The Second Charm Offensive
Slyder Smith (with The Waxing Quarter) – Dreadnought Rock, Bathgate, 21st August 2026
Slyder Smith (with The Waxing Quarter) – Dreadnought Rock, Bathgate, 21st August 2026
This particular Dreadnought Rock gig was part of a re-energising reinvention for ex Last Great Dreamer Slyder Smith and his hook-laden brand of hard power-pop meets punk enthused glam rock (bolstered by sharp, observational and honest lyricism).
And that’s because it’s been four relatively quiet years since solo debut album, the rather excellent Charm Offensive, which was followed by a relocation to Scotland.
The results of the above? From navigating to North Ayrshire to navigating the waters of a club-level touring scene where the tidal shift now favours tribute acts, covers bands, 'era' nights and, on the all-original side, a scene dominated by blues rock bands where "sounds a bit like" has become a favoured ticket seller.
Fortunately Slyder Smith and his band – Brian Kerr (guitars), Kevin Skelly (bass, backing vocals) and John McAvoy (drums) – shun such fit-the-profile templates, borne out by a high-energy and highly entertaining set at Scotland’s longest running rock club.
And that’s because it’s been four relatively quiet years since solo debut album, the rather excellent Charm Offensive, which was followed by a relocation to Scotland.
The results of the above? From navigating to North Ayrshire to navigating the waters of a club-level touring scene where the tidal shift now favours tribute acts, covers bands, 'era' nights and, on the all-original side, a scene dominated by blues rock bands where "sounds a bit like" has become a favoured ticket seller.
Fortunately Slyder Smith and his band – Brian Kerr (guitars), Kevin Skelly (bass, backing vocals) and John McAvoy (drums) – shun such fit-the-profile templates, borne out by a high-energy and highly entertaining set at Scotland’s longest running rock club.
Prior to Smith and his cohorts taking to the stage, East Lothian quintet The Waxing Quarter delivered a forty-five minute set of atmospheric, intelligent and well written alternative/soft rock, where piano/ keys and acoustic guitar were as integral to the sound as the electric guitar, bass and drums.
The band – formed around the songwriting core of John Ferguson (keys, backing vocals), Iain Bruce (electric guitar, backing vocals) and Liam Clark (lead vocals, acoustic guitar), and complemented by Lyndsey Punton (bass) and John Gurney (drums) – opened with the piano-led 'Just a Dream,' followed by the mid-tempo melody of 'Our Ghost' (also the opening brace of last year’s self-titled debut album).
While songs from the debut made up the bulk of the set (including the woozy and slightly psychedelic 'Perceptions,' showcasing the band’s alternative rock side) brand new ballad (and next single) 'Always You And Me' (a love song to music) made a strong impression.
Three covers also featured, each adding a different texture – Scottish singer-songwriter Callum Beattie’s 'Miracle' added alt-pop bounce while 'Paint The Moon' by American alt/ dream-pop band The Czars offered downtempo, acoustic led contrast.
Highlight of the three however was Train’s international hit 'Drops Of Jupiter,' which followed on from the band’s usual closer, the atmospheric and U2 shaded 'Song From a Distance.'
(The cover follow-on was also, initially, a surprise to the band, who weren’t aware they had time for one more song, making for a bonus finale).
The Waxing Quarter have clearly put a lot of thought into song composition, dynamics and arrangements, with universal lyrics that touch on love, loss, heartbreak and healing.
If that be your melodically focussed, softer rock bag, this is a band worth checking out.
The band – formed around the songwriting core of John Ferguson (keys, backing vocals), Iain Bruce (electric guitar, backing vocals) and Liam Clark (lead vocals, acoustic guitar), and complemented by Lyndsey Punton (bass) and John Gurney (drums) – opened with the piano-led 'Just a Dream,' followed by the mid-tempo melody of 'Our Ghost' (also the opening brace of last year’s self-titled debut album).
While songs from the debut made up the bulk of the set (including the woozy and slightly psychedelic 'Perceptions,' showcasing the band’s alternative rock side) brand new ballad (and next single) 'Always You And Me' (a love song to music) made a strong impression.
Three covers also featured, each adding a different texture – Scottish singer-songwriter Callum Beattie’s 'Miracle' added alt-pop bounce while 'Paint The Moon' by American alt/ dream-pop band The Czars offered downtempo, acoustic led contrast.
Highlight of the three however was Train’s international hit 'Drops Of Jupiter,' which followed on from the band’s usual closer, the atmospheric and U2 shaded 'Song From a Distance.'
(The cover follow-on was also, initially, a surprise to the band, who weren’t aware they had time for one more song, making for a bonus finale).
The Waxing Quarter have clearly put a lot of thought into song composition, dynamics and arrangements, with universal lyrics that touch on love, loss, heartbreak and healing.
If that be your melodically focussed, softer rock bag, this is a band worth checking out.
If this is indeed a reinvention and chance to re-establish, then Slyder Smith did himself no harm with this hour-plus display.
A three-piece in the Charm Offensive days, the second guitar/ four-piece set up suits the fuller, no less punky, heavily power-popping sound of the 2026 Slyder Smith model, heard to fine effect on hooky power-pop opener and new song/ recent single, 'Plan To Fail.'
