Showing posts with label Glasgow. Show all posts
Showing posts with label Glasgow. Show all posts

Thursday, 2 July 2026

Joan Jett & The Blackhearts, 02 Academy, Glasgow. Thursday 2nd July, 2026.


Stepping back in time tonight for Joan Jett & The Blackhearts. 

Originally billed as her only UK headline show of 2026, the show expanded into a tour when her support slot with Sammy Hagar fell apart after his shows were downsized and rescheduled.


So what did we get? 

The Meffs, a punk duo, provided support and made a lot of riff-heavy noise, filling half an hour. I didn't hate them as much as I thought I would. Their Prodigy cover was an interesting punk take on Breathe.

This was followed by an old-school rock'n'roll show. Very retro, with nothing too fancy, just Joan on vocals and guitar, along with her band: bassist, drummer, and guitarist, playing rock music for an hour and twenty. The big screen showed mostly abstract animations, but the sound was clear, her vocals strong within her range, and it wasn't so loud as to require earplugs (at least not in the front balcony).  

Half the setlist was unfamiliar to me, but most of the songs were short. She played a number of covers from her past bands, as well as songs she liked. Everyone was here to hear her play the hits, though. The classics didn't disappoint.

At sixty-seven, Joan is still in fine form. A rock icon.

Setlist:
(Intro music 1) Let's Have a Party (Wanda Jackson song)
(Intro music 2) Rebel Girl (Bikini Kill song)
Victim of Circumstance
Cherry Bomb (The Runaways cover)
Do You Wanna Touch Me (Oh Yeah) (Gary Glitter cover)
You Drive Me Wild (The Runaways cover)
Change the World
(I'm Gonna) Run Away
Light of Day (Bruce Springsteen cover)
(Make the Music Go) Boom
Fake Friends
Androgynous (The Replacements cover)
Oh Woe Is Me
Lie to Me
Love Is Pain
Long Time
If You're Blue
Everyday People (Sly & the Family Stone cover)
I Love Rock 'n' Roll (The Arrows cover)
Crimson & Clover (Tommy James & the Shondells cover)
I Hate Myself for Loving You
Bad Reputation (Joan Jett song)

Outro Music: Rock And Roll is Here To Stay by Danny & The Juniors

Image of the setlist located on the mixing desk
(#Robert Hutton)

Ticket Price (for two, seated, lower balcony): £153.80 from AXS presale

Videos

I Love Rock'N'Roll

I Hate Myself For Loving You

Photos
















Friday, 1 May 2026

CANCELLED -The Wonder Room, voco Grand Central, Glasgow. Friday 1st May, 2026


Event refunded.
Good afternoon.

Due to the ongoing impacts of the Union St fire, Voco Grand Central Hotel is still closed. The hotel is within Glasgow City Council's exclusion zone and cannot reopen.

Unfortunately, this means we are unable to host The Wonder Room and need to cancel all upcoming shows in April and May. This is a difficult situation that's outside my control or the hotel's.

I appreciate that some of you will have waited a long time to get tickets for the show and will be disappointed that the shows have been cancelled.

Once we have confirmation from the hotel that we can reopen, you will be contacted with a private link to buy tickets for future public show dates before they are on public sale.

In the meantime, refunds will be issued to all customers via Evertbrite. You do not need to do anything. This may take a few days to process as per Eventbrite's Terms & Conditions.

I'd like to extend a massive thank you to everyone who has bought a ticket and supported the show. It really means a lot to me. Hopefully, we'll be able to welcome you very soon.

Cheers.

R x

Overview

An intimate magic show performed in Glasgow.

The Wonder Room is Glasgow magician Ryan K. Davidson’s new one-man show in residence in one of the city's most historical and iconic venues, offering a unique, up-close experience of magic and storytelling to a strictly limited audience.

Set in an intimate, purpose-designed suite in the luxurious voco Grand Central Hotel in the heart of Glasgow, The Wonder Room opens its doors every week by ticket or invitation only.

Each show is limited to 20 tickets, ensuring everyone in the room is a participant and not merely a spectator.


WRITTEN AND PERFORMED BY: Ryan K. Davidson

RUNNING TIME: 1 hr 50mins without interval

AGE RESTRICTION: 16+



Ticket Price: £50.16 for two from Eventbrite.

