House Guest was an utter success this year. With so many highlights, this festival is a must-see for fans of local music. From light melodies to explosive rhythms, there was something for everyone, but there were five artists who really stood above the rest.

Big Girls Blouse

At the top of the list is Big Girls Blouse – an underrated gem and a highlight of the festival. After dropping their new EP, Sleepy Girls, Big Girls Blouse is everything you’d expect from the Riot Grrl sub-genre and more.

There was nothing ineffectual or weak about the band, as they blasted through their louder songs while showing excellent control, slowing down the pace and building anticipation. At times, it even felt as if they would burst into a cover of Deceptacon by La Tigre, which is a huge compliment.

Not only was she a highlight of the Big Girls Blouse set, but lead singer Emmy Leishman stood out when she appeared for sister band, Conscious Pilot.

In their Spotify bio, Big Girls Blouse owes their naming to reference “someone failing to show masculine strength or determination.” Yet they lack no strength in their intelligent lyrics and passion that eased the audience into an exceptional set.

P.V.C.

First-timers at House Guest, P.V.C. know how to deliver. Marketed on their Instagram as “music for window cleaners”, and having released two singles ‘Hassle Castle’ and ‘Cara’s Song’, fans eagerly awaited in the Nice N Sleazy’s basement to hear more. Arriving on stage, the horseshoe-shaped gap closed as the audience huddled on the stage.

The main vocals entranced the audience into a swaying collective, with the melodic Irish accent and slightly raspy vocal texture, which threads through playful and impactful lyrics. As the rhythm quickened, bodies mirrored the fiery energy, feet just grazing the floor.

There was a shift in tone, as the bassist and backing vocalist took hold of the spotlight. With a beautiful blend of spoken prose and harmonious instrumentals, they delivered a style reminiscent of English Teacher or Milange.

Although they have announced they will not be doing any gigs in Glasgow, they are definitely worth keeping an eye on.

San Jose

For casual fans who haven’t seen San Jose live, they could not have emotionally prepared for the theatrics that would ensue in this set. San Jose is a six-piece band which does not confine itself to one genre, revelling in experimentation layering country, punk, expansive progressive rock influences, and unique synth sounds, creating a dissonant storm of sound that should not work – but does.

The theatrics of the music were elevated on stage, with performers sweeping on in caps, taps aff with cellophane wrapped around guitarists’ chests, and the vocalist storming through the crowd. Microphone running behind him, he captivated the audience through a very broken fourth wall and his shades and cowboy boots combination. His outfit would do numbers on a Nice N Sleazy club night.

For fans of high-energy entertainment and a mosh pit, San Jose will surely not disappoint.

National Playboys

Alongside front women for Puppy Teeth, Anna Frost, and drummer/singer for Cowboy Hunters, Megan Pollock, this band gave us unlikely crossovers to offer soothing melodies and one of the most anticipated acts of the night.

Fair to say, fans had ‘No Feeling’ in their necks after bopping heads along with the mélange of shoegaze guitar, brooding gothic lyrics, and distinctive melodramatic vocals from frontman, Kyle McFarland. The lead singer offers a deep tenure which cuts through the guitar, backed by a solid bass line and heavy drums.

His stage presence wasn’t lacking either. Kyle moved through the audience with what could only be described as a mix between a jungle beast and an extraterrestrial being.

If you missed them, their first upcoming UK Tour is coming 25 May to 20 June – supported by Awful Eyes.

Count the Days

The second band of the festival, Count the Days had a difficult task to not only follow a great performance, but up the energy. Taking root in the rock and metal genres, they offered a gritty baseline and grittier vocalisms.

Where Count the Days shined was their audience interaction. Whether it’s jumping in with the crowd, singing with fans, or working mosh pits, the lead singer is extremely assured, with the confidence to break out from the local scene.

Unfortunately, the relatively quieter microphone often led to lyrics lost in translation. Small changes would transform the set, giving Count the Days one of the highest ceilings of the festival.             

Count the Day’s fast growth feels almost inevitable, offering all the charisma and showmanship that their genre lives and dies on. As their Scottish tour continues, it is clear there is only ‘Better Days’ for the band ahead.