Review by Darren McIntyre. Images by Scott Andreson
Hugh Cornwell doesn’t just walk onstage—he materialises, bringing decades of punk bite, new wave swagger, and that unmistakable Stranglers cool straight into the bones of St Luke’s. On the Glasgow stop of his Come & Get Some UK Tour, the punk icon proves exactly why he’s still a magnetic live force. Sharp, minimalist, and unflinchingly confident, Cornwell delivers a set that fuses deep cuts, solo standouts, and Stranglers essentials into one relentless, razor-edged night.
The cathedral-like arches of St Luke’s buzz with anticipation long before showtime. When the lights drop and the eerie “Nosferatu” intro unfurls, the room tightens—the kind of tension only a true cult hero can conjure. Then Cornwell steps out: cool as ever, guitar slung low, ready to tear into the crowd with a grin that says he’s got nothing to prove… and everything still to say.
He opens with “Losers In A Lost Land”, its driving pulse rolling across the venue as the rhythm section locks in. Bassist Pat Hughes and drummer Windsor McGilvray waste no time proving why they’re the perfect foil: tight, disciplined, and ferocious when it counts. Their harmonies snap, their grooves snarl, and they keep Cornwell’s trademark deadpan delivery soaring above the noise.
A surprise early highlight? A gritty, shadowy take on Cream’s “White Room” that sends the crowd into a collective grin. Cornwell doesn’t imitate; he reinterprets, turning the psychedelic classic into something leaner, darker, and unmistakably his.
The first half plunges into solo territory— “Irate Caterpillar”, “Rhythmic Itch”, “Wired”, “Big Bug”, and “Mothra” are all delivered with a mischievous edge. Cornwell’s guitar work is razor sharp: wiry when it needs to be, thunderous in all the right moments. His tone still bleeds that unmistakable Stranglers DNA: aggressive precision wrapped in cool minimalism.
By the time “Puppets” exits with a punch, St Luke’s is fully locked into Cornwell’s world—part punk séance, part masterclass in understated intensity.
The second set is where nostalgia, rebellion, and artistry collide. “Sweden (All Quiet On The Eastern Front)” lands with venomous clarity, followed by the slick noir of “Black Hair Black Eyes Black Suit” and the cinematic cool of “Dead In Los Angeles”. The crowd chants, sways, and roars — Cornwell controls the energy like he’s tuning a radio.
And then the Stranglers classics hit.
“Who Wants the World” unleashes a wave of punk adrenaline, while “Duchess” lights the room with its infectious melodic stomp. But it’s “Golden Brown” that steals the emotional spotlight — stripped back, hypnotic, and beautifully haunting. Cornwell’s delivery is understated yet magnetic, letting the audience fill the spaces with their own history.
The closing stretch — “Wilderness”, “Tank”, “Hollywood”, and the brilliantly unhinged “Nubiles” — is pure punk theatre. The energy spikes, the guitars snarl louder, and St Luke’s turns into a sweaty, grinning celebration of everything Cornwell has been and everything he still is.
By the final notes, there’s no doubt: Hugh Cornwell hasn’t mellowed. He’s sharpened. This is a performer who understands his legacy but refuses to live in it. He plays like a man with absolutely nothing left to prove—and proves it anyway.
Hugh Cornwell—still the coolest man in the room. Still a master of the stage. Still essential.
Nosferatu (Intro) Losers In A Lost Land White Room (Cream Cover) Irate Caterpillar Rhythmic Itch Wired Big Bug Mothra Wrong Way Round Puppets Sweden (All Quiet On The Eastern Front) Black Hair Black Eyes Black Suit Dead In Los Angeles Beauty On The Beach: Who Wants The World’s Moments Of Madness Souls Want One Of Those Duchesses When I Was A Young Man Nubiles Hollywood Golden Brown Wilderness Tank Hugh Cornwell – Hugh Cornwell – Vocals / Guitar Pat Hughes—Bass/Backing Vocals Windsor McGilvray – Drums / Backing Vocals
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