Viva Glasvegas
Scottish band looks to make an impact in America

Review By Andy Argyrakis

Given the thick Scottish accent of frontman James Allan, it’s immediately apparent Glasvegas isn’t from the States. Though brand new to American audiences, the group’s already been buzzing throughout Europe, thanks to the chart-topping single “Geraldine” and its follow-up “Daddy’s Gone,” a Philip Hall Radar Award at the 2008 NME Awards. That’s not even mentioning the hit holiday EP A Snowflake Fell (And It Felt Like a Kiss).

“It’s funny hearing people singing our songs with a kind of Scottish/German accent,” observes bassist Paul Donoghue in a phone interview. “It’s like gene splicing only with voices, not stem cells. We want to spend next year working really hard to make it in America. People have been very receptive to us and it’s time we brought our world over there - the show, the lights, the magic - everything. I hope the passion and electricity comes across. We’re bringing our light and sound guy with us for the first time, so they’ll help us to get our show across. We like taking a show with us, which a lot of acts don’t do anymore. People don’t have to buy tickets to your gig so when they turn up you need to give them something special.”
           
Another major component of Glasvegas’ American infiltration is dropping its self-titled debut disc on Columbia Records, which finally hit stores in early January after having been available internationally since September of last year (it landed on year-end critic’s picks lists for Q, NME, Mojo, The Observer Music Monthly and The Fly). The disc is loaded with stadium filling riffs, gigantic choruses, a sophisticated lyrical framework and plenty of pub-worthy sing-a-longs.

“Everyone forms their own opinions about music, so I wouldn’t say we sound like anyone,” suggests Donoghue. “We get compared to so many different bands, from Half Man Half Biscuit to U2, but people can make up their own minds about it. We wanted to make a big record. It would have been easy for us to go very lo-fi and try and stay underground but we want to blow people away. That was one of the reasons we got on with [producer] Rich Costey [Muse, Interpol, Franz Ferdinand] so well. He got what we wanted to do straight away and brought so much.”

While it’s difficult to pinpoint the disc on a thematic front, there’s a noticeable push and pull between brooding moments and songs about the lighter sides of life. According to Donoghue, the reaction from listeners varies across just as vast of an emotional gamut. “[There’s not really [a theme] but the songs all make me think of Glasgow,” he continues. “People could say that the songs are very dark but certain points make your heart soar and that’s a very weird thing to witness with a live crowd. Someone can be crying and [be standing] next to someone dancing with a big smile on their face.”

Outside of the band’s own desires for grandeur, signing with Columbia certainly didn’t hurt its cause. But even in an increasing age of acts going indie for full creative freedom, Donoghue finds the label’s partnership with Glasvegas to be the best of both worlds.

“They were the first label who showed interest in us,” he says of the initial signing. “Our A&R guy came along to see us before anyone else. They always surprise me with how much belief they have in us. They’re not the big bad corporation I thought they would be.”

No matter what side of sea Glasvegas is standing on, the foursome hopes to connect with crowds of all sizes and styles. Though early dates in the U.S. will be at the club level, the guys have already packed out festival stages around the world.