Sunday, 26 April 2026

Craig Ferguson "Pants On Fire" Tour, O2 Academy Glasgow. Sunday 26th April 2026

 
"So you know, this show has been rescheduled from Saturday, 21 June 2025. If you’ve already got tickets, they’ll still be valid, so hang on to them; your ticket agent will be in touch to tell you more.

Craig Ferguson is a multiple GRAMMY-nominated, Peabody and Emmy Award-winning actor, writer, producer, director and comedian with a diverse career that encompasses film, television and the stage. Join him on his 'Pants on Fire' UK tour."


There's a reason John Mulaney can support 13 Vietnamese. His ticket prices were more than double that of Craig Ferguson, Cumbernauld's top international comedian (sorry, Stuart Mitchell). Okay, John brought two more comedians than Craig, but tonight Craig gave us our money's worth: an hour and a half of him telling stories, all of which were true, except for the parts which were not. 

The preshow music was entirely by Talking Heads, from the album '77', tracks so obscure that Shazam found them too tricky to identify. To be fair, the audience was noisy, and the music wasn't, so the app didn't have much of a chance. It even failed to identify Psycho Killer. 

It did recognise:
Don't Worry About the Government;
Uh-Oh, Love Comes To Town;
Happy Day;
and No Compassion.

He came on pretending to play the bagpipes in a high-energy opening, marching about the stage, wiggling his ass and showing off his fake skills. When he cut the music, he explained why there wasn't a support act: they cost money. Why fork out for a less good comedian, when he could be less good himself and keep all the money? 

But surely, Craig, you don't need the money? You live in America and have won numerous prestigious awards for your work. 

Yes, this is true, but... look at it this way. He's playing a rescheduled date on a Sunday night in a former cinema in the Gorbals area of Glasgow. How well do we think his career is going?

He pulled out some special memories that only we would appreciate, like when his dad explained to him as a young lad, taking him for his first beer, that any woman smoking outside a pub was really a prostitute. He swore this as fact, despite the evidence to the contrary. "But, Dad, she's my Sunday School teacher".

Craig has perfected the buffering head-wobble/rictus-grin expression to punctuate anything he's said that's slightly dodgy. He admits he's not always been on the right side of right. In 2017, he recorded his Tickle Fight special in July, but by the time it aired in December, the whole world had changed because of #MeToo. Suddenly, using "Can Your Pussy Do the Dog?" by The Cramps as your intro and outro music didn't seem like such a wise choice. 


He's also not proud of himself for his repeated use of the palm plant over his face to represent the cumshot ending of every porn film. He knows it's wrong, but it makes people laugh, and that's his job.

He remarked early on that he would be using a "reverse callback" using the word "Ting", explaining that the word would appear in a joke later on in the show. I found that a clever spin on a commonly used comedy convention.     

He told us tales of offloading a $300 classic car to Jay Leno as a present when the host finished up on The Tonight Show, only for Jay to speak to the top people at Ford, who souped up the car so much that it became the most expensive car the company had ever made. 

Craig bought a haunted castle in Ayrshire because the price was about the same as a small apartment in the Hollywood Hills. He lived there for a few years but sold it when he realised the amount he was paying Scottish Power to heat it would fund a large apartment in the Hollywood Hills.

There were other stories, but I'm struggling to recall them now. I think that's because he often veered off on tangents, which were probably scripted, but came across as spontaneous.   

He finished on a joke, a simple one: setup/punchline, one of the first he ever heard. It was one of Bernard Manning's, so I won't repeat it here (because I can't remember it). Then he left the stage to the sound of The Cramps. What a cheeky boy!


As the night progressed, the woman on my left (who had one helluva barking cough) became more vocal, answering Craig's questions at a conversational, not heckling, level, often expressing agreement or chuckling as she repeated his punchline to herself. She hadn't been drinking and seemed normal in every other way. She was with her husband. It must be nice to engage with a comedian on such a deep level, where you think they are talking only to you. Maybe I just wasn't listening properly. I can't even remember the last joke Craig told.

Full Price Ticket: £32.50 x 2 = £65.00
Service Fee: £4.40 x 2 = £8.80
Venue Facility Fee: £1.75 x 2 = £3.50
Handling Fee £2.85
Total: £80.15 via Ticketmaster

Sunday, 12 April 2026

Russell Howard "Don't Tell the Algorithm" Tour, Evening Show, King's Theatre, Glasgow. Sunday 12th April, 2026.


