(((O))) Live: SANAM • Man Of Moon (Solo) – The Flying Duck, Glasgow

As the year starts to draw to a close, it’s too easy to reflect on what has passed and not really give much of a thought to what December might have to bring to the table. As it turns out, it’s a fair amount since tonight sees the return of SANAM to Glasgow in what doesn’t only turn out to be one of the most exhilarating live performances of the year but also a great example of the fact that even on a cold, damp Monday night, people can still find it in themselves to get out of the house, congregate, and celebrate if the vibes are sufficiently good.

Tonight’s support comes from local alt-psych duo Man Of Moon – well, half of them, to be precise. It’s a rare, solo effort from Chris Bainbridge, but given the breadth of sound that he can summon on his lonesome, it sometimes feels like watching a power-trio in action. Constructing his set primarily from looped pulses of synth and pre-programmed beats, they provide a simple, but strangely alluring, backdrop that keeps heads nodding with cultish regularity while his fingers and voice work their magic. His guitarwork is delicate but fluid, gently fingerpicked melodies that soothe the soul while weaving themselves seamlessly around those steady synth beats, while his voice is layered with so much echo that the whole thing verges on an Altered States-style cosmic voyage.

Chris Bainbridge, Man Of Moon. Photo: Demelza Kingston

Cuts like ‘Time’ have a real sense of momentum, with even the programmed drums having enough presence to bring Bainbridge’s measured contributions to life, while a melancholy rendition of his earliest composition, ‘This World’ shows the degree to which Man Of Moon has grown over the past decade while retaining the same soul and intimacy, even if the energy has picked up a little since then. Closing with new track ‘Not My King’, it marks another upsurge in volume and immediacy, bringing his too-brief set to a fevered and hypnotic peak and winning more than a few new fans in the process.

Before SANAM have even played a note, they already have to be commended as the room is nearly packed to capacity by the time they wander on stage – no mean feat for a band performing on a school night. Some of this might be word of mouth from those who caught their performance last year, but more than likely it’s the down to the release of Sametou Sawtan, easily one of the most effortlessly beautiful albums of 2025; either way, the punters have assembled, and as the band lead with ‘Tatayoum’, Sandy Chamoun’s voice a strong, stirring counterpart to the light, sparse melodies of Farah Kaddour, the night is already starting to feel a wee bit magical.

Sandy Chamoun, SANAM. Photo:Demelza Kingston.

Weaving through the majority of Sametou Sawtam, they take what worked on record and amplify that. Moments that were haunting are transformed into beautiful exercises in stillness and soul; passages that seemed to teeter on the brink of excess are sent careening over the edge, Marwan Tohme’s guitarwork veering from minimalist restraint to fits of passion and sonic extravagance; Antonio El Hajj Moussa’s bass-work never fails to impress, but even then there are points where it feels like the entire room is being swept along in his mesmerisingly funky grooves.

Farah Kaddour, SANAM. Photo: Demelza Kingston

Perhaps their greatest triumph tonight is that they defy easy categorisation. Instead, they provide a loving embrace of all things musical, curating from centuries of musical tradition and adapting what they find into exhilarating forms that take the crowd on a journey of shadowy lulls and blinding ecstasy. It’s a feat of musical alchemy; and for everyone who made it out to witness it, it’s certain that not only will they be back next time SANAM stops through, but they’ll be bringing a few friends to share in the joy.