Three songs in and Hot Snakes' drummer Mario Rubalcaba has a problem. His bass drum keeps slipping forward. At this point lead singer and guitarist Rick Froberg asks if there are any particularly inert audiences members willing to help out by sitting in front of the bass drum to keep it in place. This being Glasgow, it turns out there are at least two, one of whom, Robert (or Robot, as he is referred to by other guitarist John Reis (also of Rocket From The Crypt) who clearly has trouble with the Glaswegian accent), actually takes up the challenge and spends the rest of the gig up close and personal with Rubalcaba's kit. Only in Glasgow.
What makes Robot's act particularly courageous is the ferocity with which Hot Snakes have bashed out those first three numbers, a ferocity that they apply equally to the rest of their set of socially aware hardcore punk rock. Husker Du and The Dead Kennedys spring to mind as reference points, though they're neither as tuneful as the former nor quite so satirically sharp as the latter.
While the band can hardly be faulted for commitment or chops, if there is something lacking in their performance, it may come down to frontman Froberg. His vocal is buried in the mix tonight and is just not distinctive enough to hold its own with the mighty noise being churned out by his band mates.
Which isn't to say that tonight's gig is entirely devoid of exhilirating moments, as when the band blast through the opening trio of songs from most recent album Audit in Progress without half a second's pause for breath. "Brain Trust" is frantic and fierce, and is also set apart by soemthing resembling a catchy chorus with its 'sun up sun up sun is sinking' refrain.
"Hi-Lites" sets out to pulverise but is really only paving the way for "Retrofit", which really gets under the audience's skin, by means of bizarre vibrations set off intermittently by Gar Woods bass pedal. And, yes the moustachioed bass player looks very pleased with himself.
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By comparison, a brief respite is provided by "Plenty for All" (dedicated by Reis to Robot), which rides along on a melodic arpeggio hook played by both guitarists. And it is those moments when the Snakes make concession to things like hooks and melodies that they make most of an impression on your reviewer.
Such is the case with "Automatic Midnight", which rocks like a good one and features Reis and Wood joining Froberg for a triple vocal assault on the 'bringing midnight straight to my heart' chorus. A shame it only lasts about ninety seconds.
Mind you, its not all balls out attitude, as there is something of an epic, yearning quality to "Suicide Invoice". Though it's perhaps the most unlikely of all reference points, I couldn't help calling to mind a Carpenters' lyric as Froberg sang (as opposed to hollered) 'and when I dream I keep my promises to you I really do'. Echoes of "Superstar"? Well, maybe not.
Anyway normal transmission is resumed as a double whammy of "Think About Carbs" and "This Mystic Decade" close out the set, the band leaving Robot onstage to lead the cries for an encore. Two more hard-driving cuts unfamiliar to your reviewer's ears follow, but are lapped up by the reasonably busy Oran Mor following, who reluctantly let the band go in their aftermath.
So all told a solid if not transcendant performance from Hot Snakes, and three days later my ears were still ringing. Mission Accomplished as far as the boys are concerned I reckon.
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