Into Live Music Review: Butler, Blake & Grant
Three chairs. Three microphones. Three bottles of water.
That (and some guitars), were all Butler, Blake & Grant needed to fill the Beacon Arts Centre with warmth, humour, and the kind of musical connection that feels effortless but is clearly built on craft, care, and friendship.
From the moment they stepped on stage, there was an ease between them — three musicians with distinct styles and personalities, each happy to take the spotlight when needed but just as content to melt into the harmony when the others took the lead. It felt more like a gathering than a gig — relaxed, intimate, and quietly spellbinding.
The setlist drew from all corners of their careers: songs from their excellent self-titled 2025 debut album, solo material, and a handful of carefully chosen covers. We were treated to Love & Money favourites, including a wistful Winter (with an I Shall Be Released outro) a Teenage Fanclub double whammy including a gorgeous Planets , and a couple of Butler’s solo songs — with People Move On a particular highlight.
Their choice of covers were inspired — and limited, by their own admission, to “the two we actually know.” The Monkees’ Me & Magdalena arrived mid-set and was one of those perfect hush-the-room moments: three voices blending in quiet reverence. And, to close the night, they launched into a crunchy, joyous Cinnamon Girl that brought the audience to their feet.
What really made the evening special, though, was the chemistry. These three very different characters clearly have a deep respect and affection for each other. Blake’s self-deprecating humour, Butler’s quick wit and storytelling, Grant’s one liners and retorts — all balanced perfectly. Their harmonies were gorgeous, unforced, and organic — the kind that only come from singers who listen as much as they perform. And Butler’s guitar playing, rich with texture and imagination, was a constant delight — always finding space, never overplaying.
There were stories, too. Butler recalled staying at the Bay Hotel in Gourock back in the 90s, a night that took an unexpected turn when another couple decided to “borrow” his room for their nocturnal activities.
Grant made a point of name-checking local Arts charity RIG Arts, a lovely touch that showed his connection to the local creative community. Blake, meanwhile, entertained everyone with his semi-confident attempts to remember where certain songs had actually come from — a running joke throughout the evening. Somewhere along the way, they also discussed whether Mama Cass really did (or didn’t) die from eating one of Keith Moon’s ham sandwiches. It was that kind of show — loose, funny, and human.
On record, BBG’s debut album has moments that lean into prog textures — shifting structures, layered arrangements, a real sense of scope. But live, those same songs transform into something more direct and organic. The sound sits somewhere between British folk and Americana, filtered through a distinctly urban lens. You could almost imagine that if Crosby, Stills & Nash had formed in London or Glasgow instead of Los Angeles they might have sounded like this — three-part harmonies wrapped around earthy, melodic songwriting.
When they played the BBG song Bring An End, with its refrain “Bring an end to this ugliness, let the new season begin”- it landed like both a plea and a promise. It summed up the spirit of the evening perfectly: something hopeful, quietly defiant, and deeply human.
The music world might not know quite where to place them yet — but that’s part of the charm. They’re not following trends or trying to fit into a genre. They’re simply making honest, compelling music together.
With another tour under their belt and a second album planned for 2026, it feels like Butler, Blake & Grant are just getting started.
Brian Davidson @weepeople1
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