Airbourne @ Barrowland Ballroom, Glasgow (21st November 2019)

with: Tyler Bryant & The Shakedown and Cellar Door Moon Crow

Hosted by: DF Concerts

WORDS: Joanne Gray

Almost exactly two years ago, the Aussie rockers Airbourne found themselves playing the slightly larger (but definitely more soulless) O2 Academy in Glasgow. With the less outwardly anthemic album Boneshaker under their belt, it makes perfect sense that the band haven't immediately grown or reduced in popularity. It's no bad thing here of course, cause the Barras suits this band very well. Arguably this choice of venue played a part in making me get a last minute ticket rather than waiting to see them at Download next year. But more on that later. Onto the support bands. 

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As there was a lengthy queue that I didn't quite expect, and a lack of publicity about there being two support bands on the tour, I ended up missing the vast majority of the opening band's set. Walking into the room to hear the end of one song and not catching the name of the band, I went over and looked at the stage times over at the bar. It turns out the band was Sheffield's Cellar Door Moon Crow, featuring the two brothers Phil and Tom Goodwin on vocals, guitar and drums. 

As I only really caught one song in full and a bit of another, it would be unfair to give a full review of their set as a whole, but from what I could hear, CDMC are a weird/interesting blues-rock band that merge 80s style hip-hop into their sound. As the last few notes of the swaggering track 'Tightrope' faded, the two brothers then bounced into 'East To The West'. Donning some shades and throwing in some bratty sort of rapping over the top of the song, the whole thing very much evoked Beastie Boys. If they were very very English and were rapping over a vintage blues-rock tune that is... 

As the band then ended their set and walked offstage, I could see some people around me with dazed but humoured expressions on their faces while most clapped politely. Certainly this wasn't what people were expecting, but nonetheless, the crowd seemed more positive than I might have expected had I known the band were playing beforehand. Aptly summing up the band's performance probably better than I have, a guy in front of me said to his pal next to him with a slight smile on his face: "Well, that was a bit weird". Indeed. 

I've got to try and check this band out when they play Download next year, if the clashes are kind...

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Treading more familiar territory were the second band, Tyler Bryant & The Shakedown. Having played guitar in bands in Texas from a very young age, Bryant moved to Nashville and formed The Shakedown in 2009 at the age of 17. Surprisingly, considering the fact that the band have managed to support bands such as Guns N' Roses, AC/DC, Aerosmith and ZZ Top, this is only the band's first real prolonged UK tour, other than when they supported The Cadillac Three back in 2016. The enthusiasm about playing this far away from home would become clear as the band performed their set that night. 

Instantly catching my attention as the band opened proceedings with two newer tracks, 'Drive Me Mad' and 'On to the Next', was the technical proficiency on display here. From where I was standing, it very much seemed like the high tempo blues licks that were delivered by Bryant were done so without the use of a guitar plectrum. Alongside the very authentic sounding southern twang of his vocals, the freedom to strum away with his fingers gave the swung rhythms even more of a ZZ Top feel. Extra credit to the man for being able to throw in those solos without a pick as well. 

Onto the more pacey and gritty 'House on Fire', it became clear that this was a band full of talented musicans. Over on the drums, Caleb Crosby battered away with an energetic and infectious sort of gurned force while Graham Whitford (son of Aerosmith guitarist Brad Whitford) and bassist Noah Denney locked into a very effective tight but carefree sort of rhythm. There are many bands out there that have a contemporary-but-vintage-blues-rock sound like The Shakedown, but there are very few that actually display the level of skill, presence and charisma this band did. Making it seem like it didn't take much effort at all, Bryant swaggered from one side of the stage to another, consistently managing to get the ever more engaged crowd more involved. 

One of the highlights for the set for me would be the band's performances of 'Ride' and 'Atershock'. The first was a more stomping, slowed down fuzzfest of a bluesy track that had a memorable catchy chorus that could get people singing along nicely. 'Aftershock' was another slower affair, but one which saw the band sit in more dark and slightly stoner-ish territories. The pounding bass and dual attack of the guitars on the heavier riffs here provided a sense of musical variation that was quite refreshing. That brings to mind the only real criticism I had with the band's set. Several of the songs here just didn't really stand out from one another to me, especially with 'Eye to Eye' and 'Weak and Weepin'', which followed in pretty standard blues-rock fashion. 

