Tonight’s triple bill is under the banner of ‘All The Feelings’ – a very apt title for the chance to celebrate the enduring success of these three bands, their intertwined histories and fuzzy embrace of friendships and loves, past and present.

Stars come out swinging despite the early start time, Torquil Campbell laying into the audience with shouts and gestures during the opener that could double as another tagline for the night: ‘Hold on When You Get Love and Let Go When You Give It.’ He’s a bottle rocket for the whole set (and later ones), flailing theatrically and emotionally, pushing his positive energy through the crowd and band. But he’s got a serious side, too, reflecting more than once on Glasgow’s supreme band-making legacy, and providing a touching tribute to the recently departed John Douglas before a cover of the Trashcan Sinatras’ ‘Weightlifting.’ The seven piece is absurdly squashed on the stage between the subsequent bands’ equipment and each other – there’s barely even room for Campbell’s melodica – but that only increases the cheerful bonhomie between band members. Two of the band’s finest moments close the tragically set short: ‘Ageless Beauty’ and ‘Your Ex-Lover is Dead’ from their high watermark, Set Yourself on Fire.

Despite the removal of one act’s equipment, Broken Social Scene continue the elbow-room-only vibes of Stars. They start out with seven as well, but this frequently balloons to 12 when the horn section arrives. It’s a miracle someone doesn’t lose an eye during the wilder trombone moments. Though they’re the very epitome of collaboration, Kevin Drew is clearly the one in charge; leading from the front on the wonderful ‘Cause = Time,’ chiding Brendan Canning for his overloud keys, and conducting an interpolation of ‘Total Eclipse of the Heart’ during ‘Ibi Dreams of Pavement (A Better Day).’ He dedicates the whole set to Scott Hutchison, a friend of the band, with a funny/sad snippet about their partying days. Members of Stars make a number of appearances throughout the set, such as a brilliant ‘Hug of Thunder’ with Amy Millan, and he exits the stage completely to let Millan and Metric’s Emily Haines (another ex-BSS alumni) waltz through ‘Anthem for a Seventeen Year-Old Girl.’ Despite the generally great sound, there’s a charming, shambolic energy that really hammers home the fact that this really is a big gang of friends.

With the clearing of the stage, Metric present a much different proposition. There’s only four of them (mostly) and oodles of space for Emily Haines to dance, James Shaw to play guitar hero, and for their icy brand of synth-rock to breathe. It’s a slick, polished set that’s more in the line with their style of music compared to the two previous bands, with bright neon signifiers throughout, black and yellow pop-art for the early cuts and crisp, blocky whites and blues for the more recent material.

They play about half of their recent album, Romanticise the Dive, bringing the concert out of 2000s where it had mostly resided for the prior two hours. But despite the smattering from across all albums, it’s still the old cuts that get the nostalgia-hungry crowd going: ‘Monster Hospital’ goes harder than almost any other song tonight and the anthemic ‘Combat Baby’ proves that sometimes you can spend an entire career chasing the heights you effortlessly reached the first time of asking.

There are nods to the other bands, with Amy Millan joining for a rousing rendition of the “definitely not romantic” song, ‘Breathing Underwater,’ and a bunch of members of both bands cramming on for a lovely, and fitting, ‘Loyal.’ But overall, Haines and co. have clearly moved away from the loose, ‘show up when you can and jam’ style that make Broken Social Scene such a unique, brilliant band to follow, but perhaps a frustrating one to throw all your energy into. Metric, by comparison, are a well-organised juggernaut of big hooks, big riffs and sleek, synth-fuelled tunes. The two song encore, ‘Help I’m Alive’ and ‘Black Sheep’ go hard on the electro-rock, the retro sounds of tomorrow, and anxious, dystopian themes.

While Stars and Broken Social Scene have a wistful, bittersweet relationship with the past, Metric are much more future-oriented, for better and worse. It’s all a slightly jarring contrast for the same night, but on their own merits, these bands all have a lot to love about them.