The first thing we notice as we take our seats in the front row of the Grand Circle is the loud music. Either the soundman is going deaf, or it's deliberate, to blast energy into the room. I don't recognise all the songs, but they get my foot tapping and occasionally actually mouthing along to the words.

Just after 7.30 pm, the lights dim and an unknown voice welcomes our first act, Andrew Bird. He's been on the circuit a long time, and it shows. He absolutely smashes it with his observations, especially about married life. He serves as an ideal warm-up for Russell. He is touring in January and will appear at the Glee Club in Glasgow on Wednesday, 27th January 2027 (Tickets). 

More loud music during the interval, before Russell's tour manager comes on and whips up the crowd, before introducing Russell.

Russell is a pro. From the off, he's joke, joke, joke. Shortly into the set, he admits he shat himself during the matinee performance and is now full of Imodium, so his movements might be restricted. He confesses he can't do a Scottish accent, demonstrating his best effort, choosing to go Welsh instead when need be. 

He is incessant. If anything, there are too many jokes to laugh at them all.

Afterwards, my wife said that he was just alright. I think she meant he was too slick. 

He definitely was funny, but this was an arena performance in a theatre. Maybe he should have turned down the volume and made it more intimate. You can't beat his laugh rate, though. 

Ticket Price: 2 x £41 & transaction fee £3.95 = £85.95 from ATG Tickets

Preshow music:
You are the Generation That Bought More Shoes and You Get What You Deserve by Johnny Boy
Shine A Light by Paolo Nutini
Beachball (Andry Meets Schalli @ Monkey Island Remix) by Nalin & Kane
Fans by Kings of Leon
The Bartender and the Thief by Stereophonics
Bros by Wolf Alice
My Delirium by Ladyhawke
Stumble and Fall by Razorlight
I Hope, I Think, I Know by Oasis

Interval Music:
Recharge & Revolt by The Raveonettes
Hate to Say I Told You So by The Hives
Sex by The 1975
Ça plane pour moi by Plastic Bertrand
Pink Lemonade by James Bay
Seven Nation Army by The White Stripes
Helter Skelter by The Beatles


Wednesday, 25 March 2026

GICF: Harry Enfield And No Chums! King's Theatre, Glasgow. Wednesday 25th March, 2026


I attended this gig on my own. The irony.


I expected a nostalgia-filled trip down memory lane, with Harry sharing clips from his various series, but that wasn't what we got. Yes, there were a couple of videos, but the screen was reserved mainly for photos of his family and his various comedy creations to illustrate the narrative of his life. Maybe he didn't want to pay the TV companies for the footage.   


He opened the show as King Charles III, wearing a crown (as per his merch). He thanked us, his subjects, for coming along, setting the tone with a joke about his brother Andrew. Then, having removed his headwear, he began recounting the tale of his life, from foetus to the present, peppering the show with stories about his characters, the people he worked with and the celebrities he encountered along the way. He also performed new sketches as some of his favourite creations. Harry's vocal mimicry is superb. He surprised us with a perfect Bob Mortimer and a snivelling Ricky Gervais, transforming the latter into Gollum, who fawned over Harry's talent. 

Things I learned:
He was one of four siblings, the only son. His mum developed post-natal depression after the birth of his youngest sister, and he took to gurning to try to lighten her spirits whenever she took one of her turns. He also ate coal and was a late developer.

He got sent to boarding school until age fifteen, being transferred to a regular comprehensive after he admitted to his parents that the Benedictine monk teachers regularly beat him.

Having passed his O Grades early, he got moved up a year, so he got to hang around with the big boys, who would take him to punk gigs in London, where he could nervously approach the likes of Joe Strummer post-gig to tell him how good they were.

At York University, he reluctantly went to the theatre with his girlfriend and had his eyes opened to the possibility of performing comedy. The double act they saw blew his mind with their Monty Python-style humour. He went on to form a double act called Dusty and Dick with Bryan Elsley (who later co-created Channel Four drama, "Skins"), took the show to Edinburgh, then headlined on the London comedy scene, with the likes of Paul Merton and Mullarkey and Myers in support (as in comedy legend Mike Myers). 

Paul Whitehouse was a mate who lived nearby on the Hackney estate (Charlie Higson was his next-door neighbour). Originally, a plasterer, Paul would latch onto character catchphrases, wringing the comedy from them. Harry would nick the best ones, writing them up into sketches. He paid Paul back by inviting him onto his show, and the rest is history.