Thankfully then, we had the cover of Arthur Crudup's 'That's All Right' to change things up a little. Sporting a lovely semi-acoustic resonator guitar, Bryant told the story of how he was introduced to the blues as a child through a man in a guitar shop playing songs like the likes of Howlin' Wolf and Muddy Waters. Taking us back to relive those Delta/Chicago Blues vibes, Bryant started off the song in a very similar manner to the original with a jangly blues chord progression. As Bryant flipped the pickup switch, the whole sound went electric and the rest of the band gave the song a punch that was really cool to hear. Moving away from the kit, Crosby sat near the front of the stage with a bass drum, giving an awesome sense of weight to the song as they boomed through the speakers. A really fun inclusion that got people in the crowd moving about a bit more as well. 

Keeping this more traditional blues feel in place, the band then ended the set with 'Lipstick Wonder Woman', which integrated a bit of twangy slide guitar into their more conventional rock tones. Even if Bryant hadn't have said before this song that the band was honoured to be playing this sort of music so far from home, you would have been able to tell by the way he threw himself around the stage performing one last squealing solo. As the last notes of the band therefore died out, Tyler Bryant & The Shakedown seemed to have won over the vast majority of the crowd as they cheered along. Even if they would've probably been better suited to the likes of a Black Stone Cherry show rather than an Airbourne one... 

This was a technically impressive and heartwarmingly enthusiastic band to watch though. Even though this sort of 70s evoking, bluesy modern classic rock isn't something which really gets me excited a lot of the time, Tyler Bryant and co. were certainly one of the better acts of this style. I can imagine The Shakedown being a pleasant band to watch in those rare non-rainy years at Donington for sure. With some even bigger riffage and choruses, this band could really be onto something in Rock Radio circles in the next few years. Decent.

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Although these two bands did a pretty good job of warming up the crowd, it became clear that things were going to be upped a notch once the volume of the background music decided to suddenly increase rather dramatically. Although it must be noted, only four of the stacks had guitars plugged in, the sheer visuals of the conventional Marshall stacks set up in the background stood as a reminder that Glasgow was about to get one of its rock n' roll shows of the year once again. 

As the familiar, epic sound of the theme from Terminator 2 blasted out into the crowd, I therefore had flashbacks from the last time I saw this band in the O2 Academy in 2017. And when they last played the Barras in 2016. And when they supported Black Stone Cherry at the Hydro in 2014. And... well, you get the point.. Needless to say, this was not going to be a show where Airbourne decided to suddenly change up their formula dramatically. 

As the lights flooded out like they were illuminating a stadium, the band came out guns blazing to their old choice of opening track 'Raise the Flag' from 2010's No Guts. No Glory. The high-tempo, galloping riffing and rolling bassline provided a very effective starting point for what was to come. Frontman Joel O'Keeffe, shirtless and wild-eyed as always, immediately hyped the crowd up as he delivered his lyrics about good old rocking with the raw sort of energy and vocals one has grown to expect. Immediately the crowd went nuts and bounced about like they were watching AC/DC playing club shows back in the day. An almost too appropriate comparison considering the similarities, I'm aware. But it's true. Capturing the band's knack for delivering a but punchy chorus, the simple air punching qualities of "Raise the flag" got fists raised and bodies jumping frantically.

Slowing the pace down a bit but never letting the energy drop for a second after this explosive first track though, it was over to one of the band's biggest songs 'Too Much, Too Young, Too Fast'. With a more 4/4 anthemic feel, the very AC/DC like four chord punchy song upped the communal feel as folk around me jumped in time in the pit screaming along to the life affirming chorus. When you've got a song as utterly huge as this one though, it feels like one of the world's greatest releases to experience songs like this live. And that's what Airbourne have to their music in spades. 

This even extended to songs from the band's recent album that I'm not too keen on. Without the stiflingly tinny production job, the very Bon Scott era AC/DC-esque 'Burnout the Nitro' was allowed to actually punch like it should've done on record, and as such, it blasted through the speakers at ear splitting volume. It was at this exact point that I noticed just how much joy and exuberance the band's newer guitarist Harri Harrison injected into this song he played a part in writing. Although I did notice the crowd dampen slightly for this song when compared to what had come before, there was still a good bit of movement and cheering occurring throughout the entirety of the song. Out of all the songs they could've picked from the newest album here though, it was a good choice to go with a faster offering, for sure. 

