Luke Morley – Glasgow, Saint Luke’s and the Winged Ox – 12th September 2025

By Scott Anderson review and images

Saint Luke’s and the Winged Ox is one of Glasgow’s most atmospheric venues. With its converted church architecture, stained glass windows, and vaulted ceilings, it has become a favourite spot for intimate performances that still carry a sense of grandeur. On the night of September 12th, the building’s pews and walls resonated with the sound of one of rock’s most respected craftsmen: Luke Morley. Known primarily for his long-standing role in Thunder, Morley has been carving out a solo path in recent years, balancing nostalgia with fresh creativity.

For this particular evening, upstairs seating was closed, keeping the attendance capped at around 160. That smaller number gave the gig a warm, club-like energy, where every movement on stage could be felt and every lyric clearly heard. It also meant the crowd—dedicated, enthusiastic, and ready for a night of guitar-driven storytelling—were as much a part of the show as the musicians themselves.

Straight Into the Groove

There was no lengthy pause or overly dramatic intro. Morley and his band—Rhys Morgan on drums, Sam Tanner on keys, Chris Childs on bass, and Dean Howard on guitar—took to the stage with confidence and immediately launched into “I Wanna See the Light”, the first track from Morley’s latest record Walking On Water. The opener had the crowd instantly engaged, setting the tone for a night where new material would sit comfortably alongside classic nods to Morley’s past.

The follow-up was the album’s title track, “Walking On Water”. Before striking the first chord, Morley asked the crowd how many had already picked up the new record. A good portion of hands shot up, showing just how committed this audience was to his current output. The response only seemed to fuel the band further—the timing was tight, the musicianship polished, and the song’s catchy hook quickly became a crowd favourite.

Crowd-Pleasing Energy

Rhys Morgan’s drumming came to the fore on “Snakeskin Parachute”. His rhythm set the pace as clapping spread across the room. The dual guitars of Morley and Howard meshed beautifully, with Morley breaking out into one of those solos that remind you why he’s revered as a player. The cheer at its conclusion was deafening for such a compact audience, with Morley grinning and thanking the pockets of fans dancing at the back.

A quick guitar swap signalled the move into “Errol Flynn” from 2023’s Songs From The Blue Room. It was one of the evening’s first dips into slightly older solo material, demonstrating how well his previous album continues to hold up in a live setting.

Morley wasn’t content to stay in one lane, though. Another change of guitar brought the arrival of “Always On A Saturday Night”. Its upbeat rhythm encouraged more fans to rise from their seats, with some moving into the side aisles to dance. The infectious melody proved this new cut was already establishing itself as a future staple.

Revisiting Thunder

The night’s first dip into Thunder’s back catalogue came with “River of Pain”. Morley switched to an acoustic guitar mounted on a stand, providing the rhythmic backbone while Howard tore into the lead. At one point, Morley abandoned the acoustic mid-song, swinging his electric back into place to guide the crowd through a rousing final chorus. This wasn’t just a cover of his old band’s work—it was a reinterpretation, filled with respect but also a willingness to make it his own. The audience responded with the loudest cheer of the evening so far, proving how deeply Thunder’s legacy still resonates.

New Material Standing Tall

The setlist leaned heavily on Walking On Water, but rather than being met with polite interest, the new tracks were embraced wholeheartedly. “Gun To Your Head” showcased a more reflective side, the acoustic arrangement allowing Morley’s voice to carry through the hall with clarity.

“Natural High” kept things rolling, Morgan’s steady count-in prompting dancers to sway once more. There was a genuine sense in the room that these songs were already connecting on a personal level with the audience, a rarity for material so fresh.

When Morley reached back to Songs From The Blue Room for “Killed By Cobain”, the crowd responded with rapturous applause. The darker lyrical edge and grittier tone of the song stood out, breaking up the flow of newer tracks while giving the set an extra punch.

A Harmonica and a Pause

The evening’s gentler moment came with “Breathe”, its slower tempo and atmospheric delivery earning appreciative nods from long-time fans. Morley then surprised the audience with “Watch The Sun Go Down”, complete with harmonica, adding an extra layer of texture to the night’s varied instrumentation.

After this, the band briefly left the stage, allowing anticipation to build for the encore.

Encore: Covers, Glitter Balls, and Guitar Battles

When Morley returned, the encore began with another Thunder favourite, “Like A Satellite”. It was a communal moment—the crowd singing back every word with gusto. As if on cue, the venue’s glitter ball lit up showering the room in reflections just in time for the final verse. It was theatrical, but in the most charming way.

A quick guitar change ushered in “Bullets”, another highlight from the new album. This track had a more urgent drive, and by this point, the dancers had spilled from the back to the side aisles. Even those seated couldn’t help but move along, the rhythm too insistent to ignore.

Finally, Morley closed the night with a trip back to 2001’s El Gringo Retro. “Go With The Flow” provided a final chance for both band and crowd to let loose. What made this closing track so special was the extended instrumental section where each member was given space to shine.

Morley and Dean Howard engaged in a playful guitar duel, tossing riffs back and forth like old sparring partners. Sam Tanner followed with an impressive keyboard solo that blended flair with soul. Chris Childs took the spotlight with a groove-laden bass run, before Rhys Morgan’s drum solo drove the energy sky-high. And, of course, Morley capped it off with his own flourish, reminding everyone that while he’s generous with the spotlight, he still knows how to command it himself.

The song ended with the whole band locked in tight, the final chord ringing out as Morley thanked the crowd warmly.

A Night to Remember

In total, the show ran for just under an hour and twenty minutes, but it felt like much more—a full-bodied journey through Morley’s career, from new explorations to fond tributes. The intimacy of the venue, combined with the passion of both performer and audience, made it feel like something rare: not just another stop on a tour, but a genuine gathering of friends and fans celebrating music together.

The balance of the setlist was masterful. The newer material was strong enough to stand shoulder-to-shoulder with Morley’s more established work, and the Thunder songs acted as bridges between past and present rather than nostalgic crutches. It showcased not just Morley’s songwriting, but his instinct for crafting an evening that flowed naturally, with every peak and pause carefully considered.

More than anything, the Glasgow show demonstrated how Morley has surrounded himself with musicians capable of elevating his vision. Rhys Morgan’s drumming was both precise and playful, Sam Tanner’s keys added warmth and depth, Chris Childs provided groove and weight on bass, and Dean Howard proved himself an invaluable foil on guitar. Together, they weren’t just a backing band—they were a fully-fledged unit.

Thoughts

Luke Morley’s gig at Saint Luke’s was more than just a showcase of songs—it was proof that his solo career has legs strong enough to stand on their own. With Walking On Water already resonating deeply with fans, it seems Morley’s creative fire is burning as brightly as ever.

Glasgow has always had a reputation for passionate audiences, and this night was no exception. The cheers, the singalongs, the dancers in the aisles—all of it contributed to the feeling that we’d witnessed something special.

As the final notes of Go With The Flow faded and the band took their bow, there was a sense of mutual appreciation in the room. Morley thanked the crowd, but it was equally clear the crowd were thanking him—for decades of music, for a night of superb musicianship, and for reminding us why live music, in venues like Saint Luke’s, will always matter.