Harry was friends with George Harrison. Once, when he was over at George's house, Paul McCartney popped over, and they all had a few drinks. The conversation devolved into bitterness as George related how his business manager had swindled Handmade Films out of millions, the ippy trippy hippy turning more scouse by the second, requiring Harry to step in with his "Calm down" catchphrase in the style of his Scouser character. Whether that actually happened is debatable, but it made a good story.

Harry had a home in Cornwall, but much as he loved the beautiful views, the village was full of London hoorahs. One day, driving through the village to visit a friend, the road was chock full of these posh snobs, so in the car, Harry shouted, "Get out of the bloody way", a phrase his young daughter repeated with the window wound down as they passed by, only to realise one of the poshers was the then Prime Minister, David Cameron. They had a right laugh until David also turned up at the friend's house. And that was how Harry became friends with David.

The follow-up to that story came when Harry wrote the poshers' sketch, in which the pair of gentlemen surmise that David is queer. The next time David phoned Harry, he introduced himself as "Hi, it's Queers". Lovely man, terrible politics.

They hired Kathy Burke for the TV show because her acting was so bloody good.

He wrote a series of sketches for a character called Patrick the Paedo Priest, but bottled it when it came to using them on TV. His then-ten-year-old son even suggested a sketch for him, using the character.      
  
The Q&A led to a wonderful anecdote about working with Vic and Bob as minor characters on a Comic Strip film. Bob wanted to leave for the day because he had no lines and was only required to be in the background, so he asked Harry to ask the director, Peter Richardson, for permission to leave. Peter declined, so as revenge, Bob placed a turd of his own making on top of the privet hedge that divided the two leads' trailers. The turd was allegedly visible in the shot during filming. If that's true, I wonder how long it will take for Bob to share that story on "Would I Lie To You?"
      
Harry is now sixty-five, too old to perform as Kevin the teenager, but not too old to give us a really funny night. 

"Loadsalaughs!" 

Ticket Price: £47.50 plus fees = £54.25 from GICF (on presale)

Blurb

From the meteoric rise of Loadsamoney, a Thatcherite Visionary, to the fury of Kevin the Teenager, Harry will reflect on 40 years of being in comedy and bring some of his favourite characters vividly back to life on stage.

Then it’s over to your questions: your chance to ask how it all works for him, what he’s most proud of, and what he says to the many who ask, “You wouldn’t be allowed to do your stuff today, would you?”

Don’t miss an unforgettable evening with a brilliantly silly and strikingly insightful comedian

Sunday, 22 March 2026

GICF: Maisie Adam, Work in Progress, The Old Hairdressers, Glasgow. Sunday 22nd March, 2026


It's never fair to review a Work in Progress as, by definition, the jokes are not the finished article. So instead, I'll reflect on other aspects of the night (That makes it sound like she wasn't funny. I promise she was).

This was my first visit to The Old Hardressers, a pub, not a barber shop, on Renfield Lane (although this was something for the weekend). The narrow building does a good job of concealing its attic performance space. We queued on the first floor for what turned out to be an intimate show. 

Maisie had her notes and explained that she would rate our responses to each routine out of ten, like Strictly, only without the number paddle. Despite not being the finished product, she reassured us she could definitely give us £12 worth of jokes, the price we'd paid for our tickets (excluding booking fee). Fortunately, her hit rate was high, rarely below seven, except for the last joke, which she rated a five.

What was a bit different was when she stopped to ask us our opinion about whether one of her bits was laughing at someone or with them. She was worried it might reflect badly on someone who had done something out of love, not incompetence. That opened a debate with the crowd, turning the evening into a counselling session, a creative writing group, a Q&A time and therapy. By the end, we had all agreed that Edinburgh are fannies (that's not why she isn't playing there).

She reminded us to please buy tickets to her actual tour show at The Pavilion on September 23rd. 

It's a big step up from The Stand and Glee Club, where she toured previously. If we do, though, she won't stop doing her voiceover ads for a 'well-known supermarket', because that money is funding vital home renovations so she and her husband can move out of her parents' house. 

Go see her. She is funny*. 

* selected lines only; tickets subject to availability; offer ends September 23rd, 2026; invitation excludes misogynists called Gabriel; online booking fees may apply. 

