Singer of huge Scottish band draws crowd for solo TRNSMT show
Opening up his set with the 2021 single Stress Ball, he was on top form vocally with his unmistakable tone.
READ NEXT: I saw Jake Bugg at TRNSMT - he should have been on the Main Stage
READ NEXT: Singer surprises with secret TRNSMT show - and Lewis Capaldi tribute was backstage
(Image: Kyle Falconer played the TRNSMT King Tut's stage on Sunday, July 13 2025.)
(Image: Kyle Falconer played the TRNSMT King Tut's stage on Sunday, July 13 2025.) The View banger Grace, quickly followed.
Taking a minute to fix his guitar, he then admitted: 'This is my old View guitar, I only bring it out for special occasions, hence I need to tune it, man.'
Face for the Radio then had the crowd singing in unison with the star, whose voice was packed with power for the rock ballad.
His family was watching from the side of the stage when he dedicated Family Tree to them before he rounded off in style with Same Jeans.
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Daily Record
18 hours ago
- Daily Record
Can you spot the lowest-priced ticket in the crowd in this pop music puzzle?
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The Herald Scotland
a day ago
- The Herald Scotland
Tributes to Dundonian who became eminent director of the stars
Died: June 10, 2025 Alan Strachan, who has died aged 80, was a Dundonian who became an eminent theatre director and had success directing plays by the likes of Noel Coward, Terene Rattigan and Alan Ayckbourn. He also administered two theatres, the Mermaid in the City and the Greenwich Theatre, always choosing seasons that were attractive, imaginative and cast with stars that wanted to return to the live theatre after success elsewhere. His prestigious productions were often seen in Scotland and included a revival of The Prime of Miss Jean Brodie (1994) with Patricia Hodge as the spinster Miss Brodie and Edith Macarthur as the headmistress. Another notable achievement was the 2007 production of Ayckbourn's How the Other Half Loves - of which The Herald critic wrote 'the evening features a superb central performance from Nicholas Le Prevost'. In 2009 Strachan also had a great success with Entertaining Angels by Richard Everett starring Penelope Keith. In 2021 Strachan directed A Splinter of Ice to reopen the King;s [[Theatre]], Edinburgh, after its refurbishment. The play dealt with Kim Philby, safe in Moscow, justifying his treachery. Alan Lochart Thomson Strachan was born in Dundee, the second son of Ellen (nee Graham), who worked in the city's jam factories, and Roualeyn Strachan, a seed and plants manager in D&W Croll. Strachan attended Morgan Academy then read English literature at St Andrews University and Merton College, Oxford. He was active in the various theatre groups at Oxford and in 1969 appeared in Twelfth Night directed by Jonathan Miller. At St Andrews he spent much of his spare time working backstage at the Byre Theatre. There he met Jennifer Piercey who was appearing on stage. They married in 1977. When he came down from Oxford, Strachan worked at the Mermaid Theatre then directed by Bernard Miles. He was appointed co-associate director and scored a hit with Cowardy Custard in 1972 which he co-devised and directed. Coward came to the first night and caused quite a stir. Patricia Routledge was one of the stars and said of that first night, 'Coward was really quite frail by then and he had to be helped in through a fire door. The audience gave him a huge welcome. It was a memorable night.' The show had long runs in the west end and on Broadway. It was seen at the Pitlochry Festival in 1984. Read more 'He never gave up': tributes to patriarch of Scottish undertakers | The Herald Tributes to 'Mr Stirling': journalist dedicated to his home town | The Herald Tributes to countess who modernised royal Scottish castle | The Herald One of Strachan's outstanding successes was to direct the (then) ignored plays of Terrence Rattigan. In 1988 he directed the first West End revival of The Deep Blue Sea, starring Penelope Keith. Strachan's subtle direction brought a fresh appraisal of the play and allowed Keith to display real dramatic skills away from TV's The Good Life. In 1971 Strachan directed at the Mermaid Theatre The Old Boys by William Trevor. He cast Michael Redgrave in the lead despite knowing the actor had serious memory and nerve problems. Rehearsals went well but as the first night approached, Redgrave was a bag of nerves. 'Lines which were ringing with assurance now were stumbled for or escaped him completely,' Strachan wrote. The previews were a nightmare and Strachan evolved an ingenious scheme. He climbed into a tiny cubbyhole off-stage and communicated with Redgrave on a walkie-talkie and cued the actor his lines. All went well except when the hearing aid fell from Redgrave's ear with a resounding crash and, worse, one night Redgrave fiddled with the volume and the audience heard an intercom with a London taxi. Penelope Keith (Image: Newsquest) Strachan had a keen insight into the plays of Coward. He keenly developed their subtle comedy and in 1981 directed a feisty production of Present Laughter with Donald Sinden playing the lead as a rascal. From 1978 Strachan directed the Greenwich Theatre for ten years where he staged a wonderful assortment of plays that established the theatre as progressive and forward-thinking. While running Greenwich he maintained a close interest in the west end and in particular with Alec Guinness. In 1975 Guinness played the lead and Strachan directed Julian Mitchell's adaptation of Ivy Compton-Burnett's novel, A Family and a Fortune, with Guinness and Rachel Kempson and then Yahoo an intense study of Jonathan Swift, the 17th-century Irish satirist. Strachan was also a noted biographer and in addition to writing biographies of Vivien Leigh, Michael Redgrave and Bernard Miles, he wrote the biography of his long-term collaborator, the West End producer Sir Michael Codron (Putting It On). In the past few years Strachan and his wife had lived in Invergowrie. She predeceased him and he is survived by his elder brother. ALASDAIR STEVEN At The Herald, we carry obituaries of notable people from the worlds of business, politics, arts and sport but sometimes we miss people who have led extraordinary lives. That's where you come in. If you know someone who deserves an obituary, please consider telling us about their lives. Contact
