It was another warm evening in Bristol as Rough Trade Record Store opened its doors for a special visitor. There was a palpable sense of anticipation hanging in the air before a single note had even been played. As fans gathered around the venue bar, discussions of previous encounters with Queens of the Stone Age, Mini Mansions and, increasingly, Michael Shuman’s ever-expanding solo venture, GLU were being aired.
For many in attendance, Shuman needs little introduction. As bassist for Queens of the Stone Age, he has spent the best part of two decades helping drive one of rock’s most influential bands. But tonight wasn’t about desert-rock riffs or arena-sized choruses. This was the final date of GLU’s UK and European Pony Boy tour, and the opportunity to see Shuman operating entirely on his own creative terms.
Before GLU took to the stage, Bristol’s own Oslo Twins were tasked with warming up the crowd. The synth-driven indie-pop trio proved to be the perfect choice of support, delivering a set that felt perfectly aligned with GLU’s genre-defying aesthetic.
Rough Trade’s intimate performance space was almost entirely engulfed in darkness as the band emerged through the crowd. Crimson lighting illuminated little more than the band’s silhouettes on stage, adding a cinematic feel to their opening track. Against deep, pulsing basslines and layered synth textures, vocalist Claudia Vulliamy delivered her characteristically understated vocals effortlessly.
While Eric Davies and multi-instrumentalist Ed Lyness remained rooted in place, Vulliamy weaved between the two synthesiser setups. Clad in a mini skirt, ripped tights, a cropped T-shirt and sturdy boots to stomp in, she cut a striking figure. The penetrating bass shook the floor beneath the crowd, rattling drinks and prompting those lining the front of the stage to start dancing.
For a relatively young band, their sonic identity already felt remarkably assured. Their dreamy synth passages collided with atmospheric basslines and whispering vocals to create a sound that was both familiar and refreshingly distinct. It quickly became apparent why they had been selected as support for this tour.
“This is where we all came from,” Vulliamy smiled while reflecting on the band’s Bristol roots. The hometown connection added a personal touch to an already impressive thirty-minute performance that left a significant mark on those lucky enough to arrive early.
As Oslo Twins departed, attention quickly shifted towards the stage itself as the techs took over.
Photography: Emma Painter
Decorated with oversized GLU-branded black balloons, pedals and electronic equipment, the setup hinted at the eclectic musical journey that was coming. While many of the crowd rushed for a final drink, those positioned along the barrier of the stage remained firmly GLUed to the spot (pun intended) grasping the stage monitors like their life depended on it. They weren’t budging for anyone.
With the evening now in full flow, the crowd’s attire provided a telling insight into who had turned up. While a few fans proudly wore GLU T-shirts, many more were dressed in Queens of the Stone Age tour T-shirts. The contrast prompted an obvious question: had they come expecting the familiar thunder of whiplashing desert rock, or were they there to experience firsthand how Shuman’s alternative side-hustle sounded live?
As the crowd waited in anticipation, one of the techs placed Shuman’s golden Echopark guitars beneath the balloons, centre stage.
The venue lights dropped as Michael Shuman stormed onto the stage to a roar from the crowd, bathed in pale blue light. He grabbed his guitar, immediately launching into opener ‘Love You To Pieces’ where it became clear that GLU was no mere side project.
Dressed in black leather, boots and sunglasses, Shuman paced the stage, effortlessly cool. Musically, the sound was worlds away from Queens of the Stone Age. Blending electronic alternative pop, hip-hop influences , smooth harmonies with bursts of distorted guitar, GLU exists comfortably outside any traditional music genres.
The energy only intensified with ‘Pony Boy’, the title track from GLU‘s forthcoming EP. Beneath its infectious dance-floor beat lies a more personal narrative, one that explores the pressure of being in the spotlight. A deeply personal message given in an intimate environment and one to take note of.
There was however, the loss of a guitar string which Shuman turned into a moment of interaction with the crowd. “Just talk amongst yourselves. I’ve gotta tune this one as it’s all loosey goosey. Big it up for the Oslo Twins”, he joked before laughing his way through an impromptu tuning session.