Ticket Price: £12 x 2 plus £2.40 booking fee = £26.40 from See Tickets via GICF 

Wednesday, 18 March 2026

GICF: Mark Simmons "Jest to Impress", The Citizens Theatre, Glasgow. Wednesday 18th March, 2026


My first visit to the Citz since it reopened. I was unsure where to park and how heavy the traffic would be, so my wife agreed to let us leave early. How serendipitous that was. The street I usually park in on that side of town was closed due to roadworks. As we drove about, I somehow managed to find my way to the theatre's car park, which still had spaces. I snagged one spot, and within seconds every other space was filled, as if someone was finishing off a jigsaw. I watched one car fly round the car park to catch the last space near the entrance, only for another car to sweep in, turn right and snatch it from them. I thought there might be some argy-bargy, but no. Fortunately, another car drove off, leaving the disappointed party contented. 

Inside, the theatre looked gloriously modern, albeit with a few of the old touches, like the golden elephant-headed pillars. 

Although we were early, the cafe was already full, so we waited near the entrance to the performance space until the doors opened. The ticket scanners couldn't have been working, because we were allowed in after a cursory inspection of our printout, even though he was holding the relevant device.

We were among the first to take our seats, but it didn't take long for trouble to occur. As the place filled up, a dispute occurred over seating and rather than establish whose tickets were genuine, the usher offered the standing party different seats. Unfortunately, this only exacerbated the problem when those ticket holders arrived to find someone in their seats. He moved them too, and so on and so on. Then, a couple of minutes before the advertised showtime, a large couple arrived to find their seats taken, and they refused to accept alternative seats. They demanded to be seated in the seats they had chosen. A standoff occurred. The usher had to summon the duty manager, but given the extent of the problem and the limited time available, she struggled to get to the bottom of it and gave up after investigating the first three seat relocations. Fortunately, the lads in the large couple's seats agreed to be relocated again. The question remains: why didn't the usher summon the duty manager in the first place?

Ah, the irony of this picture.
The support act was Mark's mate and podcast buddy, Danny Ward. Danny's humour is described as being "observational, upbeat and well-honed; his easy-going style is both endearing and very funny". What I observed tonight was neither endearing nor funny. In the room, the only laughter appeared to come from those programmed to laugh, Pavlovian style, at any post-punchline pause. His jokes are well-honed, but to the point where the humour has been pared away. His material was weak, and his delivery felt mechanical. I did not enjoy him.

Interval snacks - Guinness and ice cream:
Well, it is the Gorbals on St Patrick's Day.

Mark's stage set includes a storage box (for 
his clipboard, notebooks, and a glass bowl filled with folded papers), a coatstand (bare), and a flipchart listing his set topics. 


Fortunately, Mark knows how to craft and deliver a joke down to the nth degree. He'd also cleverly structured the show to avoid one-liner overload, introducing elements like Mind Reading and Magic between topics. Inevitably, these bits were setups for more jokes. 

His longest joke involved recording the ages of most of the front two rows, then apologising for how long it took. "Sorry about that. Took ages." (wiggles eyebrows).

At the start of the show, he wore a tuxedo. Over the course of the evening, he took off his jacket, then his bowtie, swapped his brogues for trainers, his trousers for jogging bottoms and removed his shirt, revealing a vest, which he covered with a hoodie. I anticipated a punchline along the lines of "Got to jog off now. That's the end of the show." Then he'd turn back and say, "Did you like the running gag?" What he actually did was far cleverer. 

Mark is a master of funny. Shame it hasn't rubbed off on his support act.    

Ticket Price: £48.00 (for two tickets, includes a booking fee (£2) and venue fee (£2) per ticket) from SEE Tickets




Sunday, 15 March 2026

GICF: Bridget Christie "Jacket Potato Pizza Tour", Theatre Royal, Glasgow. Sunday 15h March, 2026


A bonus gig after we decided to bring forward Mother's Day for our respective parents. Despite the late purchase, we still managed to snag tickets for the middle of the Dress Circle.


No support act, just Bridget performing both Acts. At 54, she is thriving as a single divorcee, enjoying life, looking amazing in her black jeans, white t-shirt and showbiz leather jacket, complete with sleeve tassels. I couldn't see any reason why Stewart Lee wouldn't want to be with her, even with her kidney stones. Listening to her perform, it's easy to hear the distinct rhythm they share in their comedy. 