The slight drop off within the crowd did provide a slight moment of respite before 2007's 'Girls in Black' got the ball rolling as well. Proving why the song remains a mainstay for the band this far into their career, Joel O'Keefe took his first moment of the set to get in and amongst the action. Reaching the climactic midpoint of the song, the singer; on top of the shoulders of the band's security, made his way into the crowd while continuing to flail his head and fingers along the neck of his trademark Explorer. After what seemed to be a bit of an extended solo, O'Keefe, pulled out a can of beer from somewhere and began to smash it against his head until it sprayed out everywhere. As the crowd around him surged forward to be fully immersed in the experience, I couldn't help but feel that even though I had seen this done every time I've seen the band, the sheer joyful madness on show never gets old to witness. 

Making his way back onto the stage, it was back over to one of the newer album's best songs, 'Backseat Boogie' to keep fists pumping in a 'It's a Long Way to the Top' sort of a fashion. Being another example of a song which exploded more successfully in the live environment, it made it all the more clear to me what a shame it it that the record couldn't quite capture this sort of vitality. Back to familiar known territory, it was then over to 'Bottom of the Well' to give things a slightly different flavour for a few minutes. Starting with a more soulful, bluesy lick and minimal cymbal hits, this was a relatively slow burner compared to the other songs here. But as the song is an absolute anthem, the payoff that was received in the utterly mammoth chorus was well worth the build of the verses. As well as showing that Airbourne are just as capable of delivering skyscraper 4/4 anthems as they are all out thrash n' roll ragers, the song provided another moment of refreshment for the band and crowd in more ways than one. 

As the song eased off to the more bluesy licks again and the rest of the band kept this more relaxed mood going, the stage crew brought out a line of cups, bottles of JD and Coke on top of a box for O'Keefe to become an unofficial bartender. Once again, I've seen the act of him pouring out drinks and throwing them out to audience members who were on top of others' shoulders before. Unlike other bands that use gimmicks though, there's always that riotous nature of an Airbourne show that makes such crowd interaction feel more ramshackle and unpredictable. Cue Joel O'Keefe singling out a person in the crowd who was pretty much at the back of the room and attempting to get the drink to them, no matter what. A few consecutively misjudged shots and spilled drinks later (and one which would splatter itself on the lights as he tried to chuck it as far as possible), and the guy would finally catch a well timed throw to joyful cheers. Just as he caught it, the band kicked back into gear to finish the song on a high. 

Firmly in the latter half of the setlist at this point, the band took the opportunity to visit 2016's Breakin' Outta Hell for a bit. A song that has become one of the band's more recent stand out anthems, the self-titled track from that album marked a rare moment of light-humoured wisdom from the frontman. Introducing the song as an ode to "getting through whatever shit you have going on in your life", O'Keefe encouraged the crowd to lose themselves in the rock n' roll on display to remedy this. And that the crowd did, as countless folk throw themselves over the barrier and pits in motion once more. 

Interestingly, the band went with 'It's All For Rock N' Roll' for the next song. Although this is a bit of a slower track on record with a bit more of a plodding feel which could've killed the energy, there was an injection of pace to this song which seemed to be mostly driven by newer guitarist Harri Harrison. Going out on tour with a more invigorated rhythm player who was yet to be worn out by the intense touring cycle seemed to really add even more to the song here. The band's storming rendition of the song here meant that the extended solo and chant along section didn't drag anywhere near as much as it may have done in its slower format. This was a sentiment which very much carried over to the self-titled track from Boneshaker. As with the other songs on this newer release, the extra volume and rawness of the live environment, as well as the seeming bit of extra pace really made this feel like a track that was worthy of its inclusion. 

