Photo Credit BOS Photography
There’s no hometown honky-tonk quite like a post-festive Chris Andreucci show on home turf. The Ayrshire-turned-Nashville artist returned to Glasgow, this time taking over Saint Luke’s for his annual homecoming, and with even more special guests than 2024, it proved to be an evening packed with talent from start to finish.
After several years spent building momentum in the States, Andreucci’s career continues to go from strength to strength. From releasing a steady stream of new material and teaming up with fellow Scottish Nashville export Callum Kerr, to securing a residency at Riley Green’s Duck Blind bar at Losers, the opportunities keep coming – and he’s seizing every single one. It’s clear the hard work is paying off, and watching that journey unfold makes nights like this feel all the more special.
The evening kicked off with a writers’ round featuring British artist Jake O’Neill alongside Nashville-based John Haywood, who had travelled over ahead of supporting Callum Kerr the following night. The pair delivered an engaging mix of songs, stories, and industry insights, creating an intimate and relaxed opening that eased the audience into the night. It proved to be the perfect warm-up, with Saint Luke’s filling up early doors.
Next up were Robyn Red and Gary O’Neill, two familiar names on the Glasgow live music circuit. Blending original material with well-chosen covers, the duo brought undeniable energy and personality to the stage. There’s truly no crowd like a Scottish crowd, and their natural rapport with the audience had the room buzzing long before the headline set.
With a catalogue that stretches from early releases like What Don’t Kill You to his latest EP, Andreucci had plenty of ground to cover. His newest EP, One Night Rodeo, released just six weeks ago, has already racked up tens of thousands of streams – so anticipation was high to see how he would curate a setlist that captured every era of his career.
Saint Luke’s remains one of Glasgow’s finest venues for country music (in my opinion, am I wrong?). The acoustics and church-turned-venue setting complement the genre perfectly, creating an atmosphere that feels both intimate and expansive. When the lights dimmed, and Big & Rich’s Save a Horse (Ride a Cowboy) blasted through the speakers, the crowd knew they were in for one hell of a show.
Opening with Beer Down Here and my personal EP highlight Habit, Andreucci set the bar high before throwing it back to earlier favourites To The Moon & Back and Here Comes the Rain. “It’s so good to be back, Glasgow,” he beamed, before launching into Alan Jackson’s Chattahoochee – a standout cover and easily one of the strongest of the night, delivered with confidence and unmistakable charm. Only a handful of songs in, the crowd was already fully locked in.
While the night was a celebration of the new EP and fan favourites, Andreucci also treated the audience to unreleased material, including Here Comes the Rain, previously teased on Instagram. Hearing it live only heightened anticipation for its official release and hinted at what’s still to come.
The promise of special guests was more than delivered. Nicola Gilligan – a welcome discovery for me on the night, she joined Chris for a heartfelt duet of Islands in the Stream. Jake O’Neill returned to the stage for Toby Keith’s Should’ve Been a Cowboy, Callum Kerr joined for Tamed by Tennessee, and a standout moment arrived when Cammy Barnes stepped up for Whiskey Roll. It was a reminder of the strong community surrounding Andreucci and the respect he commands among fellow artists.
From start to finish, the show flowed effortlessly through every chapter of Andreucci’s career, blending original material with crowd-pleasing covers including Wagon Wheel, Country Roads, and – because no Scottish gig would be complete without it – an emotional closing rendition of Caledonia that brought the night to a fitting end.
With a new EP set for release in the New Year, it’s exciting to consider what lies ahead for Chris Andreucci. If this homecoming show is anything to go by, December 2026 may well require a much bigger venue.
Review by Lauren Page
