Evan Dando - Joe's Pub, New York, USA - Saturday 30th January 2010

Being in the USA at the same time as Evan Dando is doing a solo tour, always seemed like too good an opportunity to miss. So, I headed up from Philadelphia to an absolutely freezing cold New York - to see Evan Dando play, then to catch the Arsenal vs Man U game in Nevada Smiths the following morning. The gig was in Joe's Pub, a weird gig venue that was almost like a dinner show - doors opened at 6, most of the audience had a dinner reservation (with a minimum $12 spend per person), the show ran from 7 until 8:15, then we all got thrown out so that another show (with another set of dinner reservations) could kick off at 9pm. Very strange indeed.

So, without any support act, Evan Dando walked on stage just after 7pm, tuned his guitar for a minute or two, then started playing Confetti. This was very well received, so he played a number of other songs - Lemonheads songs, his solo songs, and the now expected covers. All of this was played with an excellent sounding Fender guitar, and for some of the songs he had Chris Brokaw helping him as well. Obvious highlights were his versions of Style, No Backbone, Tenderfoot and the set closer Layin Up With Linda - but really, the whole set was packed with great songs.

As an Evan Dando gig, this was fairly standard, the songs came thick and fast, he barely said a word as he fell straight from one song into the next, and it all sounded excellent. It struck me as a strange place to be playing, as people ate their pasta for dinner, but there we go. I enjoyed the set very much - but still think that nothing beats a full, electric, plugged in Lemonheads set. So, whilst this was very good, it left me wanting more - and thinking about just how good the full band are.

Arctic Monkeys, Screaming Females - Terminal 5, New York, USA - Thursday 10th December 2009

Whilst I was on a work trip in Philadelphia, Arctic Monkeys were due to play a club gig in nearby New York. I wasn't really a big fan of their latest album, and had also spurned the opportunity to see them in London the previous month (I didn't fancy a trip out to Wembley Arena). But, with the excuse of an evening in New York thrown in, I bailed out of work an hour early, and headed up to New York on the train, taking in some of New Jersey's highlights on the way. On arriving in New York, the temperature seemed to have dropped by 10 degrees from Philadelphia, making it a memorable trip as the wind blew through my coat like it weren't there. VERY cold indeed.

We eventually made our way up to 56th street, to Teminal 5. There were a good number of touts outside and in the nearby streets, suggesting that an Arctic Monkeys gig was a bit of a big deal at least. After an obligatory ID check, we got into the venue, a large hall with a couple of levels of balcony around the edges. The crowd was pretty young, with lots of New York high school kids, college students, and a fair number of English voices around also. There were also lots of the kind of people you expect to see at a gig like this in New York - people who thought they were ultra cool, but in reality came across as a bit self absorbed and/or coked up.

The support band were a three piece called Screaming Females, who came from New Brunswick, New Jersey. They had a strange looking woman on lead guitar and vocals, who was the only female in the band. Their guitars sounded pretty fantastic (I would expect you need to see them live to appreciate this, as I doubt their recorded stuff is as good), but sadly the same couldn't be said of the vocals. For the vast majority of the songs I heard, I found myself wishing that the singer would concentrate on just playing the guitar as well as she was, and would get somebody else to do the vocals. Despite that, the songs were good, and the quality of that lead guitar made you willing to forgive quite a bit.

After a short break, Arctic Monkeys appeared, looking very different to the last time I saw them. Longer hair, more rock star looking, and generally looking the part much more. Their first few songs drew quite heavily from Humbug, featuring quite a few false song endings which drew applause, only for the song to kick back in again with more noise than before. Throughout the set, I thought the sound was fantastic - both from a technical point of view inside the venue, but also the way the band set themselves up to play live. When they played some of the older songs, they sounded very accomplished indeed, with some excellent new twists on the way they were played. Despite not having really liked the new album before this evening, the songs they played from it sounded really very good - forcing me to go back for another listen to the album.

As well as the new songs, there were obviously some of the old favourites - I thought that Still Take You Home was amazing in particular. The best audience reactions seemed to be for Brianstorm and I Bet You Look Good On The Dancefloor, the latter of which featured some very enthusiastic crowd surfing. The band ended their main set with a reworked and brilliant sounding version of Fluorescent Adolescent, which also featured an interlude where the drummer sang Last Christmas. Great stuff. Throughout the show, the crowd were roaring their appreciation between songs, and Alexa Chung was busy dancing on the balcony. All in all, the band went down a storm.

Despite the very late night, I was really glad I went to this. Arctic Monkeys had been getting muted reviews for their latest album and live shows, so I wasn't sure whether I would enjoy it. But, the gig was so much better than expectations, and confirmed just what a good band they are. I also feel lucky to have seen them in such a small venue (rarely possible these days in the UK), which is how they come across best. A fantastic band, playing a set that sounded really special.

