less like a concert and more like a reaffirmation: some bands entertain, but Jamiroquai elevate.

⭐⭐⭐ (3.5/5)

**JAMIROQUAI PERFORMING AT GLASGOW’S OVO HYDRO**
**PHOTOCREDIT: CALUM BUCHAN**

Three decades into their genre-bending career, Jamiroquai returned to Glasgow with a reminder that few bands on the planet can turn a cavernous arena into a celebratory, high-octane funk cathedral quite like they can. The Heels of Steel Tour, originally planned to usher in next year’s new album, arrived with the weight of delayed release announcements hanging over it — but if the Hydro crowd proved anything, it’s that the Jamiroquai faithful don’t come for timelines. They come for the groove. And for two and a half hours, the party simply refused to be stopped.

Kicking off with “(Don’t) Give Hate a Chance,” Jay Kay made an unspoken statement about the world as it currently turns. Jamiroquai have always been more than a feel-good funk export; beneath the velvet basslines and vinyl-sheen choruses lies an ongoing social conscience, and opening with that track showed they haven’t dropped that thread. From there, the show moved quickly into pure joy — “Little L” with its quicksilver bounce, always over too soon; the sun-kissed nostalgia of “Seven Days in Sunny June”; and the languid acid-jazz sprawl of “Space Cowboy.”

The band leaned heavily into extended arrangements throughout the night, stretching nearly every song into expansive, improvised-feeling jams. Early in the set, this worked beautifully: “Alright” unfurled into a slinky, bass-led exploration; “You Give Me Something” swung with a newly elastic confidence; and “Cloud 9” shimmered in its elongated form. But as the evening wore on, the decision to turn almost every song into a 10-minute version proved slightly double-edged. Jamiroquai have never lacked musicianship — this lineup remains as tight, tasteful, and rhythmically bulletproof as any the band has fielded — yet there were moments where you sensed that hearing four or five more classics might have outshone two marathon jams.

Still, their ability to flip styles was undeniable. “Too Young to Die” arrived with a soulful gravitas; “Talullah” came wrapped in confessional warmth; and then came the first new song of the evening, “Disco Stays the Same.” A shimmering fusion of Sister Sledge gloss and Chic-style guitar elegance, it landed as the freshest, most electrifying moment of the show — a promising hint at what the delayed album might deliver. Its reception suggested that fans are more than ready for the new era.

Not every risk landed: “Travelling Without Moving” drifted into slightly self-indulgent territory, its stretched-out midsection losing some momentum. But the band quickly regained their footing with “Shadow in the Night,” then detonated the arena with a triple-hit sequence of “Canned Heat,” “Cosmic Girl,” and “Love Foolosophy.” The Hydro transformed into a glittering disco engine, the audience matching Jay Kay step for step, note for note.

The encore could only be one thing. “Virtual Insanity” — still futuristic, still iconic — brought the night home, reminding everyone why Jamiroquai’s legacy continues to feel both nostalgic and eternally forward-facing.

Delays or no delays, Jamiroquai proved in Glasgow that their blend of funk, soul, disco, and social commentary remains unmatched. Imperfect in pacing but irresistible in energy, the Heels of Steel tour stop felt less like a concert and more like a reaffirmation: some bands entertain, but Jamiroquai elevate.