Chaos calling beyond the wall
Kira Mac (with Jayler) – Oran Mor, Glasgow, 27th April 2024
Kira Mac (with Jayler) – Oran Mor, Glasgow, 27th April 2024
Kira Mac, who are starting to make serious strides on the back of acclaimed 2022 debut album Chaos Is Calling, are high-powered, high-quality contemporary rock with a splash of old school and a rock-blues edge.
All such traits were on display at the Oran Mor in Glasgow, the third date in a 12 show run across the UK that didn't just reinforce the credentials of both debut album and band (now a newer look four-piece), but also showcased a clutch of new numbers that bodes well for future album consideration.
Prior to Chaos Calling at the Oran Mor, West Midlands four piece Jayler delivered a six song, half hour set as a hard rock appetiser.
Still in their formative rock years (formed in 2022, debut EP in 2023, making guest support headway in 2024), Jayler are already creating a noticeable sonic impact, evidenced by the fact they came on stage to a healthy sized (and highly appreciative) audience, one that wasn’t far removed from the number of rock folks that would be in attendance for Kira Mac one hour later.
The mid-tempo weight and swagger of 'Acid Rain,' which kicks off the band’s 6-track EP A Piece In Our Time, demands attention. It also gives an instant overview of what this band are all about; a quartet steeped in old school heavy rock but, tellingly (in terms of the impact being made on a lot of younger rock fans and newer rock bands), clearly also influenced by Greta Van Fleet, whose Zeppified influences are worn on not just on their 70s clothed sleeves but much of their sound.
All such traits were on display at the Oran Mor in Glasgow, the third date in a 12 show run across the UK that didn't just reinforce the credentials of both debut album and band (now a newer look four-piece), but also showcased a clutch of new numbers that bodes well for future album consideration.
Prior to Chaos Calling at the Oran Mor, West Midlands four piece Jayler delivered a six song, half hour set as a hard rock appetiser.
Still in their formative rock years (formed in 2022, debut EP in 2023, making guest support headway in 2024), Jayler are already creating a noticeable sonic impact, evidenced by the fact they came on stage to a healthy sized (and highly appreciative) audience, one that wasn’t far removed from the number of rock folks that would be in attendance for Kira Mac one hour later.
The mid-tempo weight and swagger of 'Acid Rain,' which kicks off the band’s 6-track EP A Piece In Our Time, demands attention. It also gives an instant overview of what this band are all about; a quartet steeped in old school heavy rock but, tellingly (in terms of the impact being made on a lot of younger rock fans and newer rock bands), clearly also influenced by Greta Van Fleet, whose Zeppified influences are worn on not just on their 70s clothed sleeves but much of their sound.
But Jayler are not riding on the back of one trick rock ponies, confirmed by the strut 'n' roll of 'No Woman' and the hookier, heavy pop vibe of 'When You Go,' albeit singer/ guitarist James Bartholomew was giving it the full Josh Kiszka (they have similar vocal timbres) while emulating Robert Plant in his stances and even his arm/ hand placements, when not equipped with his guitar.
(Nor is young Mr Bartholomew short of stage presence or confidence, which will serve him well going forward).
New song 'The Getaway' was a sharp, hard rock and roll winner while 'Love Maker' amplified (in both senses) the need for the band to shake off the too on-the-nose influences – as strong a song as it is, led by a nifty and quirky little riff from lead guitarist Tyler Arrowsmith, the short instrumental section sounded like it had been lifted from 'Whole Lotta Love,' while James Bartholomew’s fully reverbed vocal toward song’s end was only missing a burst of "a-way, way down inside!"
Closing number 'The Rinsk,' while again carrying some obvious influences, was a far stronger proposition, one that made for an equally strong finish.
'The Rinsk' also helped reinforce that, once Jayler find their own identity, they will assuredly become a band to keep an even bigger eye and ear on.
Kira Mac, fronted by the strong voiced and charismatic sassy lass from Stoke, Rhiannon Kira Hill, had the crowd onside from the get-go with the mid-tempo muscle, rhythmic swagger and guitar grit (courtesy of Hill’s right-hand man/ co-songwriter Joe Worrall) of 'Save Your Whiskey' and 'Dead Man Walking,' the latter from the aforementioned debut album.
Nor does it hurt that Miss Hill, who can add some powerful, bluesy resonance to her vocal as and when required, has got both the banter ("beyond the wall with northern northerners… we’re ready to party!") and the ability to work a crowd as well as any front man or woman on the circuit.
The latter was heard and seen to fine effect when she split the crowd straight down the middle, jumped off-stage to take position centre of said split, and led the left and right sided "Hey! Hey!" call and answer chants of the album’s punchy and biting rock-metal title track (with equally biting solo from Joe Worrall).
(Nor is young Mr Bartholomew short of stage presence or confidence, which will serve him well going forward).
New song 'The Getaway' was a sharp, hard rock and roll winner while 'Love Maker' amplified (in both senses) the need for the band to shake off the too on-the-nose influences – as strong a song as it is, led by a nifty and quirky little riff from lead guitarist Tyler Arrowsmith, the short instrumental section sounded like it had been lifted from 'Whole Lotta Love,' while James Bartholomew’s fully reverbed vocal toward song’s end was only missing a burst of "a-way, way down inside!"
