With fans already lining up before 6 PM on a surprisingly warm day in Glasgow, the wait outside The Garage started to stretch as the doors didn’t open until 7. To make matters more tense, there was an odd restriction that prevented photographers from entering until Wytch Hazel were already on stage, leading to a mad scramble for everyone with a camera trying to set up in the dark while the band had already begun their set.
Wytch Hazel finally took to the stage close to 8 PM. All four wore identical stage outfits: white loose-fitting shirts, white tights, brown boots, and frontman Colin Hendra stood out with a flowing golden cape and a large gold crucifix around his neck. Visually, it was a nod to a medieval or 1970s aesthetic, but one that, in my opinion, felt out of place in 2025.
They opened with “The Fire’s Control” while many attendees were still filtering into The Garage, and it was clear that the band struggled to make an immediate connection with the crowd. The audience was attentive but not exactly electrified. As they moved through songs like “I Am Redeemed”, “Archangel”, and “Dry Bones”, the band delivered their material earnestly, but it felt more like a reenactment than an original performance. There’s an evident desire in Wytch Hazel to channel the spirit of NWOBHM, but despite the visual cues and twin-guitar harmonies, it all felt a little too curated, too deliberate. They seemed like a band desperately trying to inhabit a legacy rather than create their own. And the crowd’s lukewarm reception confirmed that this attempt at retro revivalism wasn’t landing the way they had hoped.
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But everything changed the moment Michael Schenker stepped onto the stage.
Sporting his signature Gibson Flying V, black hat, and sunglasses, Schenker was greeted like royalty by a now-packed Garage, where it was nearly impossible to move. The roar that erupted from the crowd was deafening, and from the very first riff of “Natural Thing”, the entire room was in unison. That was followed swiftly by “Only You Can Rock Me” and “Hot ‘N’ Ready”, a power trio of UFO staples that immediately shifted the atmosphere from curiosity to full-blown celebration.
The audience’s energy soared, singing and shouting alongside vocalist Erik Grönwall, the newest addition to the Michael Schenker Group lineup. Despite being the most recent member, Grönwall showed no signs of hesitance. His vocal control, range, and charisma elevated the entire performance. Sharing the stage with a legend like Schenker is no small task, but he did so effortlessly, exuding both confidence and respect.
The fourth song of the night was none other than “Doctor Doctor”, that iconic intro riff instantly igniting air guitars across the crowd—mine included. It’s a timeless track, and one that continues to resonate with generation after generation of fans. And Schenker? He made it look effortless. The man plays with such ease and mastery that it’s difficult to believe that decades have ed since these songs were first composed.
The setlist continued with “Mother Mary”, “I’m A Loser”, “This Kid’s”, and “Lights Out”, each met with thunderous applause. There was no filler, no wasted moment—just track after track of pure, unfiltered hard rock history. The chemistry between the band was electric. Guitar solos were razor-sharp, the rhythm section tight and punchy, and Grönwall continued to prove his worth with every verse.
Midway through the show, there was a particularly touching moment when Schenker took a moment to address the crowd. His words were brief but heartfelt, expressing gratitude to fans who had ed him through decades of music and various incarnations of his band. It was a small but sincere gesture that drew one of the loudest ovations of the night. The sense of shared history in the room was palpable.
What was equally remarkable was how engaged the audience remained throughout. There was no lull, no bathroom-break moment. Every song was met with raised fists, knowing smiles, and the kind of reverence you only see at shows where the artist means something deep to the people watching.
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The encore took things to another level. They launched into “Rock Bottom”, a ten-minute odyssey that showcased not only Schenker’s soloing skills but also the band’s ability to stretch and explore the material without losing momentum. The jam section, intricate and exhilarating, gave each band member a chance to shine, particularly the rhythm guitarist and drummer who locked in with Schenker in a fiery, hypnotic groove.
From there, they dove into “Shoot Shoot” and wrapped things up with “Too Hot To Handle”, ending the night on a climactic high. By the time the final notes rang out, the entire room was euphoric, sweaty, and visibly moved. Fans lingered long after the lights came up, unwilling to let go of the energy and emotion that had filled the venue for nearly two hours.
In total, the set featured 16 classic UFO songs, played with a freshness that belied their age. While Wytch Hazel offered an earnest, albeit somewhat misplaced, tribute to the past, Michael Schenker Group embodied it—not as a memory, but as a living, breathing force.
Leaving The Garage that night, you could feel the buzz. Conversations about the setlist, Grönwall’s performance, and Schenker’s guitar work filled the air. It wasn’t just a concert. It was a masterclass in rock history and proof that, even after all these years, Michael Schenker still has the power to inspire awe and bring people together through the pure, electrifying force of music.
For both longtime followers and newer fans alike, this was more than a gig—it was a reaffirmation of what timeless rock music can do. Few artists manage to maintain both technical brilliance and emotional impact across decades, but Michael Schenker did exactly that. The crowd at The Garage didn’t just witness a performance; they witnessed a legacy in motion.
Photos by Non Serviam Photography
