilnn I’IJxU ,‘.‘\ WW; ‘ illpiii 2“ IlIlI.l\ l’iii'xl IIlI‘llIk'
I Wynd Il.iiinvini.iii\. \liIIIl_\ \nwl. “M {‘51 “pm 11 \lli'inuin liuI.
Saturday 24
(3 zisgi M
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I Fat Worm of Error .lllil That Fucking Tank \iti-‘iiNli-l/i. 1_‘l \illltlllk'llilII \uu-l. 41% WNW ,‘piii (it'llk'IJI .lllL'lllHUll Ill.l\Illt‘\\ liniii m. I)k'k’llllllll lllL'lllI‘t'h
I The Used, Rise Against, Aiden, Escape the Fate .lllxI Gallows< .lllllll' \\.1\IK'III.\(II‘I\l'III-|-l I.‘_I I :‘Illiliili \Ilk'x'l mil 1".“ SHIN» ipiii :3: in Hui-i lv1\ Iil\lk‘ ill (Imin lulll lituullllicil Ii} Illl\IIIL' intlxix liniiil I.lIl .III\I lllt‘IlNle Ii.iiiltniv .I\I liniii (‘Iiiuiun Iuin up in Illllt‘ lni .lllillLIllt l‘llllI. lmiiil ( l.lIIH'-‘- \
I The Piano Men lx'iiigk IIIK'JIIK'. .“l‘ IIJlIl \llu'l. INT” Will Nilx (iplli i\
\ ‘Hpiii \m‘ \lnn I”
I Take That \I.( (I. I llllllt'\ll'll U154). ii\"ii Iilli .lliiili "pin \(III) l )l I \ci' Ihu I:
I Adjagas .llllI Lay Low \ii-iyn in _‘.~ Rciiliclil lung, \pni U <ll \niiziz' \.i.inii \IIIH liniii llHllIlL'lll \ni‘.*..ij. \Illl'-‘-\.I\L' lIic
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CIll\l‘.L'. Ullltlilt' IlmIlIlHlMI \Hllllil nl llic unattniiipiiiiiul \lk.ll Jnil.. ‘-‘-IIIl \llllllnli liniii Igcldiiilit \lll‘JL'l I.H‘~l\.l. .iI..i l,.i} I,H\‘.
I Felix .llltI Blueprint Hm. 4 ll \iut'liiclmll \Iiccl. “I ‘4 ‘l \pni l'icc IJKIlI \IHIII‘IC I‘III
I Noah 8. the Whale .llltI Jay Jay Pistolet Ilicl. 1‘) 4‘ i-\\lilnn I.;iiic. ~13 J‘Nin \piii Ui l-nlkj. llltIlL‘ pnp liniii I.HlltIHll (nun