More about: TRNSMT

With the pandemic anxiety finally feeling at ease, TRNSMT 2022 felt like a return to the festivals true, full-on energy . While a lot has certainly changed post-lockdowns, with a new wave of artists fleshing out a frankly stacked line-up, one thing remains as true as ever; everyone in attendance benefits from the presence of Scotland’s most raucous audience.

The same hosts of chaos dominate the air of Glasgow Green - the River Stage, King Tuts Stage and Main Stage - the musicians filling out these slots have grown and evolved with the times. As an obvious example, the now almost-obscenely-prominent pop-ballad superstar Lewis Capaldi is no fresh face to the park himself as, despite pulling out ten months prior, his ascent to headliner status can be traced all the way back to origins peddling King Tut’s hype grounds.

While pop and rock legends draw the crowds, it is the foundations of TRNSMT that give punters a thorough and immersive festival experience even without the gritty camping experience of celebrations past. From the second midday gates are open, youngsters flood the fields with vibrant outfits, admirable bravado and a desire to boogie - fortunately the aptly named Boogie Bar caters to this exact whim with unending pop and dance mashups that can heard consistently throughout each day.

The River Stage nearby proves a pioneer of up and comers, particularly where local talent is concerned. Hometown gal Alex Amor’s Sunday morning set features subdued pop beats, a powerful vocal and even flute riffing for good measure, with recent release ‘Bad Tattoo’ demonstrating her talent for sharpening bittersweet memories into satisfying sonic vindiction. Edinburgh four-piece Swim School reprise their 2021 slot, albeit with a sharpening reimagining following last year’s ferocious ‘making sense of it all’ EP which is blitzed through to the approval of an overflowing moshpit that demands more tunes in the near future. The now London-based Dylan Fraser also returns to his roots here, thrashing around with an unmatched energy that attracts many once passive eyes, although his gift for meaningful lyricism doesn’t go amiss either.

Moving up a step, King Tut’s Wah Wah Hut’s sponsored facility adorns its boards with acts already soaring up the charts, particularly with bill-toppers Beabadoobee and Easy Life delivering fresh, buzzy singles alongside old fan favourites like ‘Coffee’ and ‘nightmares’ respectively. Both acts have laid roots for their imminent sophomore records, reforming aspects of past records into cohesive new experiences sure to astonish in full next time around. On top of CMAT, Self Esteem and Mae Muller all bring mountainous female empowerment with tireless performances of their own acclaimed pop hits. Although there is always progress to be made, TRNSMT has taken strides forward in terms of representation this year all fans of all shapes, sizes colours and genders can find representation to look up to across the weekend.

Soldiering on north and through the exceptionally bustling green, thankfully well divided by TRNSMT’s pen system, we have the booming mainstage. Thankfully an outstanding production team ensure that no matter where you stand, you can see the delightful visuals of legendary outfits like Wolf Alice whose Sunday set brings 2021’s ‘Blue Weekend’ experience to Glasgow for those who missed on tickets to a recent UK headline run. Every beat of Foals’ vibrant discography can be heard too, with fluorescent new LP ‘Life Is Yours’ bring vibrant summer textures to contrast heavy offerings like ‘Inhaler’ which set moshpits alight - Yannis is barely held back by security as he eggs on this enthusiasm.

Many sets are uniquely tied to the identities of their creators, most siginificantly the endlessly-hyped Wet Leg who benefit hugely from a Main Stage upgrade - Glastonbury, take notes. As the TRNSMT app begins to warn of ‘unexpected crowds’ for a band that had only just released their now-stratospheric debut single this time last years, Rhian Teasdale’s deadpan absurdism reigns supreme with lobster hands and nun outfits out in force. Who knows where they’ll land in 2023, but it’s impossible to deny the magic of that song about a sofa.

Female-led pop bangers cannot be avoided with the arena-ready power of Dylan, Griff and Sigrid blasting out the loud speakers and warming festival-goers ears up for bigger names. The bucket hats have been on for hours, and when Sam Fender’s NUFC banner is carried out, their wearers are practically ravenous for this dominant force of indie-rock fuelled introspection that uses volume and scale for sure, but conveys a level of thematic intimacy that hit’s hard no matter where you call home. Fender’s second album ‘Seventeen Going Under’ is storming 2022’s festival season, and this is no exception.

A celebratory nature shines across all acts and stages, with even the Scottish sun showing up ready to party, and vivacious covers turn out to be a great way to release this. Thomas Headon belts out ‘We Are Never Ever Getting Back Together’; Mae Muller delivers a charged ABBA mash-up; DMA’S offer up their adored version of Cher’s ‘Believe’. Nile Rogers tops them all with a set featuring Bowie, Madonna and Daft Punk hits that he helped pen and produce across the decades and the whole of Chic visibly throw their entire being into the funk of each track. As Roger’s declares, “every single song we do comes from the hottom of our hearts, the bottom of our souls” - the feeling is palpable.

With more acts than we can name done and dusted, we have the three headliners yet to discuss. Despire being something of a national treasure beyond the Northern border, Paolo Nutini feels like an artist that many of those in attendance have waited years to see - and their vocal response surmises that they’re not disappointed. The heartfelt melodies of smash hits like ‘Candy’ are rebounded in all directions, and newer cuts like ‘’Through The Echoes’ are graced with the same treatment. Standing up to a new wave of competition, his vocal chords are layered with a strained grit that only adds to his appeal; Paolo’s presence seamlessly removes the barrier of years past and by the end of the show, any doubters are liberated from their cruel chains.

The Strokes’ Saturday set is bothered by technical difficulties, but Julian Casablancas manages to riff on even an amp stuttering, nevermind the chanting that his international fanbase throws at the influential, legendary outfit. Starting with ‘Is This It’, tunes from the band’s iconic debut are slotted in against similarly appraised sixth record ‘The New Abnormal’, and no rendition from their discography feels a dull moment.

There is truly no better way to close TRNSMT than a fourth non-consecutive appearance from Lewis Capaldi; having hidden in the shadows in recent times to work on record two (or “masturbate excessively,” as he jests), he admits that even he wondered if anyone would still care. The resounding answer is yes, with his hoarded heartbreak manifesting in sombre, serious songs intercut by a frankly hilarious charm. Making his way from third act on the King Tut’s stage to festival headliner, Capaldi has now reached a level where he can stop singing at any moment and the vocal lines will simply be carried on regardless. Promising new music before the end of the year, Capaldi is concrete proof that Glasgow is a true hub of talent, and these crowds can make or break artists; for this years monstrous line-up, they double-down on the former.

See all the photos from Niamh Louise below:

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More about: TRNSMT