The Herald Scotland
2 days ago
- The Herald Scotland
Why The Barras reminds me of America and days gone by
Fear not. I'm at Randall's Antiques and Vintage Centre, deep in the heart of The Barras - the final stop in my wander through one of Glasgow's most unique institutions. As the crowds at TRNSMT pulsate to the sound of Biffy Clyro and Fontaines DC across the street, my girlfriend and I make our way through a somewhat empty Barras. It's not surprising. The temperature is pushing 30 degrees, a grim reality which is widely commented on at each stall we stop in. Lunch is served. (Image: Emily Page) I'm here to search for bargains, but also to try some of the unique food offerings on display. It doesn't take long to find some grub, of course, as we stop at Fellali Cafe. It's not really a cafe, to be fair, just a table behind which a lovely Iraqi woman named Wanda sells falafel, hummus, and potato patties, known as aruk, alongside handcrafted jewellery. 'I've been here for around five months,' she tells me. 'I began selling my jewellery, and then I thought I should sell some food as well. It's all vegan and very healthy.' Indeed, for £7; we walk away with a plastic takeaway container filled to the brim with falafel, fresh hummus, aruk patties, a special chili sauce, and crispy strips of samoon, an Iraqi seeded bread. Perhaps it was the heat, but I couldn't have asked for a better lunch, sitting on two chairs opposite a stall selling rows of Stretch Armstrong figurines. In C Section, where some of the largest stalls are located, including 'Sustainable Fashion Row', we stop at the well-known Cowpeople stall, branded as the UK's largest purveyor of vintage cowboy apparel. The shop is bustling, no doubt a result of the terrific social media presence cultivated by shop owner Kaitlyn De Biasse, as well as a recent Irn-Bru advertising campaign. De Biasse, a New Jersey native (like me) has seen her business explode in recent years, from a one-day spot purchased for £15 to selling cowboy boots and bolo ties to customers across the UK and mainland Europe. And of course, being from America, I have to take a photo of a cardboard cutout of our first lady - country music legend Dolly Parton. Feeling at home at Cowpeople. (Image: Emily Page) In a strange way, The Barras reminds me of home. As a teenager, I'd go to the Italian Market in South Philadelphia nearly every Sunday afternoon. Those days were some of the best, as we searched for cannoli and cheesesteaks among the many market stalls. Similar to The Barras, you could find just about anything there, from hot food to clothes and bric a brac. And of course, the people running the stalls mirror one another, despite their geographic distance. In Glasgow and in Philly, blue collar folk and recent immigrants are hard at work, clambering up the ladder of opportunity. Before long, it's time for a snack. Over in D Section, we stop at Cream Comes True, a brightly coloured stall selling Hong Kong-style bubble waffles. We have a bit of a wait, so after being handed a ticket by the lovely waffle maker behind the counter (who urges us to visit the Red Bull truck for a free beverage) we make our way around the surrounding market stalls. We walk past the well-regarded Pizza Cult and a shop selling different types of macaroni cheese, as well as a host of wee places hawking all sorts of interesting items. Ten minutes later, we're back for a slice of the action. Now, I love a thick and crispy waffle, but I have to say I was somewhat confused by the 'traditional Hong Kong' offering, which consists of a waffle folded in half and spread with butter, peanut butter, and sugar. Well, it blew me away, and at £5, not a bad price either. Hong Kong inspired Cream Comes True sells a range of waffles. (Image: Emily Page) Later, we visit the Fresh Pressed Terps stand in B Section, along a bustling thoroughfare shimmering in the midsummer heat. Orange juice for a fiver, pineapple and watermelon juice for £6, fresh squeezed pomegranate for ten quid. All are served in glass bottles, which you can return for a 50 pence rebate. 'Busy today?' we ask. 'Surprisingly not,' says the man behind the counter, as his compatriot holds a bottle under a silver spigot dripping with orange juice. 'The heat seems to be keeping people at home,' he adds. Indeed, it is hot, hot enough that stallholders are passing around ice lollies held in a chest freezer. 'You have to keep cool,' one woman tells another. Amidst the shiny offerings and the music blaring from the Red Bull truck parked near the exit, I see another side of The Barras. Piles of mismatched clothing, dusty knick-knacks, rows of DVDs, old bicycles lined up haphazardly; these are perhaps a more honest representation of the market's history. Stalls boast a wide range of goods. (Image: Emily Page) It's been years since the last police raid on The Barras, which once occurred with regularity, and I'm not one to judge the provenance of various items. I turn to mention this to my girlfriend, and immediately am told to hold my tongue and avoid noting these interesting circumstances out loud. Alas. We continue our trek through rows of antiques, pausing to peer into mirrors or examine the cost of various paintings (most unfortunately out of my price range). Read more: I see a plasticine statue of Jesus, bearing a sign which reads: "Sorry. I (s)ain't for sale" and as a devout fan, I have to take a picture. It is soon 2pm, closing time, and as we walk towards the car, the sun beating down on my black t-shirt, I reflect on days gone by. It is easy to glamorise The Barras, as I did with the Italian Market of my youth. It is quirky, fun, and certainly odd. But to do so risks failing to understand the deep cultural connection the market has to the working people of the East End, and indeed the rest of the city. Narratives about gentrification have their place, but The Barras should be appreciated for what it is. We should embrace this cultural gem as a profoundly unique and vibrant celebration of Glasgow, the new, the old, and everything in between.