As that song ended, the band left the stage and the lights dimmed very briefly to introduce the epic track that was to follow. As the slight hum of planes fed through the PA, drummer Ryan O'Keefe would come onstage and as he undertook the standard protocol of winding up an actual air raid siren while the slightly overdriven layered guitars built up anticipation, the crowd roared as if they were trying to drown out the noise. Working himself up into a sweat, the speed of the siren increased until it continued without his assistance. Clearly out of breath, he took a brief moment to scream out to the crowd using the main mic before jumping back behind the kit, just in time for the song to explode into its utterly chaotic "Let's go" line. Once again, the crowd went nuts. With a discography that's filled with as many completely anthemic songs about living life to the max, 'Live it Up' has the honour of being one of the best and most utterly cathartic songs of the 21st century, for my money. Clearly the rest of the crowd was in agreement with me as the pit next to me got even more wild, and bodies piled over the barrier to almost unmanageable degrees.

This was something that was addressed by O'Keefe before the next song played as he thanked the barrier staff for keeping everybody safe that night. Obviously not wanting to seem too soft about things though, it was straight into another hard rocking anthem to test out the abilities of the security team in the form of 'Stand Up For Rock N' Roll'. Safely into the territory of the band's most fun and raucous material, the epic, stadium-sized build of those opening chords and gradual upping of the pace led to the incredible payoff that is when everything explodes into full frontal mosh goodness. And with that, the crowd delivered once more. Really, there are few bands that can pull out such a run of songs like these that can manage to outdo such an already manic crowd. In one last moment of flashiness, the solo of the song brought O'Keefe on top of the speaker at the left-hand side of the stage as the feedback from the guitar squealed out to almost painful degrees. Rock N' Roll, indeed. 

As the song ended, the lights cut out once more to end the main set. Cue the familiar Glasgow chant and the band were quick to come back out for the last two songs of the night. And it was a good thing too as time was running out. Maybe it was this fact, or simply that the band were on white-hot manic form all nightm but the usual "ooohh's" of the opening build seemed to reach their conclusion at a quicker speed than usual. Energised by the slight wait for the encore, those who had stayed out of the pit for the last few songs were back in the fold and ready to close things off in style. As the song dropped off towards the middle of the track, O'Keefe once again took a moment to address the crowd. With a rare reference to the outside world, the singer dedicated the song to "the fat fuckers in government who don't know what the hell they're doing". You know things are bad when the singer of Airbourne starts talking politics... Keeping the mood light though, O'Keefe bigged up Scotland's resistance as a nation and reminded the crowd of the unifying force of rock n' roll and that we should use this moment to forget about these hard thoughts. As the melodic guitar lines which follow the "ooohs" built up to the final chorus, the crowd sang along as loud as they could before exploding once more into madness. 

This all left us with the predictable but utterly wicked set closer that was 'Runnin' Wild'. As the chugging, palm muted chords punched out into the bounce-along verses, the mosh pit grew in anticipation for the minute everything would come together. Looking around me, it was rare not to see a single fist, head or body perfectly still. Of course, as the song hit its chorus, the whole room bounced along with a reckless sort of joy that could be felt within the venue's springboard floors. God, the Barras is just such a perfect venue for this band. As if this all couldn't get much better though, the song would find another gear to reach as the midpoint of the song left mostly bass and drums to increase the hype. As one last chorus erupted out, you could almost feel the steam rising from the ground as hundreds of sweaty people thrashed about for one last time. As the song finally ended with O'Keefe's throat shredding vocals ringing into the air, I was very much exhausted but had also had the time of my life. Once again.

And that really is the joy of any Airbourne show that you can see. It doesn't matter that the band are basically AC/DC ripoffs and that much of their songs use the same three chords. It doesn't matter that you will see the same stage antics at every show you attend. It doesn't even matter that at the heart of it all, the songs are simple and don't have much to them other than the love of rock n' roll (with some added women and booze, of course). Because when it all comes down to it, the formula that this band have is one which is timeless, and will endure as long as there is an audience to enjoy it. And that's certainly what happened tonight at Glasgow's best venue. 

As with every other time I've seen Airbourne, they were an utter joy to have some good old fashioned good times with. Long may it continue. And in the spirit of the band: long live Rock N' Roll...

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Thanks to you for checking out this review of Airbourne's gig at the Barrowland Ballroom in Glasgow. Feel free to leave a comment or give RWEI your support by giving us a follow/like over on the socials. As always, our inbox is open for submissions and collaborations if you want to get in touch.

Cheers!