In the first section, she had a good bit on imagining being friends with Melania Trump, taking her phone call and having to guess what her husband had done this time to upset her. Acting out the bit where an ex of hers requested she go cross-eyed to help him get off during intercourse was also hilarious, though the audience got so far ahead of her that she refused to say the punchline. The long-winded story from the friend who doesn't remember specifics and gets distracted by tangents finished the first act (which lasted thirty minutes, not twenty, as billed).

The broad audience demographic surprised me, everything from teens to pensioners, with no one group dominating. I put this down to the Taskmaster effect, with her appearing in series 13 of the show (2022). 

The second half was amusing but not as funny, starting with a bit about the date who made her a dinner of a dry pizza base topped by a dry jacket potato, moving on to the gender politics of the Netflix series Adolescence (she's allowed to do Stephen Graham's accent because they laughed in Liverpool at it), then the risks of a menopausal woman having sex with an anotomically male robot in a specialised brothel in Amsterdam, to misconstruing a medical diagnosis requiring vigorous intercourse to dislodge her too-risky-for-ultrasound-treatment kidney stones.

She tied up the ending nicely with a surprise callback from the first act, though it felt like a bit of a cheat the way she dropped it in to finish. 

She made us laugh, but she wasn't roll-in-the-aisles funny. The show might have worked better in a smaller performance space, where it was easier to watch her facial expressions sell the comedy.   

Ticket Price: £27.70 x 2 & £3.95 transaction fee = £59.35 from ATG



Wednesday, 26 November 2025

The Hives World Tour 2025, O2 Academy, Glasgow. Wednesday 26th November, 2025


This event was supposed to take place at the Hydro, but poor ticket sales put the kibosh on that, so the show was transferred to the O2 Academy instead (they also added a second show at St Luke's the previous night). Our new seating location was in the back row of the front balcony, on the aisle. 
There were still a few empty seats, but not that many (possibly some had been reserved for guests). 

I was not expecting the first act, unaware that there were two support bands. Spiritual Cramp were LOUD, playing what I'd describe as American punk, and quickly reminded me to insert my protective earplugs. Their sound reminded me of The Hives, so they were a good complement to the main act.

Yard Act were 'different'. Their frontman had the bravado of Jarvis Cocker and the lyrical speed of a rapper, reminding me of Seb Lowe in that respect, though the band sounded more like early Arctic Monkeys (as Des pointed out). I couldn't make out much of their song lyrics, but they had the confidence to own the stage in front of a Hives crowd. Not my thing, though.

The Hives were immense. With a set backdrop adorned with five giant spheres, spelling H-I-V-E-S (the drum kit adding in the T-H-E), the stage resembled a 60s American music show, with raised cylindrical levels for the drums and bass. Dressed in their usual costumes, braiding illuminated, they blasted through their setlist, with the usual pauses for the singer to whip up the crowd with his unique style of banter. I wasn't feeling great, medicated, but still suffering from the early symptoms of a cold, and even I found myself rocking back and forward in my seat. The energy in the room was terrific, with so many kids downstairs bouncing and moshing (my time doing that is long gone). 

Fortunately, punters standing on the balcony level were rare, so my view was consistently good, though the dome of a bald man in front of me does crop up in my photos. During the second number, a bloke the width of an American fridge-freezer got up to dance, but he only lasted one song, as the girl behind him gave him both barrels about how selfish he was. I did notice lots of people heading to the bar/toilet during the show, not just from our row, and there was a large exodus home before the encore. Trains and buses to catch, no doubt. The band played on till exactly 11 pm.

Another triumph for The Hives. 

Setlist
Enough is Enough
Walk Idiot Walk
Rigor Mortis Radio
Paint a Picture
Main Offender
Born a Rebel
Stick Up
Bogus Operandi
Hate to Say I Told You So
O.C.D.O.D.
I'm Alive
Here We Go Again
Countdown to Shutdown
Come On!
Tick Tick Boom (With band introductions and Pelle in the crowd)

Encore:
Legalize Living
Bigger Hole to Fill
The Hives Forever Forever The Hives

Ticket Price: £54 (via Bob)

Videos
Enough is Enough

Hate to Say I Told You So

Photos

Upstairs merch table

Spiritual Cramp

Yard Act

Fancy lighting

The Hives