Madra Salach Bring Irish History to the Front of the Stage

“When humans put their mind to love rather than hate, it’s amazing what we can accomplish.”

Under hazy blue, pink, and purple lights, Glasgow-based support band Tanzana opened the night with a set that demanded full attention. The all-female alternative band with gothic undertones mirrored the stage’s atmosphere: smoke curled around the instruments, a glitterball hung above the crowd, and a wall of heavy, emotionally charged vocals was driven by the band’s lead singer, Freya Talbot.

Their performance moved between control and chaos. At times, the vocals escalated into near-screams, cutting through the instrumentals with a raw intensity. Their recently released track, ‘Pose Pose Position’, stood out, capturing both their sonic aggression and stylised performance. By the final song, the energy had reached its peak. Talbot dropped to her knees as the music surged around her, and as the set came to a close, the crowd’s chants made it clear they wanted more. It was a performance that felt less like an opening act and more like a statement, getting the crowd ready for the main act.

At 9:15, Madra Salach took to the stage. They began their set with a slow, blue-lit opening that gradually built into something more dynamic. The band’s lead singer, Paul Banks, broke the band-audience barrier, jokingly referring to the stage setup as “a fucking museum” as he moved a stray guitar case from the front, urging the audience to move closer. It was a moment that set the tone for the evening: a set that moved between comfort and serious emotion. 

Between songs, Banks stayed closely connected to the crowd, alternating between sincerity and humour. He paused at one point to reflect that he had “felt something special about tonight,” before adding, “when humans put their mind to love rather than hate, it’s amazing what we can accomplish.” Moments later, this earnestness was swiftly undercut by a deliberately ill-timed knock-knock joke from Jack Martin, the band’s mandolin/tin, whistle/synth player, who insisted on sharing his “regional gag”. Banks laughed about the crowd’s response: “I pour my heart and soul out, and this stupid c*** tells a joke!”

Musically, Madra Salach lean effortlessly into storytelling with clear political weight, drawing on Irish history and the overlooked labour and suffering of Irish workers in Britain. The song ‘Murphy Can Never Go Home’ stood out, tracing the life of an Irish labourer unable to return home. The audience sang back every word with a familiarity that suggested a deep connection between the band and their fans. 

The political undercurrent gave the set real depth. Beneath the humour and spontaneity, the performance carried a strong sense of historical importance. Their closing track, ‘The Man Who Seeks Pleasure’, brought the room to a quieter, more reflective place. It’s rare for a gig to land with that kind of emotional clarity, but judging by the crowd, I wasn’t the only one who felt it.

Words by Katie Hawkins