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Since its inception in 2017, TRNSMT has traditionally been a popular and well-attended Glasgow event and remains as such, despite the many (valid) criticisms levelled against it for the lack of diversity and gender parity on its lineups. In that regard, this year’s festival sees an improvement with an increase in women on the main stage, as well as on smaller stages throughout the weekend. On the Saturday though, it’s not the lineup that appears to be the issue, but general logistics, with “thousands of music fans [being] forced to wait in long queues to enter,” as reported by the BBC. The unusually warm weather certainly doesn’t help the swelling tempers of those stuck outside but this atmosphere seems to follow the crowds into the festival arena, resulting in a small hint of anxiety and desperation that lingers in the air, perhaps most obvious during the closing headline set.

Before all of that though, Glasgow Green exhibits a calm before the storm as the gates open and attendees begin to filter in. But soon Bemz is up on stage and the quiet is short-lived, as the Ayrshire rapper transforms the River Stage area into his own personal daytime party. Accompanied by his DJ Karin, plus special guests ID, Washington and Sean Focus, Bemz provides a true celebration of Scottish hip-hop in his half-hour set, reiterating exactly why the wider industry should be paying closer attention to him.

Image: Bemz @ TRNSMT, Glasgow Green, 9 Jul by Allan Lewis

It’s not just a case of solid tunes, though Bemz was voted BBC Introducing Scottish Act of the Year not too long ago for that reason; it’s the showmanship and stage presence that brings a seated, chilled out-crowd to their feet and to the front of the stage, arms (and phones) firmly in the air. ID, Washington and Sean Focus all match Bemz’s energy when they join him for tracks like Bando 2 Studio, 26 and In My Feelings. However, it’s latest single Zidane that gets the wildest response, as all four rappers expertly hype each other and the audience up, darting across the stage with Bemz climbing into the crowd for the final bars.

Bemz performs like he’s meant for the main stage and that’s exactly where we find him later in the afternoon, as he joins The Snuts during their performance of 2020 single Elephants. He’s received especially well by the packed-out mass of Snuts die-hards, arguably no easy feat for any rapper. But maybe this is just a primer for things to come, as well as the size of stage we’ll soon be seeing Bemz commanding on his own.

Shortly after Bemz plays the River Stage, we find Griff kicking things off on the main stage, a pretty substantial number of folks showing up early to listen to her play. Many of them are visibly fans of the 21-year-old, hanging on her every word as she delivers hits like One Foot In Front of the Other and One Night. Head On Fire, the 2022 track she co-wrote with Sigrid, is a highlight even without Sigrid’s vocal counterpoint, but heartbreak pop banger Black Hole, which closes the set, is the clear winner.

Image: Pip Millett @ TRNSMT, Glasgow Green, 9 Jul by Allan Lewis

A short jaunt over to the King Tut’s stage proves extremely worthwhile for the sweet R'n'B stylings of singer-songwriter Pip Millett. Her radiant vocals shine from opening number Heavenly Mother right through to a new, unreleased track that she tells us she hasn’t played live before. Like the rest of the set, it sounds effortless and full of soul but there’s a buoyancy in the performance too, thanks in part to the camaraderie with her band. This is maybe most evident on latest singles Downright and Ride With Me, the latter of which she describes as “a bit wonky but I hope you can get into it” (we definitely do). 

Next up on the same stage are two phenomenal performances by two differing artists in quick succession. First up, Gen Z pop-punk legend KennyHoopla, who has worked with people like Travis Barker. The American singer’s set is a mash-up of indie, emo and punk but with boundless vitality and masses of all-out frustration. Even poppier numbers like hollywood sucks// and estrella// are rough and rowdy but how will i rest in peace if i'm buried by a highway?// is when the crowd really loses its mind, screaming along to 'She's gonna cut my head off / But I don't care, I don't care'. Kenny jumps into the pit as security scramble to keep an eye on him but within five seconds, he’s far into the audience and unstoppable, rewarding those that kept the mosh pit going.

The tone shifts after KennyHoopla, but in the best way possible, as Self Esteem takes the stage with her formidable trio of backing singers/dancers – Marged Sion, Levi Heaton and Seraphina Simone. Rebecca Lucy Taylor is one of those rare performers that manages to deliver pure empowerment regardless of the backdrop. Even at TRNSMT, she brings her effervescence and storming hooks without compromise; flawless choreography the whole way through as well as a recognisable punk spirit in tracks like How Can I Help You and Girl Crush. There are some epic singalong moments too with Prioritise Pleasure and I Do This All the Time, but the celebratory mood continues until the very last track The Best, everyone dancing with full force by the end. 

Image: Jimmy Eat World @ TRNSMT, Glasgow Green, 9 Jul by Allan Lewis

Later, Arizona band Jimmy Eat World bring the nostalgia factor as they close out King Tut’s. The majority of their set is made up of fan-favourites like Bleed American, Hear You Me, Sweetness and 2001’s The Middle and it’s a genuine pleasure to see a band enjoying themselves on stage so much, even when playing the crowd-pleasers that everyone inevitably wants to hear. After more than two decades, they still sound excellent together, singer and guitarist Jim Adkins’ emo snarl remaining unshakeable. 

It’s quite a contrast to the day’s headliners The Strokes, who don’t quite win over everyone on the Green with their set. There are sound issues (not their fault), an audience up front that isn’t really there for their music (again, not their fault) and some generally concerning behaviour from Julian Casablancas in-between songs, which has been commented on in reviews of other gigs they’ve played this year. His barely audible ramblings waste time, more than anything, but in addition, the wider band don’t seem all that pleased to be there.

Casablancas talks about his preference for the Barrowlands at one point, and refers to the audience as the “Glasgow Children’s Choir”. He’s right that it’s maybe a younger gathering up front but even further back, people are bemused and vocally disappointed. Still, the saving grace is perhaps the band’s inclusion of Last Nite as their final tune, which they don’t typically include in their sets anymore. This year, for example, they’ve only played it three times in total so naturally, the Glasgow crowd are pretty lucky to hear it and they reciprocate appropriately.

When playing, The Strokes sound cohesive and exactly what you’d expect from a band that has had such a strong following for so many years. From opener Is This It and newer track Bad Decisions to favourites like Juicebox and Reptilia, it’s all perfectly fine but that’s the problem: can a festival headliner really just be fine? It’s a decent day out on the whole with some outstanding performances from start to finish. But logistical issues sadly plague the general vibe of the day and it shows in the faces of the crowd as the sun sets on Glasgow Green.

TRNSMT returns to Glasgow Green, 7-9 Jul, 2023

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