Teenage fanclub

Teenage Fanclub are not a dramatic group, but they are lovely

They may no longer get many teenagers at their shows spending all their money on merchandise, then throwing up on the way home, though that certainly happened at the end of the 1980s, when they began, but people do love Teenage Fanclub. Their teenage fans are now middle-aged, and have spent the intervening years growing up with the band. They’ve listened as the group started singing about parenthood, long-term relationships, ageing, and they’ve stayed with a group who reflected their own lives back at them. The music, too, has changed. Where the early Fanclub records were sparky, messy alt-rock, they have spent the decades refining themselves so their songs are

The Byrds without the drugs: Teenage Fanclub’s Endless Arcade reviewed

Grade: B– Advancing age has smoothed the edges of Bellshill’s finest lads, once — back in the early 1990s — arguably Britain’s best band. This is like being embalmed for ever in suffocating pleasantness. You doze off during ‘Warm Embrace’ and wake, perhaps hours later, to the same gentle, winsome, minor-key harmonies chugging by at a medium pace, the guitars strummed with deadening accuracy. Is it the same song? Have I died? The Fannies have been heading this way for a while and the departure of one of their better songwriters, Gerard Love (who jacked it in two years ago), has hastened their hitherto gentle descent towards the earnestly soporific,

Makes me nostalgic for an era when music was more than a click away: Teenage Superstars reviewed

In Teenage Superstars, a long and slightly exhausting documentary about the Scottish indie scene of the 1980s and ’90s, there was a moment when a man revelling in the name of Stephen Pastel — his real name is Stephen McRobbie, and he must be pushing 60 now — was described as ‘the mayor of the Scottish underground’. Such a position — even one, as this, necessarily unelected — would be all but impossible to occupy today. With the internet and democratisation of music — its creation, its distribution, its consumption — has come the fallowing of what were once its most fertile fields: the local scenes created and inhabited by