Blood Brothers: Young Machetes

As many bands learn the hard way, playing live should probably never be taken for granted. With a never ending conveyor belt of acts who seem to have gotten lost, bestowed with the right haircuts as opposed to the right tunes, too often little effort seems to go into making a live performance matter in our latter day. It's turn up, play one hit and belt out lackluster filler, make sure you get yourself in the right light so the kids can see you've made the effort sartorially, but definitely don't put in too much effort playing – you might well sweat and then where will that haircut get you?

The Blood Brothers could be accused of no such crime. Famous for their incendiary live shows, where the primary emphasis is on how much is put in rather than taken out, the Seattle crew come from a hardcore background, but look anything but the part. Coming across as something of a contradiction, listening to The Blood Brothers is a wholly different experience to seeing them in the flesh. One could be easily surprised by how far removed they are from the stereotypes often associated with the genre. Quiet and reserved off stage, but with an intelligence and experience to their lyrics that belies their still young age, they've been playing together since their mid teens but have steadily matured with a more progressive sound.

Catching up with Morgan Henderson before they bounce on stage at King Tut's, he explains to The Skinny that home, for them, is simply playing live to the kids rather than releasing records. "It's interesting, because I'd basically say that playing in England is like is it at home, whereas in Scotland and the rest of Europe the crowd is that bit older. At the show in Aberdeen last night, for instance, people were closer to our age, I dunno why that is. It's a young crowd in the states as well." Obviously Henderson hasn't seen that tonight is an over 14's show, though he should feel right at home with the baying kids waiting for them outside the venue, where you can smell the cheap cider down the street.

It's probably just as well that The Blood Brothers feel so comfortable on stage, with last years impressive Young Machetes (having finally just officially had a UK release) joining what is now a long list of records to leak to the internet early. If the record companies are to be believed, the time when bands have to rely on playing live to make their entire income may be coming sooner than you think, with the potential for the "new rules" chart to prove fruitful for independent artists. Morgan considers the state of play. "A band that plays shows and could use that to support them forever, like the Red Hot Chili Peppers or someone like that, in a way they're affected by it less. Though they're probably bothered by premature internet leaks, they can rely on shows and other things to support their income. But for us, you know, we don't make a lot of money so it's a bit different, though it doesn't bother me that much. Even though that dynamic is there, it still hurts larger record companies more than it hurts the bands. I think if people are going to shows - whether or not they heard about your band by downloading you for free - hopefully they'll still come and see you play."

After a few cursory handshakes Morgan leaves us to prepare for their set and the main reason we're here; to see if the 'Brothers serve their reputation justice.

As if they'd disappoint. From the opening screams of new single 'Set Fire To The Face On Fire', the G-force generated by the twin assault of vocalists Jordan Blilie and Johnny Whitney immediately pins back all who oppose it. Like a sandstorm pummeling away until you can, quite appropriately, almost feel the skin literally being peeled from your face, the intensity here is relentless - the crowd screaming "Fire! Fire! Fire!" right back at the quintet as they trade lines with each other, in direct contrast to their look: skinny emo kids in tight t-shirts. Possibly the most frightening aspect of the Blood Brothers is that you have no idea of where the motivation for their guttural screams might be sourced. What's clear, however, is that resistance is futile and the only course of action is to pick yourself up from wherever their initial outburst might have blown you to and join them in all the fun of their sonic blitzkrieg.

Guitar driven feedback gradually gives way to keyboard flavoured melodies as the band break it up a bit, but with their levels set so high already this is nevertheless well co-ordinated output. Chaotic but seemingly always focused, the energy they use to slay Glasgow is infectious - with a set drawn heavily from Young Machetes and previous record Crimes, including older favourites such as 'Ambulance vs Ambulance' and 'Love Rhymes With Hideous Car Wreck'. This evening at Tut's, these "Young Machetes" put their money where their mouth is with a blistering performance.

Finally, back outside in the real world and making our way home, The Skinny feels slightly dazed; knowing that the 'Brothers have just conjured up something a bit special, a band so tight that you couldn't get a bollock hair between them. Did they play it nonchalantly, like they took it for granted? Never. More like their life depended on it.