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With more than 40 million streams and 60,000 tickets sold, Dylan John Thomas has become one of Scotland’s most compelling independent artists. After selling out six nights at Glasgow’s Barrowland Ballroom, he crowned his rise with a homecoming show at the 14,300-capacity OVO Hydro.

A self-taught multi-instrumentalist, Dylan draws on the rhythms of Johnny Cash, the melodies of Simon & Garfunkel and the poetic songwriting of Leonard Cohen, reshaping those influences with youthful energy and a distinctly modern voice.

His second album, Nothing Here Worth Taking, was recorded at Magic Box Studios with Scotty Anderson of The Snuts. Written entirely by Dylan, who also played most of the instruments, the 10-track record brings together brass, blues, banjo, piano and anthemic songwriting.

Lead single ‘Got You on My Mind’ began after Dylan took up the banjo while travelling around Scotland with friends and playing traditional folk songs. Its rolling fingerpicking and driving brass capture the album’s mix of bluegrass, folk, ska and contemporary indie influences.

The title track offers encouragement to a friend whose relationship was falling apart, while its brass arrangement recalls the ska Dylan loved growing up. Elsewhere, ‘Call It a Day’ combines whistles, harmonies, keys and percussion; ‘Come and Get It’ draws on the dance music of Dylan’s youth; and piano ballad ‘The Bridge’ reveals a softer side to his writing.

The album follows his rousing 2024 self-titled debut, which introduced a wider audience to songs shaped by his experience of growing up in foster care. Music became a vital source of comfort during a difficult childhood. His first encounter with Johnny Cash came through the soundtrack to a Tony Hawk video game, inspiring him to ask for a guitar and learn ‘Ring of Fire’.

From there, Dylan discovered The Beatles, Paul Simon and Leonard Cohen. Their influence helped form the direct, emotional songwriting that has connected so strongly with listeners, including others who have experienced foster care or challenging upbringings.

A major influence on Dylan’s life and career was Gerry Cinnamon. After sneaking into Cinnamon’s early Glasgow jam nights, Dylan was taken under his wing and later invited on tour, progressing from King Tut’s to arena shows. The experience offered lessons in music, performance and life, while reinforcing Dylan’s belief in building an audience from the ground up.

That grassroots approach has remained central to his success. Years of touring with his close-knit band created a passionate fanbase before the wider music industry caught up. Along the way, Dylan was selected for major support slots with Liam Gallagher, Sam Fender and Stereophonics.

For Nothing Here Worth Taking, Dylan deliberately avoided rushing the process. Unlike his debut, whose songs had been tested extensively onstage, much of the new material was developed privately in the studio, allowing greater freedom to experiment.

Now, following his longest break from performing, Dylan and his band are ready to return to the road, including a major appearance at Glasgow’s TRNSMT festival.

“We all grew up playing live music,” Dylan says. “For us, that’s what it’s all about.”

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