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A series of old victorian vaulted railway arches beneath the the tracks leading to and from Central Station in Glasgow, provided the perfect atmospheric location for The Instal festival which Current 93 was headlining.
The audience is expectant and hushed as Current 93 take to the stage.
Tibet appears on stage in a suit and flowery shirt, and with his long curly hair (perhaps in tribute to Tiny Tim) looks like a man out of time.
They launch straight into "Judas As Black Moth", and from the start have the audience in the palm of their hands.
I've never seen David Tibet so animated on stage, like Ian Curtis, Joe Cocker and Tim Booth from James all rolled into one, shaking violently and "gesturing wildly"as he performs each song.
Current 93's line-up for tonight was David Tibet, Maja Elliot, Julie Wood, Joe Budenholzer, Simon Finn, Baby Dee, Ben Chasny of 6 Organs and John from Sorrow on Cello. The sound was really full and lush tonight, with so many talented musicians in attendence.
 Before playing "Black Flowers Please", Tibet announces, "I wrote this one for Rose McDowall, who's sitting down there", and gestures to her, and the crowd applaud. Tonight though it's a shorter version of the song, as the part at the beginning that Rose normally sings is missing, as well as the next part, the little song the golliwog sings in Noddy book 4, "It isn't very good in the dark dark wood". So tonight it just starts with, "There are four corners to the world she said", and to be honest is lacking some of the power it had previously, tambourine being the only percussion on it, rather than pounding drums.
As the night progresses, David first removes his jacket and then shirt, to reveal a toned and tattooed body. He must have been getting hot from all the vigorous movement onstage.
Before launching into the beautifully twisted, "A Gothic Love Song", he says, "I wrote this song for no-one", and chuckles.
The audience here is incredibly appreciative of the performance applauding and cheering between songs, although when the songs are being played are deathly silent, eating up every syllable that comes out of Tibet's mouth.
 After a powerful performance of Simon Finn's "The Courtyard", Tibet sends the other musicians offstage, leaving just Maja Elliott and himself onstage for "As The Night Rejoices Profound And Still".
The reason for the rest of the band being sent away, turned out to be so that they could drag Rose McDowall out of the audience and round to the back of the stage. Tibet dissapears to the back of the stage, and persuades Rose to come on. Afterwards, she told me that she told him that she couldn't remember the song he wanted her to sing on, but when he replied "Yes you do. It's the one that goes La La La.", she laughed and said, "Oh yeah, that's it". And so Rose is introduced onstage, to more rapturous applause, for a rousing rendition of "Oh Coal Black Smith" to finish the night.
They are over time, and though the audience are demanding an encore, and Tibet had one more song he had planned to play, they are left wanting, but leave having enjoyed an exceptional and special concert.
Setlist
Judas As Black Moth
Time Of The Last Persecution
Niemenswasser
Black Flowers Please
Antichrist And Barcodes
Bells (Long Hypnagogue)
The Signs In The Stars
Calling For Vanished Faces II
The Descent Of Long Satan In Babylon
Sleep HAs His House
Alone
A Gothic Love Song
The Courtyard
Whilst The Night Rejoices Profound And Still
Oh Coal Black Smith
-- With reporting by: Iain S. Wallace (DJ Sublevel3)
-- Pictures courtesy of: Shug
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