The last Friday before Christmas, also known as Black Friday; a day when wallets shrink, drunken incidents multiply, and going out very quickly becomes a regrettable decision. What better time to host a gig aimed at a broad mix of music fans? In that spirit, Glasgow’s Room 2 seized their chance to invite fans to witness a newly formed supergroup led by R.E.M.’s Peter Buck, Screaming Trees’ Barrett Martin (also of Mad Season), Eleven’s Alain Johannes — who has also performed with Queens of the Stone Age — and British multi-instrumentalist Duke Garwood.

Drink the Sea, whose members are more accustomed to larger, glossier venues, settled comfortably into Room 2’s intimate and atmospheric surroundings. Leaning on their collective name recognition, they used the stage as an opportunity to indulge in largely unfamiliar material and experiment with something new. It was clear throughout that these were experienced performers, each confident in their role and visibly enjoying their time on stage, including percussionist Lisette Garcia and bassist Abbey Blackwell.

The setlist leaned heavily on original material. Unfortunately, much of it ranged from dull to physically difficult to listen to. Apparently inspired by rainforest trips, butterfly encounters, or whatever else rock stars occupy themselves with, the songs often felt self-indulgent and unfocused. The backing visuals did little to help: minimalist black-and-white projections that were more distracting than engaging, lending the performance the feel of an amateur poetry slam rather than a supergroup showcase.

Of course, the band knows why much of the audience is there, and they acknowledge this with the occasional cover of more familiar material. Unfortunately, these moments are arguably the most painful. A notable example is Mad Season’s ‘Long Gone Day’. Already a bold choice to try to imitate the enduring power of Layne Staley’s vocals, the performance is further undermined by the realisation that the drummer is a more engaging singer than the lead vocalist, even if that drummer is Barrett Martin, along with a soprano sax addition that proves more irritating than enriching. The band also made the popular decision to close their set with a handful of covers; however, they steer clear of the more popular tracks, leaving a lingering sense of dissatisfaction.

Ultimately, Drink the Sea feels like an interesting venture by a group of talented, well-known musicians taking advantage of their position to enjoy each other’s company while attempting, and arguably failing, to create something truly compelling. Was producing great music ever the goal? No one knows, but given the result, you’d have to hope not. What is clear is that the band had fun, a venture that might feel worthwhile were it not for the price. For devoted fans, it’s still a rare chance to see musical icons up close in an interactive setting. For everyone else, this is one worth skipping.