Review and Images By Scott Anderson
There are some gigs that linger long after the final note has faded, and Erja Lyytinen’s performance at Glasgow’s intimate venue on a crisp Monday night was undoubtedly one of those. Armed with her guitar, a fresh batch of songs from her latest album Smell The Roses, and a band tighter than a snare drum, Erja delivered a show that was both deeply personal and musically transcendent. This wasn’t just a gig—it was a journey.
From the moment she stepped onto the stage to a warm round of applause and greeted the crowd with a cheerful, “Glasgow, how’s it going? OK?”, there was an instant connection. Opening with “Ball and Chain,” Erja wasted no time setting the tone. The energy was magnetic, the tone was rich, and her signature slide guitar work echoed through the venue like a lightning bolt.
She quickly followed up with “Wings to Fly,” and suddenly the room was soaring with her. What stood out instantly was the sound. Not just the music itself, but the clarity. As Erja later joked, “Special shout out to Uula, our sound engineer, for making us sound like we’re playing in a big stadium.” And she wasn’t wrong—this was, hands down, one of the best-sounding small venue shows I’ve ever attended. Every note, every nuance, came through with pristine precision, making it all the easier to get lost in the music.
As Erja introduced her bandmates—Heikki on bass and Jesse on drums—it was immediately clear that this wasn’t just a solo artist with a backing band. This was a power trio in every sense. The chemistry was fluid and instinctive, and each member brought something vital to the table.
Moving into “Going To Hell,” another track from Smell The Roses, Erja’s blues-rock edge took centre stage. Then came one of the night’s more intimate moments, “Dragonfly,” a track she described as deeply personal and inspired by her love for hiking and solitude in nature. “It can go quite deep,” she said, referencing how she writes while in the forest, reflecting on thoughts that often turn into songs. And you could feel that depth in the music—raw, emotional, and completely captivating.
“Abyss,” the longest track on the album, followed, offering a slow-burn epic that allowed the entire band to stretch out musically. It was here that Erja’s guitar tone—soaring and biting—completely took over. It’s rare to see such finesse and fire in equal measure, but Erja pulls it off with style.
Before launching into the title track “Smell The Roses,” she lovingly addressed the crowd as her “Monday party people,” and the place erupted. It didn’t feel like a Monday night; it felt like a festival finale. The track itself was a standout—catchy, bold, and deeply resonant. It’s a future classic in Erja’s catalogue, no doubt.
A quiet hush fell across the venue as Erja re-tuned her guitar into a minor key, ready to perform the only true ballad of the night, “Empty Hours.” It was a moment of reflection, vulnerability, and space. And even in a room full of people, it felt like she was singing it to each of us, individually. That’s the magic of an artist who knows how to hold a room.
Next, we were back to the forest—figuratively, at least—for “Stoney Creek.” What started as a gentle number soon burst into a rhythmic, irresistible groove. The crowd swayed in unison, caught in the pulse of a song about nature and mystery.
By the time “The Ring” rolled around, the audience was fully in the zone. The classic guitar riff that kicks off the track was met with a cheer, and it’s clear this new batch of songs has already found a place in fans’ hearts.
From her 2022 album Waiting For The Daylight, “You Talk Dirty” brought a funkier, feistier vibe. Heikki’s bass solo at the start was a thing of beauty—nimble, melodic, and a masterclass in groove. Jesse’s drumming throughout was tight, expressive, and precise, but this song in particular gave him a spotlight moment that reminded everyone just how important every member of this trio is to the overall sound.
As the night neared its end, Erja took a moment to thank the crowd for coming out to support live music—“It’s very important to do so,” she said, reminding us that music doesn’t just live online or in vinyl grooves—it lives on nights like this. She gave a nod to the merch stand, promising to sign CDs, vinyl, and t-shirts, adding a personal touch to an already warm and inclusive evening.
But it wasn’t over yet. The finale, “Wedding Day,” from her 2019 Another World album, was a sprawling, stunning closer. Erja warned us it was a long one—“we might not make it into work tomorrow!”—but no one minded. It was the perfect way to end the set. Midway through, Erja broke into a jaw-dropping instrumental version of “La Vie En Rose” on guitar, seamlessly woven into the performance. It was tasteful, elegant, and an emotional highlight of the evening. The song returned to its core and finished with a powerful jam between all three musicians that felt entirely spontaneous and joyfully unrestrained.
When Erja thanked the crowd one final time, there was a sense of genuine gratitude in her voice. And as the lights dimmed and people slowly began to file out, there was a buzz in the air that can only come from witnessing something special.
Thoughts
Erja Lyytinen’s Glasgow gig wasn’t just another stop on a tour—it was an experience. From her charismatic presence and mind-blowing guitar work to the impeccable sound and tight-knit performance with her band, every moment felt meaningful. The setlist balanced old favourites with exciting new material, and the storytelling in between songs created a connection that lingered long after the show ended.
The venue itself, though small, became something much bigger under Erja’s spell. For a Monday night in Glasgow, this was something truly magical—and I’ll be smelling the roses for a long time to come.
No, Erja… thank you.
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