Too retro cool (for Cats)
Cats In Space (with Empyre) – Cottiers Theatre, Glasgow, October 14th 2025
Cats In Space (with Empyre) – Cottiers Theatre, Glasgow, October 14th 2025
It’s been quite the year for retro-rockers Cats In Space.
Signing with Cherry Red Records’ Esoteric Recordings, they delivered, first, Time Machine (their best studio album to date) followed by comprehensive retrospective Chapter 1, a box-set remaster of the band’s first four albums.
There was also a first ever visit to Sweden.
The 2025 icing on the musical cake however was the band’s celebratory Tenth Anniversary Tour, which took them to the beautiful Cottiers Theatre in Glasgow for their only north of the border show.
Prior to the 70s-cool Cats taking the stage, Empyre delivered a forty-five minute set that presented a best of the quartet’s own musical wares.
The band’s brand of atmospheric, at times intense dark-rock was typified by the opening brace of new number 'We Didn’t Like You First' and the more brooding 'Waking Light.'
However, it was songs such as the melodically focussed 'Hit And Run' and slow downtempo number 'Only Way Out' that went down best with the Cats In Space audience (there were also a fair few Empyre fans in attendance).
The latter, which was self-effacingly introduced as the song that best reflects the band’s reputation for "killing the vibe," featured an impressive vocal from front man (and rhythm guitarist) Henrik Steenholdt.
"Not the response we normally get for that song!" said lead guitarist Did Coles in a genuine mix of surprise and delight.
From that point on Empyre could do now musical wrong, delivering a moody-rock cover of David Guetta’s Sia sung 'Titanium' (Steenholdt’s voice wouldn’t be home on the range of Sia’s vocal, but his full-bodied baritenor worked well here) before ending their set with the weighty, groove-driven 'New Republic.'
In short, a set and performance that made Empyre a few more friends, and fans.
Signing with Cherry Red Records’ Esoteric Recordings, they delivered, first, Time Machine (their best studio album to date) followed by comprehensive retrospective Chapter 1, a box-set remaster of the band’s first four albums.
There was also a first ever visit to Sweden.
The 2025 icing on the musical cake however was the band’s celebratory Tenth Anniversary Tour, which took them to the beautiful Cottiers Theatre in Glasgow for their only north of the border show.
Prior to the 70s-cool Cats taking the stage, Empyre delivered a forty-five minute set that presented a best of the quartet’s own musical wares.
The band’s brand of atmospheric, at times intense dark-rock was typified by the opening brace of new number 'We Didn’t Like You First' and the more brooding 'Waking Light.'
However, it was songs such as the melodically focussed 'Hit And Run' and slow downtempo number 'Only Way Out' that went down best with the Cats In Space audience (there were also a fair few Empyre fans in attendance).
The latter, which was self-effacingly introduced as the song that best reflects the band’s reputation for "killing the vibe," featured an impressive vocal from front man (and rhythm guitarist) Henrik Steenholdt.
"Not the response we normally get for that song!" said lead guitarist Did Coles in a genuine mix of surprise and delight.
From that point on Empyre could do now musical wrong, delivering a moody-rock cover of David Guetta’s Sia sung 'Titanium' (Steenholdt’s voice wouldn’t be home on the range of Sia’s vocal, but his full-bodied baritenor worked well here) before ending their set with the weighty, groove-driven 'New Republic.'
In short, a set and performance that made Empyre a few more friends, and fans.
Walking on to, rather fittingly, 'Arrival,' which itself led to the full-bodied and rocking 'Too Many Gods' (the harmonised intro and title track, respectively, of the band’s 2015 debut album) made for a high-energy, big harmonies opening from a well-honed and tight as the proverbial sextet.
(Some may find it strange that a band are still opening with a ten year old number, but it’s hard to think of a more fitting or impacting opener, especially given the first word sung is a huge cry of "Hello!," accompanied here by the Glaswegian choir).
As the quick fire succession of Top Cats cuts continued – the theatrically shaped rocker 'Immortal,' the heavy pop of the lyrically personalised 'My Father’s Eyes,' the infectious fantasy-rock of 'Narnia' and its lyrical jibe at those with delusions of rock god grandeur ("sing the songs and take the cash, throw your fan mail in the trash") – it became apparent how cleverly and creatively Cats In Space embrace and honour the 70s sound; a heady and intentional 'sounds a bit like' mixture of ELO, John Miles, 10CC, Pilot, Supertramp, Queen, T-Rex et al.
But they also look the part, particularly touring bassist Willie Dowling (who looked like the lovechild of a late 70s Gerry Rafferty and Jeff Lynne) and powerfully voiced front man Damien Edwards, who has found the perfect vocal home with the Cats these last six years.
Indeed, Edwards didn’t put a vocal note wrong, being particularly impressive on the semi-anthemic 'Kickstart the Sun,' mini-epic 'Bootleg Bandoleros' and power ballad 'Crashing Down,' where his music theatre background (and associated vocal projection) shone through.