That the band can also rock ‘n’ roll the glam was underlined by a raucous rendition of 'Calico Queen' from Charm Offensive before dropping a gear for another couple of album cuts, 'Road Love' (played a tad slower, which actually gave it a little more power) and the Enuff Z’nuff sprinkled 'Maya.'
(Special mention at this point to Brian Kerr, the ever-animated energiser bunny of the band – I had to sit down for a rest just from watching him).
An almost mandatory inclusion then came by way of 'Crash Landing in Teenage Heaven,' which was pulled from the Last Great Dreamers archives before being fully Slyder’d for Charm Offensive.
Mixing traits of Ziggy-era Bowie and with a chorus melody line that parallels a Stones classic (the lyrical sign-off of "Let’s Spend The Night Together" is a nice, 'nod to' touch), this bluesy and moody number was a highlight of the set.
The mid-tempo 'Nobody’s Listening,' another new song/ recent single, helped underline that when a new album comes calling (hopefully next year) it’s going to be worth the wait.
T-Rex number 'The Soul Of My Suit,' one of Slyder Smith’s favourite Marc Bolan songs, was a perfect fit for the vibe of the set while 'I’m Done' returned to the angsty, punkier side of Smith’s repertoire.
Carrying a similar attitude were the brace of 'Killing The Machine' (the third and final new song/ single) and the punk pizazz of Generation X cover 'Ready Steady Go.'
Other set highlights included pedal down rock ‘n’ roller 'Pleasure Victim' and 80s synth-pop classic 'Never Ending Story' (the surprise highlight of Charm Offensive and obligatory crowd singalong moment).
Limahl’s hit in Slyder Smith’s hands is an unlikely partnership, but it’s a winning one.
Ending on the rockin’ 'Oblivion Kids' guaranteed the set closed out in the same high-energy fashion as it started (with Brian Kerr's batteries not even close to being drained).
A three-piece in the Charm Offensive days, the second guitar/ four-piece set up suits the fuller, no less punky, heavily power-popping sound of the 2026 Slyder Smith model, heard to fine effect on hooky power-pop opener and new song/ recent single, 'Plan To Fail.'
That the band can also rock ‘n’ roll the glam was underlined by a raucous rendition of 'Calico Queen' from Charm Offensive before dropping a gear for another couple of album cuts, 'Road Love' (played a tad slower, which actually gave it a little more power) and the Enuff Z’nuff sprinkled 'Maya.'
(Special mention at this point to Brian Kerr, the ever-animated energiser bunny of the band – I had to sit down for a rest just from watching him).
An almost mandatory inclusion then came by way of 'Crash Landing in Teenage Heaven,' which was pulled from the Last Great Dreamers archives before being fully Slyder’d for Charm Offensive.
Mixing traits of Ziggy-era Bowie and with a chorus melody line that parallels a Stones classic (the lyrical sign-off of "Let’s Spend The Night Together" is a nice, 'nod to' touch), this bluesy and moody number was a highlight of the set.
The mid-tempo 'Nobody’s Listening,' another new song/ recent single, helped underline that when a new album comes calling (hopefully next year) it’s going to be worth the wait.
T-Rex number 'The Soul Of My Suit,' one of Slyder Smith’s favourite Marc Bolan songs, was a perfect fit for the vibe of the set while 'I’m Done' returned to the angsty, punkier side of Smith’s repertoire.
Carrying a similar attitude were the brace of 'Killing The Machine' (the third and final new song/ single) and the punk pizazz of Generation X cover 'Ready Steady Go.'
Other set highlights included pedal down rock ‘n’ roller 'Pleasure Victim' and 80s synth-pop classic 'Never Ending Story' (the surprise highlight of Charm Offensive and obligatory crowd singalong moment).
Limahl’s hit in Slyder Smith’s hands is an unlikely partnership, but it’s a winning one.
Ending on the rockin’ 'Oblivion Kids' guaranteed the set closed out in the same high-energy fashion as it started (with Brian Kerr's batteries not even close to being drained).
Even on a Friday night, at one of Scotland's most famous and favoured rock clubs, this was a gig that was never in danger of selling out (it was, however, a welcoming, vociferous and very appreciative crowd).
There’s many a reason for that, which need not be laboured here, but it was yet another marker of how difficult it is for all-original bands, cut from a different rock cloth, to command the numbers they deserve – or that the current state of musical affairs will allow.
With the above in mind, it’s fitting Slyder Smith was once a Last Great Dreamer because, actually, he still is.
Dream big, and keep the heavy power-pop a poppin’ and the glam-punk a punkin’.
The second Charm Offensive starts here.
Ross Muir
FabricationsHQ
Photo credits: John McIntyre/ Shutter Time Photography
https://www.instagram.com/shutter_time_photography/
There’s many a reason for that, which need not be laboured here, but it was yet another marker of how difficult it is for all-original bands, cut from a different rock cloth, to command the numbers they deserve – or that the current state of musical affairs will allow.
With the above in mind, it’s fitting Slyder Smith was once a Last Great Dreamer because, actually, he still is.
Dream big, and keep the heavy power-pop a poppin’ and the glam-punk a punkin’.
The second Charm Offensive starts here.
Ross Muir
FabricationsHQ
Photo credits: John McIntyre/ Shutter Time Photography
https://www.instagram.com/shutter_time_photography/