The Cribs, Los Campesinos, Sky Larkin - Brixton Academy, London - Thursday 3rd December 2009

This was the night when Wichita Records took over Brixton Academy. Having seen The Cribs recently in Kentish Town and been very impressed, I took the plunge and bought tickets for this gig, part of a tour of some bigger venues. I was then delighted to see that they had pulled off their "lets get great support acts" trick again. After Adam Green at the Forum, this time it was the amazing Los Campesinos!, and Sky Larkin.

Sky Larkin were up first, playing songs drawn mainly from their criminally underrated album The Golden Spike (and the BBC seem to agree about it being underrated too). The songs were catchy, and the band managed to not get completely lost in the largeness and emptiness of Brixton Academy (when you are on first and playing to an empty venue) - their sound filled the venue nicely, and their set was well received.

Next on were Los Campesinos!, a band I'd seen before in the most amazing circumstances, and have loved ever since. They kicked their set off with Death To Los Campesinos!, which ensured the audience were right into what they were doing from the word go. As well as a selection of the best tracks from their first two albums, they also played a clutch of new songs from their forthcoming album, Romance Is Boring. These sounded excellent, quite a bit rockier than some of their older stuff, but very good. All in all, I was gutted when their set ended, so good it was.

But obviously The Cribs soon made up for any disappointment caused by the loss of Los Camp - their set was once again full of power and energy, and never dipped below being fantastic. Again they dropped pleasant surprises (in the form of older songs) into the set at various points, my highlights of this set were Emasculate Me, the obvious Be Safe, and City Of Bugs which is becoming one of those awesome set closing songs. A brilliant set (again) from a band who, if there is any justice in the world, will be getting bigger and bigger as they continue to get better and better.

Dead Social Club, Nerys Joseph, Jon Paul Palombo - The Enterprise, London - Saturday 31st October 2009

After the excitement of beating Spurs, what could improve the day more than an afternoon's celebratory drinking, followed by a gig in the evening? Being Halloween, there were lots of people out and about in fancy dress, and being a warmer than expected (for the end of October) evening, the streets seemed to be busier than ever around Camden. My destination was the Enterprise, where a few decent bands played. Last time I went to a gig at the Enterprise, the band were amazing and the floor almost caved in, so expectations were high!

First band on was really a solo guitarist and vocalist called Jon Paul Palombo, who had a backing vocalist here to help him out. His full band are supporting Glen Matlock a few days after this gig, and he was just filling in for another band at this gig. The songs were pretty much all decent, and you could see that they would work a treat when played with a full band. Put simply, they were obviously far too good for a "bottom of the bill" slot at the Enterprise - so it was a treat to see them there - I suspect their normal home is playing bigger slots at bigger venues.

Next up was a lady called Nerys Joseph, who sat behind a keyboard and played what I guess you could describe as "angst ridden" songs, about things that angst ridden females write songs about. Played on a piano, they sounded nicely melodic, and her voice was quite powerful too. She had a flautist and a guitarist for some of the songs - and although it wasn't exactly my cup of tea, she obviously had some talent for singing and songwriting.

Even more "not my cup of tea" was the next band. I don't know what they were called, but what they were doing didn't float my boat at all. Its probably a good point to remember the phrase "if you have nothing good to say, say nothing", to suffice to say that the bar was calling loudly after a couple of songs of their set.

Finally, the band I had come to see, Dead Social Club. They had got into the Halloween spirit, arriving on stage in white t-shirts that they had drawn on, plus face makeup. Quite a few of the audience had dressed up as well, all of which made for a good vibe. The keyboards at the beginning of their opening song built the atmosphere up from the very beginning, and they benefited from excellent sound in the venue. They played songs I hadn't heard the last time I saw them - including Calm It Down, and the excellent Let Love Die. For a couple of those newer songs, I thought the guitars were excellent, and really made the band sound like a true crossover between a synth band and a guitar band. I hate to compare bands to The Killers, but I mean it as a compliment in this case! The final song of the set was the excellent The Bridge, and with no encore, they left the audience wanting more - always a good result. I was really impressed by Dead Social Club again, and will be aiming to see them again soon.

Kasabian, Amorphous Androgynous - Forum, London - Wednesday 21st October 2009

Off to the "HMV" Forum for the second time in a week, for a Q Awards gig. Despite Q magazine being possibly THE most out of touch and "dad-rock" loving publication in the world, their interests do occasionally manage to happen upon decent bands. So, a chance to see Kasabian in a much smaller venue than they would ever normally play (at least in this country) was a gig I was quite excited about.

