Butcher Boy tend not to do things in a hurry, particularly in recent years as many members of the Glasgow-based indie/chamber pop band have concentrated on their family lives and careers.
Their most recent studio album was Helping Hands, released in 2011. There has since been one EP, Bad Things Happen When It’s Quiet (2017) and a truly essential compilation album You Had A Kind Face, released in 2022 on Needle Mythology, the label owned and run by the acclaimed music writer, Pete Paphides. The real bonus for fans with this compilation was the inclusion of an additional 7″ single, onto which three brand-new songs were pressed.
The last live show was back in Glasgow in April 2017 to coincide with the release of the above-mentioned EP. I’m very fortunate in being friendly with a few of the band members, and I’ve no doubt they’ve had their patience tested with how often I asked ‘any new songs or live shows in the offing?’ fully aware that the sad look on their faces and the shake of their heads would provide an answer I didn’t want to receive.
But earlier this year, it was whispered into my ear that Butcher Boy had been asked personally by Stuart Murdoch of Belle and Sebastian to be on the bill of the first ever staging of ‘The Glasgow Weekender’, a two-day festival that he and his band were organising and curating over the first weekend in August at the SWG3 complex in the west end of the city.
Cue excitement.
Butcher Boy were given the honour of being the first band to play, opening proceedings on the Friday early evening on the larger outdoor stage. Stuart, as part of his overall welcoming remarks to the audience, did the introductions, adding that Butcher Boy were one of his favourites and how happy he was they were making their live comeback after such a long time. He wasn’t alone in feeling that way.
The clock had ticked round to 5.25pm, and to rapturous applause from several hundred people who had made it along to the early start, John (acoustic guitar and vocals), Alison (keyboards), Basil (guitar), Garry (bass), Findlay (drums), Cat (violin) and Maya (cello), took to the stage all looking a shade on the nervous side and maybe even a touch overawed.
A first show in seven years on the back of just a handful of recent rehearsals, as not everyone now lives in or close to Glasgow.
It was also in front of an audience who may have given them a great reception as they took to the stage, but would include a fair number who weren’t necessarily here to see them specifically, and indeed might not be fully familiar with their music.
Add in that it’s an outdoor gig for a band who have long specialised in playing intimate indoor venues best suited to their music, and so it’s no surprise that nerves are on show. I’ll own up, as a long-time fan, that I was shaking slightly, a mixture of excitement and anticipation alongside just wanting it to all go as well as possible.
Up above, the clouds are growing darker and more menacing. Even worse, the wind is increasing in strength, and a sudden gust catches the score that Maya has in front of her in the centre of the stage and threatens to scatter the sheets of paper in all directions. Cat comes to the rescue and disaster is averted.
John gives a reassuring glance to the string section and then offers what looks like a quiet smile to everyone else as he does a bit more tuning of his acoustic guitar and adjusts the height of his mic stand, both of which just give everyone a few extra seconds to further settle. He then takes one final look around, before giving a nod of the head to send a signal that it was showtime.
Alison plays the gentle notes of a song that so often had opened previous live shows in years gone by. Findlay, Basil and Garry quietly join in. John sings the opening lines while Cat and Maya gaze at their scores, preparing for the moment in the song where their contributions take it to a higher and more emotional level. It is utterly mesmerising, and I’m not ashamed to admit that I find myself getting a bit emotional, maybe even teary. Seven years have made this moment a long wait.
mp3: Butcher Boy – When I’m Asleep
The song ends and the audience erupts. The band go into their second song, an uptempo number from their debut album that was released back in 2007. There is dancing down at the front of the stage – possibly even further back, but I’m too busy being enchanted and mesmerised by the music to look behind me.
Before long, the heavens open and it is soon raining heavily. But that’s why festival goers in Glasgow always carry rain jackets, and those of us braving the elements simply add a layer of clothing and watch on in awe as the band deliver a set of what turns out to be just over 30 minutes in length, offering up all sorts of favourites from the back catalogue as well as giving a first ever performance of one of the new songs that had been made available with the Needle Mythology 7″ release:-
mp3: Butcher Boy – Dear John
The rain and wind intensifies further to the extent that Cat and Maya for the final two songs have to retreat a bit on the stage as their precious and expensive instruments are in danger of getting soaked. Alison laughs, and occasionally giggles, her way through the set, clearly having a whale of a time. Findlay likewise never stops smiling, and at one time in a short gap between songs, he gets up from behind his drum kit to photograph the audience. Garry and Basil are proving to be the ultimate professionals, occasionally giving waves to friends and family members they spot in the audience, none of whom have shifted away despite the elements. John is fully concentrating on his singing and playing to the extent that I’m convinced he hasn’t even noticed the rain is falling. His performance, like the rest of the band is proving to be note-perfect and awe-inspiring. The nerves, if indeed there really were any, are nowhere to be seen and we, lucky audience that we are, are being treated to a show for the ages.
The only regret is that it was all over far too quickly, but the short set was the contractual agreement, with the stage having to be readied for the next band to come on at 6.30pm.
When I’m Asleep
Profit In Your Poetry
Carve A Pattern
Sunday Bells
I Know Who You Could Be
Dear John
Days Like These Will Be The Death Of Me
Helping Hands
There Is No One Who Can Tell You Where You’ve Been
Word afterwards was that John has written quite a number of new songs and maybe, just maybe, there will be some studio activity in the hopefully not too distant future. If that does happen, the icing on the cake would be some live shows to help promote any new release.
Dreaming is free.
JC
THE NEW VINYL VILLAIN 