Originally scheduled for mid-December, one of the now regular storms that had visited the UK ultimately made that night impossible. However, troopers that they are, Gun merely rearranged the show for tonight and cleverly scheduled it around their acoustic tour dates, plus a few other shows.
Gun – Kaviani
Electric Bristol – 14 June 2025
Words And Photography: Paul Hutchings
It has taken a while to fill up, and whilst the newly renamed Electric Bristol is nowhere near capacity, there is a healthy crowd assembled when Gun hit the stage a few minutes past eight.
Yes, it’s another early show due to the venue’s nightclub commitments, something singer Dante Gizzi notes with a certain amount of disdain during the set.
It does not stop the Scots from putting everything into the 80 minutes or so on stage, and although drummer Paul McManus is not well enough to play, his place is filled with style by Rory Price.
This is Gun on top form. 
The setlist is becoming more of a challenge for Gun these days. But with the latest album, Hombres, a top ten entry for the band in 2024, now firmly bedded into the band’s discography, the tracks from that release are more comfortably welcomed by the fans than they may have been back in December.
It is unsurprising that the hardcore are word-perfect throughout, and even the casual fan is caught singing along to the likes of Don’t Say It’s Over, Better Days and Inside Out.
The new songs demonstrate that Gun still have the ear for a song that can quickly turn into an earworm. However, it is tracks drawn from the classic albums Taking On The World, Gallus, and Swagger that are instantly recognisable. All Fired Up, Never Enough and Take Me Back Home rival them in terms of memorability. 
On stage, Dante and brother Guiliano are the conductors of comedy, chaos and between song banter. They are in a good mood, determined to enjoy their Saturday night to the full.
The line-up is completed by bassist Andy Carr, who has to be one of the best backing singers in the business, and rock star guitarist Ruaraidh McFarlane, who surely secretly harbours desires to play in a far heavier band than Gun.
These days Gun are one cohesive unit, at ease with each other on stage and note perfect. Guiliano and Ruaraidh exchange lead work, with the founder member taking the lion’s share, but there is evidently no animosity and plenty of smiles on stage as the show progresses.
Smiles all around in the venue as well, with ample opportunities for singalongs, hands in the air and generally enjoying some of the best radio-friendly rock music you will see and hear.
Despite the curfew rushing towards them, the band are also able to stretch out a few songs into longer jams, which allows both guitarists the opportunity to flex their musical muscles. The banter is funny, with a typically Glaswegian edge to the humour. 
And for all their original music, it is still their cover of Cameo’s Word Up that grabs the attention of everyone in the audience. The first of a two-song encore, it is a track that the band appear to love playing, the audience never tires of, and which Gun have made their own.
They slide into Shame on You which brings an enjoyable evening to its end.
They’ve been around in some shape or form for nearly 40 years. On this performance, there is plenty more in the Gun tank still to come. And I, for one, will be happy to enjoy many more performances of this quality. 
Kaviani
It is seven o’clock, and the venue is rather sparsely populated. The latecomers miss out on a treat, as London-based Kaviani blasts through an entertaining 30 minutes with confidence that only comes from lots of time spent playing and practising.
Drummer Joe Lazarus is afforded the full kit, and with that comes the disadvantage of being far back from the front of the stage. That leaves guitarist / singer Kaviani to fill a big stage, which he does as best as he can. But this is a stage which can easily accommodate four outfield players, so inevitably, it feels a bit hollow. 
But take nothing away from the man. He can sing, and he can certainly shred. His songs are pleasing despite their somewhat sinister undertones. He explains that his heritage is mixed and from a region of unrest, which explains why Don’t Let The Bombs Drop, Daddy, his first song, sends chills through the spine given current political tensions.
Although the visuals are limited, the lighting and sound are spot on, allowing the duo to focus on their songs, with Decaffeinated Love and closing track Flat Screen Suicide particularly memorable.
It is a short set, but one that puts this long-established artist on more than one radar. If you get the chance, Kaviani should be watched. He will not disappoint. 