I got into the venue in time to see a decent amount of the support band, an act called Amorphous Androgynous. When I arrived, they were playing a strange cover of Oasis track Falling Down. I say a "strange" cover, because the band had 9 members, playing an eclectic mix of instruments - kind of a hippie band, and a new version of the Polyphonic Spree. I was utterly unsurprised to see that they are supporting Hawkwind later this year. A few of their songs actually sounded pretty good, but they were a weird, weird band to watch, especially to watch in support to Kasabian.

After what seemed like an unreasonably long changeover, with Kasabian's old roadie guy having some good banter with the crowd, the opening bars of Underdog kicked in, and provoked the obvious enthusiastic reaction from the crowd. When Tom came on stage to start singing, I thought two things. First, that he had had a much needed but very dubious haircut. And second, that the sound was screwed to the point that you couldn't really hear much of the vocals or guitar on Underdog. A shame, because its a great song, but luckily the sound improved hugely after that.

The set itself was a fairly standard one for this year, very similar to what they were playing when I saw them in July. One thing that is obvious when watching Kasabian is the number of excellent singles (or otherwise very strong songs) they now have. There are a good half dozen from their most recent album (like Underdog, Fast Fuse, Fire, Where Did All The Love Go, etc), and about the same again from the previous two albums combined. That means they have a good dozen huge tunes to play, which means you don't end up with too much album track filler. That probably goes some way to explain why their live sets are going down so well.

Of course, as well as having the dozen excellent songs, they also have the two or three truly massive songs, that are becoming amongst the songs that this decade will be remembered by. So, when they kick into Club Foot as the last song of their main set (a song that is all over the TV and at football grounds, despite being five years old now), you know you are watching a band who aren't just making music for now - they are writing songs that will still be being played in ten and twenty years time. That, as well as their ability to put on an excellent live set, makes Kasabian gigs a pleasure to attend - you get to watch a band writing themselves into guitar music history, and UK popular culture. Great gig.

The Cribs, Adam Green - Forum, London - Thursday 15th October 2009

Having just released what is possibly the best album I've heard in 2009, I snapped up a ticket to see The Cribs at the Forum in London. As the gig approached, I was even more pleased to see that Adam Green was supporting them - they certainly seem to have a knack for picking incredible support bands sometimes. All of this, plus Comet Gain opening up, meant that the area around the venue was pretty busy much earlier than normal for a gig there.

We got into the venue just after Adam Green had come on stage, so got to see most of his set. He seemed to be playing most of his hits, and I was very pleased to catch Jessica soon after I came in. He had something of a band with him, so it seemed like a full (but a bit short) Adam Green show. He seemed to go down quite well with the audience, and I certainly enjoyed his set.

Then to The Cribs. This was a relatively small gig for them (certainly by comparison to what they had lined up for later in the year), and it was all the more exciting for it. They are certainly one of the more exciting bands out there at the moment, especially when you watch the obvious chemistry between Johnny Marr and the rest of the band. They walked on stage to cheers, and launched straight into the fantastic opening track from their new album, We Were Aborted.

Cribs gigs are always full of nice surprises in the setlist, and this was no different - Hey Scenesters coming along right after the opening song. They play two or three songs at a time, without speaking in between, which just adds to the sense of delight when they kick into a song you really love. And a lot of people really do love a lot of their songs - the earlier ones especially getting great reactions from the hard core.

By the time the set was breaking down to some of the later songs like Ignore The Ignorant, Be Safe, and Men's Needs, you got the feeling that you were watching a truly exciting band, playing at the peak of their excellence. The crowd loved it, the intensity never seemed to dip for a minute, and the whole thing was quite brilliant from start to finish.

Setlist: We Were Aborted / Hey Scenesters! / I'm A Realist / Emasculate Me / Girls Like Mystery / Last Year's Snow / Cheat On Me / We Share The Same Skies / We Can No Longer Cheat You / Direction / Hari Kari / Save Your Secrets / Our Bovine Public / Another Number / Ignore The Ignorant / Be Safe / Mirror Kissers / Men's Needs / City Of Bugs.

The Pixies, Art Brut - Brixton Academy, London - Thursday 8th October 2009

As reforming bands go, there aren't many bigger than The Pixies. They had a crack at reforming a few years ago, and played a load of concerts to generally rapturous audiences and reviews. This time, they got back together to play a series of "20th Anniversary" gigs, to celebrate the release of Doolittle - their most popular album. With tickets at £30 a go, merchandise at high quality and high prices, and £15 CDs of the gig on sale - it was safe to say that they were being paid quite well for their efforts.

This was one of four shows at Brixton Academy, each of which had a different support band. The support for my night was Art Brut - they played to a half empty venue, most of whom had never heard of them before, but I enjoyed every minute. Eddie Argos shambled on stage during thr opening riffs of Formed A Band, in a suit which looked like he'd just come from work (like most of us actually had). He looks like a very unlikely band frontman, but the cleverness of their lyrics and the quality of the guitar riffs, make them a mesmerising band to see live - if you "get it". I do, but I suspect that a majority of this audience did not, and were probably thinking "what the hell is going on here". So, I really enjoyed the set, but it played out in front of quite a few bemused onlookers, especially those in their late 30s as most Pixies fans seem to be.