Closing number 'The Rinsk,' while again carrying some obvious influences, was a far stronger proposition, one that made for an equally strong finish.
'The Rinsk' also helped reinforce that, once Jayler find their own identity, they will assuredly become a band to keep an even bigger eye and ear on.
Kira Mac, fronted by the strong voiced and charismatic sassy lass from Stoke, Rhiannon Kira Hill, had the crowd onside from the get-go with the mid-tempo muscle, rhythmic swagger and guitar grit (courtesy of Hill’s right-hand man/ co-songwriter Joe Worrall) of 'Save Your Whiskey' and 'Dead Man Walking,' the latter from the aforementioned debut album.
Nor does it hurt that Miss Hill, who can add some powerful, bluesy resonance to her vocal as and when required, has got both the banter ("beyond the wall with northern northerners… we’re ready to party!") and the ability to work a crowd as well as any front man or woman on the circuit.
The latter was heard and seen to fine effect when she split the crowd straight down the middle, jumped off-stage to take position centre of said split, and led the left and right sided "Hey! Hey!" call and answer chants of the album’s punchy and biting rock-metal title track (with equally biting solo from Joe Worrall).
Two newer/ non album numbers, the powerfully voiced 'Play The Game' and the thick-riffed 'No Way Out,' which also sported a strong hook chorus, were as impressive as any of the songs that feature on Chaos Is Calling; similarly impacting was sharp-edged (musically and lyrically) 2023 single (and Spotify success) 'Scorned.'
A mid-set acoustic interlude (which changes each night) could have brought a worrying lull to proceedings, but other than the inevitable (albeit only slight) increase in noise from the bar at the back of the venue (thus it is, and sadly always will be) the charisma and almost magnetic charm of Rhiannon Hill guaranteed the audience were with her acoustically.
Hill absolutely shone in the solo light of in-a-better-relationship number 'This Time' before being joined by Joe Worrall for the Justin Timberlake/ Chris Stapleton song 'Say Something,' Oasis sing-along number 'Half The World Away' and a great take of American country-rock singer Nate Smith’s 'Whiskey On You.'
The full band then powered back up for a raucous rendition of Alanis Morrissette’s 'You Ought To Know' before the band’s original material returned to the fore in a powerful Chaos Calling quartet – the pedal down 'Hit Me Again,' the big beat blues rock of 'Hellfire And Holy Water' (cue another full-voiced sing-along), the country-edged rock and heavy roll of 'Never Going to Stay' and swaggering blues-rock fan favourite, 'Mississippi Swingin’.'
The main set closed out on newer number 'Farewell' (a mighty slab of tempo-shifting rock-metal that sported a great sense of dynamics) and the up-tempo pace and power of the more intense 'Climbing' (think 'Bullets' by Creed).
A Chaos Is Calling brace of the grungy 'Downfall' and bluesier heavy rock of 'One Way Ticket' made for the perfect one-two encore punch.
Chaos Is Calling may have seemed like an overnight success but the reality is it was seven years of hard work.
As a fully independent band there’s more hard work ahead to build upon that album’s impact, but given the quality of performance (and new songs) witnessed at the Oran Mor, Rhiannon Hill and her band of Kira Mac brothers are clearly up for the task.
Ross Muir
FabricationsHQ
Photo Credit (all images): Scott Anderson, Zeezee Digital Imaging
A mid-set acoustic interlude (which changes each night) could have brought a worrying lull to proceedings, but other than the inevitable (albeit only slight) increase in noise from the bar at the back of the venue (thus it is, and sadly always will be) the charisma and almost magnetic charm of Rhiannon Hill guaranteed the audience were with her acoustically.
Hill absolutely shone in the solo light of in-a-better-relationship number 'This Time' before being joined by Joe Worrall for the Justin Timberlake/ Chris Stapleton song 'Say Something,' Oasis sing-along number 'Half The World Away' and a great take of American country-rock singer Nate Smith’s 'Whiskey On You.'
The full band then powered back up for a raucous rendition of Alanis Morrissette’s 'You Ought To Know' before the band’s original material returned to the fore in a powerful Chaos Calling quartet – the pedal down 'Hit Me Again,' the big beat blues rock of 'Hellfire And Holy Water' (cue another full-voiced sing-along), the country-edged rock and heavy roll of 'Never Going to Stay' and swaggering blues-rock fan favourite, 'Mississippi Swingin’.'
The main set closed out on newer number 'Farewell' (a mighty slab of tempo-shifting rock-metal that sported a great sense of dynamics) and the up-tempo pace and power of the more intense 'Climbing' (think 'Bullets' by Creed).
A Chaos Is Calling brace of the grungy 'Downfall' and bluesier heavy rock of 'One Way Ticket' made for the perfect one-two encore punch.
Chaos Is Calling may have seemed like an overnight success but the reality is it was seven years of hard work.
As a fully independent band there’s more hard work ahead to build upon that album’s impact, but given the quality of performance (and new songs) witnessed at the Oran Mor, Rhiannon Hill and her band of Kira Mac brothers are clearly up for the task.
Ross Muir
FabricationsHQ
Photo Credit (all images): Scott Anderson, Zeezee Digital Imaging