On paper, it was just another local metal show in Glasgow. In reality, it felt like a snapshot of a local community built on trust, sacrifice, and a thirst to prove just how far it could go. Chekhov’s Gun are a shining example of the kind of act that can flourish in such an environment.
Fresh off a resounding victory at Bloodstock’s Metal 2 the Masses competition, I interviewed the band at a local gig at Nice N’ Sleazy in Glasgow, with support from fellow local acts including Glasgow metalcore outfit Kintsugi and gothic alt-rock band Revelation 23. I was also fortunate enough to speak with the promoter, Monolith Promotions, who revealed some of the sacrifices involved in sustaining the backbone of the local scene.
A bold opening act, Kintsugi took to the stage with confidence. The sheer weight and force of their performance was enough to send the local slam fans into fly-kicking and havoc-wreaking. Revelation 23 followed with a darker, more atmospheric approach, leaning further into gothic and alternative metal sensibilities. As Chekhov’s Gun began setting up their equipment, including a classical string section and a keytar, it quickly became clear that we were in for an entirely different calibre of showmanship.
I must admit, I began to feel slightly anxious at the prospect of interviewing the band after the show. As they launched into their set, however, it was clear I was the only one feeling this way. They opened with a precisely executed theatrical interlude, displaying the confidence and flair of a band completely certain in their identity.
The complexity of their music worked in tandem with their lively stage antics, using synchronised movement and accentuated headbanging to guide the audience through capricious rhythm changes. Fully adorned in signature gothic attire, they commanded the stage effortlessly; everywhere you looked, there was passion and emotion laid bare. Amongst the headbangers in the crowd, I sensed a certain reverence for those on stage. After all, they had secured a coveted 30-minute slot on Bloodstock’s New Blood stage just days prior.
In conversation with the band, I gained an inside perspective on what it has taken to get here, and what audiences can expect from them in August.
One thing is certain: it has taken everything to reach this point. Missed exams, burnout, and relentless rehearsals, all balanced alongside work and university commitments, have made for a difficult three years since the band first formed. They would never let you know it, though. Perpetually focused on pushing their sound further, the band have developed their own strategies for managing burnout, taking breaks when needed before returning to rehearsals and recording with renewed intensity. One must admire their resolve.
This opportunity could not have come at a better time. Guitarist Joshua and bassist James revealed that, during the Bloodstock competition, they “finally felt completely cohesive as a group” and had “finally found their sound”, with drummer Reuben in agreement. With the addition of string players Lara and Kasia, I was inclined to concur. Their sound felt polished and sophisticated while retaining the raw power so characteristic of the genre, perhaps a product of both musicians’ classical training. I was fortunate enough to learn a little more about their experience joining Chekhov’s Gun.
Both string players joined the band almost on a whim, quickly adapting to the new environment. Violinist Kasia explained that the band had allowed her to explore new creative freedoms, giving her a level of confidence and enjoyment on stage that she had not experienced before. The group have also experimented with new gear and electric instrumentation in their efforts to deliver the best possible sound to audiences. Beyond this, the string players have become increasingly involved in the songwriting process, introducing more dynamic and melodic arrangements to the band’s signature sound.
Alongside this evolving sound, what else will the band be bringing to the stage in August? Based on both their Bloodstock competition performance and what the band themselves revealed to me, audiences can expect a fully immersive stage show. They have been working hard to refine their choreography, even incorporating elements of ballroom dance courtesy of lead vocalist Ignas. Their efforts in this regard have already been consistently well received, and in the months leading up to Bloodstock, it seems likely that their stage presence will only become more ambitious and refined.
As the night came to a close, one detail lingered in my mind. Monolith Promotions revealed they had still lost around £15 putting the event on. It is a small figure on paper, but symbolic of a much larger reality within Scotland’s underground metal scene. Nights like these are not sustained by profitability alone, but by belief and sacrifice. Without promoters willing to take these losses on behalf of the scene, bands like Chekhov’s Gun may never have the opportunity to grow from local venues into festival stages at all.
The metal community has always been resistant to change. While heavily commercialised bands tour every corner of the globe, the artists on our own doorstep are often left grappling with deeply entrenched ideas of authenticity and credibility. If there is one lesson to take from nights like this, it is simple: support your local bands. They need it now more than ever.
Be sure not to miss Chekhov’s Gun on Bloodstock’s New Blood stage this year. I certainly won’t.