Khruangbin Live in Glasgow: A Mesmerizing Groove Odyssey

★★★★☆ (4.5/5)

**KHRUANGBIN PERFORMING AT GLASGOW’S OVO HYDRO**
**PHOTOCREDIT: SERENA MILESI**

Khruangbin's performance in Glasgow was nothing short of transcendent, proving why the Texan trio has cultivated a devoted following worldwide. On a chilly evening, the trio transformed the Hydro into a warm haven of funk-infused bliss, blending global influences into a seamless musical journey.

Khruangbin formed in Houston, Texas, in 2009, when bassist Laura Lee Ochoa and guitarist Mark Speer bonded over a shared love for global music, particularly Thai funk and 1960s-70s psychedelic sounds. Laura Lee, new to the bass, learned under Speer’s mentorship as they explored obscure records together. They were later joined by drummer Donald “DJ” Johnson, whom Speer had played with at their church. The trio’s chemistry and unique fusion of genres took shape, blending reverb-drenched guitar, melodic basslines, and jazz-inspired drumming. Their break came in 2010 with “A Calf Born in Winter” on a Bonobo-curated compilation, marking their arrival on the scene.

From the moment bassist Laura Lee strode onstage in her cloud-like outfit, radiating effortless charisma, the crowd knew they were in for something special. Mark Speer’s distinctive guitar tone shimmered through the air, complemented by Donald "DJ" Johnson’s steady, soulful drumming. The trio slipped effortlessly and easily in to the into instant a calm groove in front of this kind of huge crowd and the feeling is reciprocated.

The night started with A La Sala, being played in full and, from opener Fifteen Fifty‐Three, the band immediately established their signature hypnotic groove, characterized by lush, repetitive riffs and minimalist arrangements. The large empty spaces on stage around each member was soon to be filled with such presence.

Khruangbin's ability to draw from a wide range of genres was on full display. Elements of Thai funk, Middle Eastern melodies, and classic dub intertwined effortlessly, each track segueing into the next as if part of a singular composition. The band’s chemistry was palpable. Speer and Lee were connected; their interplay precise but unpretentious. Lee captivated with joyous movements, drawing energy from the crowd and feeding it back into her fluid basslines. Johnson, the grounding force of the trio, delivered intricate yet understated rhythms that allowed his bandmates to shine.

Khruangbin’s light show added an extra dimension to the performance. Ethereal colors bathed the stage, shifting to reflect the music's evolving moods. At times, the visuals felt like an extension of the sound, transporting the audience to another realm. It was as if the boundaries between music and space dissolved, leaving nothing but the collective experience of rhythm and connection.

One of the most striking aspects of the performance was its pacing. The band avoided unnecessary flash, instead allowing their grooves to evolve organically. Tracks stretched and morphed, creating an almost meditative effect. The set was both dynamic and cohesive, leaving the audience in a dreamlike state by the time the encore arrived.

Khruangbin closed with the serene *"White Gloves"*, a fitting finale that left a lingering sense of peace. As the final notes echoed through the venue, the audience erupted into applause, reluctant to let the moment end. For over an hour, Khruangbin had blurred the lines between genres, between artist and audience, crafting a shared sonic journey that felt uniquely intimate despite the packed room.

In Glasgow, Khruangbin didn’t just play a show—they conjured an atmosphere. Their performance was a testament to the power of music to transcend language, culture, and geography, uniting everyone under the spell of their mesmerizing groove.