By Joshua Errett

What is success? Is it going on tour abroad, playing on Monday nights at places like Lee’s Palace? Is it calling your band Sons & Daughters? Is it coming out of nowhere to some critical acclaim? Is it coming out of nowhere in Glasgow, then touring internationally with Clinic?
Does success involve an irritating on-stage personas, consisting of jumbled amounts of forced chemistry and feeble attempts at Deborah Harry sexuality? Is success a promising EP called Love the Cup? Is success a front-woman who cannot sing and play at the same time? Or is it a front-woman that sings into a really big microphone that muffles any cadence in her voice? Is it a front-woman that wears some sort of portable tone-correcting device on her back? Or was that feeding her the lyrics to her songs? And does the lead guitarist have to be that annoying? If a band can invoke aggrivation, is that a good thing?
Would society benefit from less bands like Sons & Daughters, or did they bring joy to the rowdy Scots in the front of the stage? Is it their mediocrity that is so offensive, or is that a fault of their overhyped publicity? Are Sons & Daughters the product of misguided media attention? Or is it more well-connected friends?
Could Sons & Daughters be better on record? They are. But not good enough to walk away unscathed from last night’s debacle.