Kings of Leon prove they’re more than a legacy act at Glasgow’s Summer Sessions
Even the Scottish summer couldn’t dampen fans’ spirits.
Photo: Ryan Buchanan
When Kings of Leon played Bellahouston Park as part of Glasgow’s Summer Sessions, it wasn’t exactly the sun-soaked evening many had imagined. Grey skies hung overhead and persistent showers left fans reaching for waterproofs rather than sunglasses. Yet despite it all, the Tennessee quartet drew a crowd whose enthusiasm never faltered, proving that their appeal stretches far beyond nostalgia.
The first set of the day came from Wrexham four-piece The Royston Club, who continue to cement themselves as firm favourites among the newest generation of indie fans. Their devoted following packed against the barrier to sing every lyric back to the band, turning The Patch Where Nothing Grows, I’m a Liar and the emotional Cariad into early highlights. The band’s youthful energy and tight musicianship made them look completely at home on the huge outdoor stage, reaffirming that they have both the songs and confidence to command ever-growing crowds.
The Lathums followed with their bright, melodic indie sound, arriving just as the rain briefly relented. Their set, however, was interrupted more than once when one audience member’s ambitious attempt to construct a towering stack of plastic pint cups encouraged others to launch theirs towards it. The distraction briefly threatened to overshadow the music, but frontman Alex Moore handled the interruptions with good humour, helping the band maintain the warm, feel-good atmosphere that has become their hallmark.
By the time Kings of Leon took to the stage, opening with the riff-driven Find Me, the audience was more than ready. It was the perfect opener, immediately injecting energy into Bellahouston Park and setting the tone for a performance that rarely let up. Built around its infectious melody and soaring chorus, the track had the crowd bouncing from the outset, shaking off the lingering drizzle. Although light rain continued throughout much of the set, it almost enhanced the atmosphere, adding a cinematic haze to a performance already rich in mood.
Visually, the production leaned into nostalgia. Grainy green camcorder-style effects accompanied Waste a Moment, while a backdrop of drifting stars gave Revelry a dreamlike quality. One unexpected highlight came from the roaming crowd camera during Fans, which prompted a mixture of embarrassment, wild celebrations and frantic attempts to take a photo whenever concertgoers spotted themselves on the giant screens.
With a catalogue that has helped define more than two decades of indie rock, Kings of Leon could easily have relied on revisiting past glories. Instead, the performance felt like a band still fully invested in the present. Kings of Leon’s career-spanning setlist was met with unwavering enthusiasm from start to finish, suggesting these songs have endured not simply through familiarity, but because they continue to connect with people.
While the loudest singalongs inevitably arrived with Pyro, Use Somebody and the closing Sex on Fire, the band’s performance was arguably at its strongest when it leaned into heavier material. A thrilling mid-set run of Molly’s Chambers, Four Kicks and My Party injected fresh momentum into the show, highlighting the band’s rawer edges and proving that there is still plenty of bite beneath their polished headliner status.
Yet perhaps the clearest indication that Kings of Leon are more than a legacy act was found in the crowd itself. Fans who’ve followed the band from the beginning stood alongside today’s teenagers, each generation singing with equal conviction. It’s a rare achievement for any band to remain relevant for more than two decades, but Kings of Leon continue to do so not by trading on nostalgia, but because their songs still resonate. Glasgow’s Summer Sessions served as a reminder that, even in the rain, great songs can keep that connection alive.
All photos by Ryan Buchanan.