Doors 7.30pm | Plus Support Blue Violet | Tickets £17.50 | Malt Room Standing
Tide Lines had one goal with their self-produced, self-released second album Eye of the Storm: to translate the band’s word-of-mouth success into something verifiable. Into something tangible that would honour their fanbase and reflect their audience’s passion. Into, in short, a decent showing in the Top 40.
Through rigorous songwriting and vigorous gigging, the Glasgow-based four-piece; Robert Robertson (vocals, guitar), Alasdair Turner (guitar, pipes), Ross Wilson (keyboards) and Fergus Munro (drums) had built up an intense following at home, and beyond.
Developing the folk-rock roots they’d planted with 2016 debut single Far Side of the World (7.5 million combined streams and counting) and 2017 album Dreams We Never Lost, Tide Lines were already pushing out from the Scottish heartland.
Robertson sang poetically and evocatively of the Hebrides and the Highlands that all of the members call home, but the band’s eyes were on the horizon and Tide Lines’ songs had a universality that reached beyond cultural boundaries.
Emboldened by the against-the-odds success of Eye of the Storm, Robertson focused all his energy, ambition, vision and excitement, and metabolised it into his songwriting.
The result is An Ocean Full of Islands, a 12-track album written and recorded after the walls had closed in but that is defiantly, gloriously uplifting. The first single Rivers in The Light is big, bold, and confident. Robertson’s bell-clear voice at its most stirring and the sound of Tide Lines grasping the thistle of what they, at heart, are: a rock band in touch with the geography and the culture that formed them.
The four members of Tide Lines, formed in folk and forged in rock, have an innate understanding of the elevational power of music. That feeling, age-old but utterly modern, is there in spades in An Ocean Full of Islands, on standouts like the rousing, carousing romance of These Days, the sparkling, stately grandeur of Written in the Scars and the accordion-and-acoustic poetic pen-portraiture of Maybe Everyone Knows. These are songs, exquisitely written, sung and performed, that are both expansive and inclusive.
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This event is in association with an external promoter.
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