It’s been nine long years since Bastille last played Scotland’s largest music arena, but Tuesday night, the band made a triumphant return to Glasgow with their From All Sides tour, accompanied by special guests Master Peace and Bradley Simpson.
For a Tuesday night, the crowd at the OVO Hydro was surprisingly electric – boisterous, energetic, and unapologetically Scottish. While Bastille might not immediately evoke images of a rowdy crowd, Glasgow’s audience proved once again that they know how to bring the energy, no matter the day of the week. Which Bastille commented on when they came on stage – “our rowdiest gigs have always been in Glasgow”.
The evening began with Master Peace, whose set immediately suggested he’s one of the most naturally suited support acts to grace a stage in recent memory. The Hydro clearly loved him. His blend of charisma and talent hinted that intimate solo dates in Glasgow may not be far off – a prospect that, for fans of raw, emerging talent, is undeniably exciting.
Next up was Bradley Simpson, whose presence was a nostalgic trip for anyone who grew up following The Vamps. Simpson delivered a mix of original material and covers, showcasing a voice that is undeniably powerful and versatile. Both he and Master Peace seamlessly complemented Bastille’s sound, warming up the audience perfectly for the main act.
Having only seen Bastille in large outdoor festival settings, I was curious to see how their music would translate to a fully enclosed arena. The answer was spectacular. The show opened with moody lighting and an acoustic rendition of Things We Lost in the Fire, during which frontman Dan Smith paused to quip, “Sorry guys, we’re really professional, but he (the keyboard player) looked like Puss in Boots from Shrek.” The audience erupted in laughter before the band pivoted back into full performance mode with Shut Off the Lights. Smith’s voice was astonishing – crisp, emotive, and studio-perfect.
The production values on this tour were nothing short of exceptional. Bastille’s full band was complemented by two new female members whose musicianship added new textures to the live experience. The setlist spanned the band’s entire catalogue, moving seamlessly between hits like Of the Night, Good Grief, Happier, and fan favourites such as Doom Days, Give Me the Future, and the iconic Bad Blood.
Visually, the show was a feast. The use of multiple screens, dynamic lighting, and even Bastille’s alter-ego DJ set, which mashed together tracks including Adagio for Strings, Don’t Let Go, Weapon, and No Angels, elevated the performance into a full-scale spectacle. Whether you’ve been a longtime fan or a more recent listener, the band’s careful curation ensured there was something for everyone.
Newer material like Save My Soul engaged the crowd directly, with sing-alongs and chants transforming the arena into a communal celebration of music. Bastille’s talent and versatility were on full display throughout, reaffirming why their music continues to resonate.
Yet, despite the brilliance, the show was not without its flaws. Sound issues at the OVO Hydro occasionally drowned out Smith’s vocals – a significant drawback when you consider the unique power of his voice. At times, lyrics were completely lost to the overwhelming production, an issue noted by several audience members.
The encore brought the evening to a rousing close with Two Evils, Glory, and a full-band rendition of Pompeii, joined by Master Peace and Bradley Simpson. Seeing the full arc of Bastille’s story performed under one roof was undeniably gratifying, though the overpowering sound and rowdy chatter of the crowd occasionally undermined the otherwise immersive experience.
In the end, Bastille’s Glasgow return was a celebration of their musical journey – a showcase of talent, showmanship, and fan devotion. While not flawless, it left the audience hopeful for more festival appearances and arena dates in the future.
Review by Lauren Page
