Michelle Shiers on January 30th, 2015

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Glaswegian band the Vaselines formed in 1986, broke up in ’89 and ever since their reformation in 2008 have kept their fans on their toes with three fuzzy full-lengths, including last fall’s “V for Vaselines.” Principals Eugene Kelly and Frances McKee have a standing as cultish indie-rock icons, even beyond their infamous place in Kurt Cobain’s record collection.

On Tuesday night, the Roxy slowly filled up with devoted fans as the band opened with “The Day I Was A Horse.” The Vaselines make an art of ruthless mockery and melodic garage-rock songs with just the right amount of brevity. Their 24-song set moved briskly, and the amusing between-song banter felt almost like the crowd was watching a biting tête-à-tête between a couple who have been together for too long.

McKee’s sarcastic and off-the-cuff remarks kept everyone guffawing. She noted with a grin, “Just for the record, I have never been a diva. You try being on the road with this bunch for 2 1/2  weeks … It’s great. Different cock every night.” Later, she also insisted, “And just for the record, bitches have more fun.”

A third of the way through their set, the Vaselines welcomed to the stage the whole of their opening band, Loch Lomond, whose pronunciation was largely debated in terms of Scottish versus American inflection. Together they performed the Cobain favorite “Molly’s Lips” from 1988. Mid-set, a fan tossed up a dollar bill folded into a ring which McKee placed on her ring-finger cracking a joke that she might have to get divorced first.

With Michael McGaughrin on drums, Graeme Smillie on bass and Scott Patterson of Sons And Daughters on guitar, the Vaselines showed off their energetic collection of complementary two-part harmonies and cheeky punk rumble. The live version of “The Devil Inside Me” was far more rocking than recording and the last few songs of their set picked up quite a bit of steam to push through their encore of “Dying For It” and “Dum-Dum” from their debut. No matter if the Roxy was their very last live show, as they dryly threatened, the Vaselines have an attitude and sound that will likely remain relevant for longer than they expect.

Portland’s Loch Lomond showed off their semi-experimental, semi-chamber folk with sweet harmonies and strings. Frontman Ritchie Young (who donned a guitar strap bedazzled with the word MOTHERF*CKER) had a powerful and distinct voice somewhat reminiscent of past-tourmate Colin Meloy, and Loch Lomond carried an overall rich indie-folk sound that you could easily grab hold of.

Photos by Michelle Shiers