When Maisie Peters first appeared onstage she loudly asked if the crowd were ready for “the best night of their lives”, and given the youthful nature of the audience the ensuing 80 minutes might have lived up to the hype. There were screams, hysteria and, in one case, an emotional lass getting on her phone to tell her significant other that hearing break-up songs brought home how much they appreciated them.

The first declaration of love for the Last Dinner Party arrived approximately one song into their set. “I love you too,” declared a delighted looking Abigail Morris, the band’s pirouetting frontwoman, in response, and the ensuing hour suggested outpourings of affection are just one of many reasons for Morris to be cheerful these days.

Gregory’s Girl stands alongside Kes as one of the few films offering a realistic depiction of state school life. Director Bill Forsyth’s surreal flourishes delight without getting in the way: think of the penguin waddling along the corridors, or the young lad glimpsed smoking a pipe in the boys’ toilets.

The farewell for KISS has lasted so long that this Glasgow show, their final ever UK gig, came four years after the End of the Road tour first stopped off in the city. Admittedly that is partly down to the coronavirus scuppering touring plans for a couple of years, but even without that there is a suspicion a group who have monetised themselves so effectively over the years might have found a reason for another trip back here.

Even when Peter Gabriel is bleak, he has reasons to be cheerful. Early on in his set he opined that soon enough “none of us will have jobs anymore”, referring to the ongoing rise of artificial intelligence, although this was followed by him stressing the positives that can be found in such new technology. It seemed fitting, because Gabriel himself, now 73, showed on this evening that optimistic possibilities of the future occupy his thoughts as much as ever.

War might be good for absolutely nothing, but it does provide bands with some easy names. Before the War on Drugs headline set, Warpaint took to the stage, and despite a muted reaction to the quartet they were on enjoyable form. They’re unlikely to ever be topping the bill in arenas in their own right, but maybe that’s a good thing, and the funky closing double header of “New Song” and “Disco//Very” whipped by with pace and verve.

Of all the Scottish bands to be name dropped at a Chvrches gig, the Bay City Rollers would be far down the list. Thankfully singer Lauren Mayberry was only citing the 70s group in reference to her tartan outfit, and not a surprise cover of “Shang-A-Lang”, but the Glasgow trio do share another similarity, in that they’ve proved to have considerable staying power in the pop world.

There was a youthful tinge to the jubilant chorus of “here we, here we, here we f****** go” that greeted Le Tigre arriving on stage.

Before even a note was struck, Yard Act’s singer James Smith was setting the bar high. “Over the past two days everyone we’ve met in Glasgow has been telling us this is the best gig we’ll ever play”, he declared, as soon as the Leeds band arrived onstage. They then proceeded over the following 70 minutes to deliver on that expectation, with an evening that’s among the best the storied old Barrowland has ever seen.

Blake Rose clearly wasn’t leaving anything to chance. The support act bounded onstage draped in a Saltire, and soon brought up his days growing up in Aberdeen before moving to Australia. That Scottish upbringing helped inspire one of his songs, “Sweet Caledonia”, and going by the lively reaction he received from the youthful Glasgow crowd they were glad to take him as their own.