Far from disrupting the flow, the moment only reinforced the intimate atmosphere in the room as he carried on with his set.
Now laden with his freshly restrung and favourite Echopark guitar, he glanced around and declared, “Fuck, it’s hot in here. That fan over there ain’t doing shit!” A woman standing at the front eagerly began waving a paper fan towards him, determined to offer some relief. Whether it helped is another matter, as the packed room was growing warmer by the minute.
But as the temperature continued to rise, the performance reached another level.
Tracks from 2023’s ‘My Demons’ EP, including ‘Nightshift‘ and ‘Cold Sweat’, demonstrated the breadth of GLU‘s catalogue, balancing sleek electronic production with darker emotional undertones. New material, particularly ‘Bombs Below’, slotted in alongside older favourites ‘Moonwalking’ and dance classic ‘Boogieman’, suggested that GLU was continuing to evolve.
Visually, the set remained captivating as the lighting shifted between blues, reds and greens while Shuman prowled the stage, occasionally punctuating songs with dramatic kicks and playful interactions with fans gathered at the front of the stage, some trying to grasp the headstock of his guitar.
By now Rough Trade had become a sweatbox but the atmosphere in the room was electric.
“Holy shit fuck, it’s hot,” Shuman laughed at one point, eventually abandoning his leather jacket to the delight of the crowd. Yet despite the increasingly uncomfortable conditions, Shuman never dropped the intensity. Without a hair out of place, he carried on with sheer determination, still strutting and still remaining as cool as f**k. “Wearing leather was a big mistake”, he stated, now donning a black vest and a bit of flesh.
After a bit of a breather, the crowd were treated to a reimagined version of Jennifer Paige’s late 90’s hit ‘Crush’. Take away those breezy 90’s guitars and sultry vocals, Shuman adds his own dark, alternative and modern edge to this vibrant classic tune which also features on the ‘Pony Boy’ EP.
As the night moved towards the end, Shuman took a moment to reflect on the tour. “So, this is the end of this tour for me. Last time was at the Louisiana.” Whilst a small group of people in the crowd cheered, he questioned, “Do you guys own it? I fucking love these shows. Thanks for coming out and seeing me. It keeps me going”, he sincerely states.
For all the effortless cool that defines GLU‘s visual aesthetic, there remains something deeply genuine about the project. In a venue the size of Rough Trade, every interaction feels personal, every lyric carries greater weight and every crowd response feels earned.
Closing highlights ‘Tunnel Vision’ and ‘My Demons’ provided a fitting finale. The former track delivered some of the night’s strongest guitar work, showcasing the grittier side of Shuman’s songwriting, while the latter sent the packed room into a complete and utter frenzy as Shuman even joined the crowd on the floor.
Time for a sharp exit as an hour had passed and the set was over.
The final Bristol date of the ‘Pony Boy’ tour proved everything GLU had become: stylish, adventurous, unpredictable and utterly self-assured. While many artists find it a struggle to escape the shadow of a hugely infamous band, Michael Shuman appears to have achieved exactly that and successfully. Extracting inspiration from alternative pop, electronic music, indie rock, funk and hip-hop, Shuman has developed GLU into a fully realised creative identity with a totally unique sound.
But was the night a hit? Hell yes! Was it hot? Hell yes! Shuman showed that life beyond the bass guitar can be just as compelling, delivering a set that proved his versatility as a singer/songwriter and above all, a live performer. Combining the eclectic sound of Beck with the modern edge of Twenty One Pilots, he’s added his own twist of dark electro-pop, synthetic grooves and unpolished riffs to create a genre-hopping sound that oozes with funk, character and sun-soaked Californian cool.
If this show demonstrated anything, it’s that GLU is no longer simply an interesting side project. It’s got to be one of the most compelling chapters of Shuman’s career.
GLU’s Pony Boy Tour continues across the U.S. in late August.
Set List – Pony Boy Tour 2026
Love You to Pieces
Pony Boy
Gone Fishin’
Nightshift
Cold Sweat
Bombs Below
Moonwalkin’
Boogie Man
LA
Crush
Tunnel Vision
My Demons
Words & Photography: Emma Painter
