Final U.S. Date — Glasgow Cultural Exchange Tour
Franz Ferdinand closed out their U.S. tour at House of Blues Dallas with a high‑energy set that reminded me why Take Me Out became unavoidable back in 2004. It was the kind of night that made the Franz Ferdinand setlist feel both nostalgic and unexpectedly modern. I bought their debut CD right after we moved from Southern California to Georgia. That angular riff became part of the soundtrack of that transition. Seeing it live two decades later — phones down, crowd bouncing, Alex Kapranos insisting everyone “just enjoy the moment” — gave the night a perfect emotional anchor.
And for someone whose tastes live mostly between late‑70s post‑punk and early‑90s alternative, Franz Ferdinand might be the most current band I’ve ever seen live. That made this final U.S. date of the Glasgow Cultural Exchange Tour feel like a rare modern chapter in my concert history. It also echoed the Depeche Mode show where I first felt the musical baton quietly passing to Colton — another night where the generational hand-off felt unmistakable.
This was my second House of Blues show this year having seen Echo & The Bunnymen earlier. Returning to the same room for a band from a completely different era added a fun contrast. As the final U.S. date of the tour, the Franz Ferdinand setlist leaned heavily on their debut album. They also mixed in mid‑2000s favorites and showcased newer material from The Human Fear.
Franz Ferdinand Setlist Highlights — Dallas 2026
Their 2004 debut remains one of those rare albums you could load into a 10‑disc changer and keep in there for months. Hearing seven of its eleven tracks in the Franz Ferdinand Dallas setlist was a gift. Jacqueline, The Dark of the Matinée, Take Me Out, and This Fire all landed with the same angular punch they had back then.
The crowd — a mix of late‑20‑somethings through people my age — bounced and bopped through every riff. House of Blues’ state‑of‑the‑art sound system made everything feel crisp and punchy.
The Glasgow Cultural Exchange… Featuring the Parthenon?
The tour branding leaned heavily into Scottish identity, which made sense — until I saw a shirt featuring the Parthenon. I’ve been to Glasgow. The Parthenon is not there. Only later did I learn Kapranos is of Greek heritage, which explains the mashup. Though it still looked like someone accidentally combined two different tourism posters.
They also had signed albums at the merch stand early on. Colton snagged a tour shirt he’s already worn to school multiple times. Nothing in my size, but that’s probably for the best.
A Tight Lineup and a High‑Energy Set
Kapranos (lead vocals and guitar) and bassist Bob Hardy are the only original members left. The current lineup however is sharp, confident, and clearly enjoying themselves. They keyboard player also played guitar on a few songs, and was excellent. Their drummer, Audrey Tait, who’s been with them a few years — was a standout, driving the set with crisp precision.
It struck me that she’s one of several women drummers I’ve seen in the last year or so. Cherisse Osei with Simple Minds, Anika Nilles stepping into Neil Peart’s shoes with Rush, and Jola with Adam Ant. Before this recent run, Sheila E was the only woman drummer I remember seeing live, so it’s been an unexpected but welcome trend.
Mid‑2000s Favorites and The Human Fear Material
Their second album, You Could Have It So Much Better also was prominent in the setlist. They delivered Walk Away, Outsiders, Do You Want To. All sounding as fresh as they did when CDs still lived in the passenger side visor.
Their 2025 album The Human Fear held its own as well. Build It Up came with a funky keyboard groove that gave the set a modern jolt, and Night or Day landed just as well. It was nice to see newer material integrated into the Franz Ferdinand House of Blues setlist without feeling like filler.
Encore & Audience Requests — Dallas Setlist Additions
Audience requests brought out Darts of Pleasure and Lucid Dreams, both deep‑cut favorites that felt like rewards for longtime fans. These weren’t originally on the Franz Ferdinand Dallas setlist, but the crowd pushed for them, and the band delivered.
The encore ran four songs, including Lucid Dreams, and closed with This Fire, complete with band intros — a perfect way to end the final U.S. date of the tour.
The Sideways Moving Roomba Lady
Floor shows always come with characters, and ours was a woman roughly my age who moved exclusively sideways and backwards, like she was stuck in a malfunctioning Roomba loop. Early in the night she looked seconds away from a face‑plant, so I grabbed her arm and a few people behind me helped steer her toward the back.
She disappeared for a while, only to return with another drink, at which point she stayed in our vicinity, drifting unpredictably and attempting to dance with younger guys who humored her out of politeness. Security never intervened — I assume she came with someone who was supposed to be supervising her, though that plan clearly failed.
It added a certain chaotic charm to the evening, and honestly, I hope she made it home okay.
Walk Away — Final Thoughts
Franz Ferdinand delivered a show that honored their early brilliance while proving they’re still evolving. The Franz Ferdinand setlist for this final U.S. date blended debut‑era staples, mid‑2000s favorites, and genuinely strong new material in a way that felt both familiar and forward‑leaning.
For a band I got into during a major life transition — cross‑country move, new job, new state — seeing them two decades later with Colton beside me felt like closing a loop. It echoed the Depeche Mode show where I first felt the baton passing to him. And also the Nine Inch Nails concert where I realized how deeply he connects with lighting and production. Franz Ferdinand added another chapter to that ongoing father‑son concert story. And judging by how many times he’s worn his tour shirt since, the loop might continue into the next generation.
After, the show I did a deep dive into the Franz Ferdinand catalog. From that, I created a playlist of my favorite songs by them.