The rest of the Cats – guitarist Greg Hart and his brother in six-string arms Dean Howard, drummer Steevi Bacon, keys & vocoder man Andy Stewart – were on form and on-point throughout, collectively rocking out on a boisterous 'Queen Of The Neverland,' deftly delivering the ballad 'The Velvet Touch' and bringing full-blown pomp to the mid-tempo rock of 'Jupiter Calling.'
Special mention too for Messrs Hart & Howard’s melodically charged solo work throughout, both individually and when intertwining or exchanging licks.
(Some may find it strange that a band are still opening with a ten year old number, but it’s hard to think of a more fitting or impacting opener, especially given the first word sung is a huge cry of "Hello!," accompanied here by the Glaswegian choir).
As the quick fire succession of Top Cats cuts continued – the theatrically shaped rocker 'Immortal,' the heavy pop of the lyrically personalised 'My Father’s Eyes,' the infectious fantasy-rock of 'Narnia' and its lyrical jibe at those with delusions of rock god grandeur ("sing the songs and take the cash, throw your fan mail in the trash") – it became apparent how cleverly and creatively Cats In Space embrace and honour the 70s sound; a heady and intentional 'sounds a bit like' mixture of ELO, John Miles, 10CC, Pilot, Supertramp, Queen, T-Rex et al.
But they also look the part, particularly touring bassist Willie Dowling (who looked like the lovechild of a late 70s Gerry Rafferty and Jeff Lynne) and powerfully voiced front man Damien Edwards, who has found the perfect vocal home with the Cats these last six years.
Indeed, Edwards didn’t put a vocal note wrong, being particularly impressive on the semi-anthemic 'Kickstart the Sun,' mini-epic 'Bootleg Bandoleros' and power ballad 'Crashing Down,' where his music theatre background (and associated vocal projection) shone through.
The rest of the Cats – guitarist Greg Hart and his brother in six-string arms Dean Howard, drummer Steevi Bacon, keys & vocoder man Andy Stewart – were on form and on-point throughout, collectively rocking out on a boisterous 'Queen Of The Neverland,' deftly delivering the ballad 'The Velvet Touch' and bringing full-blown pomp to the mid-tempo rock of 'Jupiter Calling.'
Special mention too for Messrs Hart & Howard’s melodically charged solo work throughout, both individually and when intertwining or exchanging licks.
The band have also invested heavily in presenting a show, not just a performance, as seen from the animation and filmed visuals on the not inexpensive video screen display behind the drum kit (said screen would have sat higher to make even more of a visual impact if not for the fact it was restricted in positioning by the iconic theatre’s architectural aesthetic).
The heavy rock and roll of 'Revolution' was followed by the equally raucous 'Occam’s Razor,' which featured the only glitch in an otherwise outstanding show.
A keyboard sound-surge during the latter required a between songs power down, but it turned out to be perfect song-title timing – following Greg Hart’s comment that the glitch at least proved Cats In Space are "very much a live band," the group launched into the earworm pop-rock of 'Hologram Man' ("we don’t use holograms either… because we can’t afford to!").
The heavy rock and roll of 'Revolution' was followed by the equally raucous 'Occam’s Razor,' which featured the only glitch in an otherwise outstanding show.
A keyboard sound-surge during the latter required a between songs power down, but it turned out to be perfect song-title timing – following Greg Hart’s comment that the glitch at least proved Cats In Space are "very much a live band," the group launched into the earworm pop-rock of 'Hologram Man' ("we don’t use holograms either… because we can’t afford to!").
The main set closed out on tour de force number, 'Greatest Story Never Told.'
Influenced by the musical scope and dynamic breadth of the John Miles classic 'Music,' 'Greatest Story' galloped to its conclusion on an unfettered, all guitars and piano blazing, instrumental finale.
Stunningly good.
A drum solo introduced encore of the best rock-disco number to never be a hit, 'Thunder In The Night,' and the band’s best and biggest ballad, 'I Fell Out Of Love With Rock 'n' Roll' (bolstered by a big, "been a long time since I rock and rolled!" Zep interpolation finish) brought what was an outstanding set by an outstanding band to a standing ovation conclusion.
Too retro cool (for cats).
Ross Muir
FabricationsHQ
Photo credits (all images): Scott Anderson/ Zeezee Digital Imaging
https://www.zeezeedigitalimaging.co.uk/
Influenced by the musical scope and dynamic breadth of the John Miles classic 'Music,' 'Greatest Story' galloped to its conclusion on an unfettered, all guitars and piano blazing, instrumental finale.
Stunningly good.
A drum solo introduced encore of the best rock-disco number to never be a hit, 'Thunder In The Night,' and the band’s best and biggest ballad, 'I Fell Out Of Love With Rock 'n' Roll' (bolstered by a big, "been a long time since I rock and rolled!" Zep interpolation finish) brought what was an outstanding set by an outstanding band to a standing ovation conclusion.
Too retro cool (for cats).
Ross Muir
FabricationsHQ
Photo credits (all images): Scott Anderson/ Zeezee Digital Imaging
https://www.zeezeedigitalimaging.co.uk/