After what seemed like an eternity, during which anticipation in the venue was almost reaching fever pitch, the film Un Chien Andalou (or at least an edited version) started up - at the end of which the band walked on stage and played a couple of b-sides. They then proceeded to play the whole of Doolittle in order. The opening bars of first track Debaser witnessed cheers the like of which I don't think I've ever seen at a gig before, it was like the venue was going to explode with happiness. One of the good things about this particular album is that the "hits" are fairly evenly spaced throughout, so there was never too long to wait for a real crowd pleaser.

Overall, I have to say, the album sounded great, the band really seemed to be enjoying playing it, and the crowd certainly enjoyed listening to it. After Doolittle, we were treated to a couple of encores - some more b-sides, and a couple of hits from other albums. This was a pretty expensive night out, to hear some admittedly fantastic music - you get the feeling that the Pixies could spend a good many years yet, just milking the cash from an adoring fanbase. Gig review here.

The Lemonheads, The Loose Salute - Forum, London - Saturday 19th September 2009

It never seems like often enough that The Lemonheads visit the UK. The last time the full band were over here was last summer, for an outdoor gig on a blazing hot day. Before that, the last time I had seen them was in a bar in Chicago, on a freezing cold December day. Although it always seems like too long between chances to see them, luckily they always seem to come back to play another gig - hopefully they will never retire.

The audience at this show, unsurprisingly, were a bunch of 30-somethings who were reminiscing 1992 by coming to the show. The support band, The Loose Salute, played their set to general indifference, given that few would have heard of them, and that they weren't all that similar to The Lemonheads in terms of their songs. But then again, support bands are fairly irrelevant at shows like this, it is all about seeing the main band.

So, after what seemed like a very long wait for the roadies to set up 3 instruments, the band appeared. Evan said hello, then they started playing Tenderfoot - a song which, when it is the first song of a gig, always bodes well for the rest of the gig. How good Lemonheads gigs are can depend on Evan Dando's mood when he is on stage - they only really vary between "utterly amazing" and merely "good", but how up for the show Evan is can have quite an impact. Luckily for this gig, he seemed to be having a good time! The first half of the set was drawn mainly from Its A Shame About Ray, Come On Feel The Lemonheads, and Car Button Cloth, before the band showcased three songs in a row from recent covers album Varshons. The highlight of the three for me was undoubtedly Layin Up With Linda, for which Evan's vocals were outstanding.

As is usual for Lemonheads gigs, there was a short acoustic interlude, where we were treated to Different Drum - a rare pleasure indeed. With the band back on, they finished up with a fantastic version of Rudderless. Fairly standard Lemonheads show - but when your standard is that good, its always going to be a good night. Please come back to London soon!

Setlist: Tenderfoot / Down About It / Confetti / Pittsburgh / My Drug Buddy / Alison's Starting To Happen / Style / Bit Part / Its A Shame About Ray / Big Gay Heart / Hospital / Layin Up With Linda / I Just Can't Take It Anymore / Dandelion Seeds / Its About Time / Hannah And Gabi / If I Could Talk I'd Tell You. Acoustic: The Outdoor Type / Frying Pan / Favorite T / Being Around / Why Do You Do This To Yourself / Frank Mills / All My Life / Different Drum. Encore: My Idea / The Great Big No / Rudderless.

Mumford And Sons, King Charles - The Scala, London - Wednesday 16th September 2009

Mumford And Sons gigs in London are like buses in London - you wait ages, then they all come at once. Only a few weeks since their excellent Borderline gig, the band were back, this time at the Scala for what is probably their biggest headline show to date. The show had actually been set for April, and almost sold out since then, so it is fair to say that anticipation was high. You know you are getting somewhere as a band when there are touts outside your gig, and by this yardstick, evidently Mumford And Sons are starting to get big.

Inside the venue were a lot of what seemed to me to be London students - lots of checked shirts, cardigans and floppy haircuts, and a fair few female fans. I wrote after their Borderline gig that Mumford And Sons reminded me of the Magic Numbers in the early part of their career - and the crowd at this gig definitely seemed to bear that out. There were lots of couples there to see a band that will probably become a very acceptable band to take a girl on a date to see.

Anyway, enough about the audience. I managed to catch a few songs from the main support band, a band whose name makes them quite difficult to find with a simple Google search. King Charles isn't the easiest band name to find online, but there we go. Their singer was wearing a very tight and bright stripy leotard type thing - and with crazy dreadlocks, he looked generally very "alternative". No, actually, he looked like a total state. So, at first glance, I thought "I am going to hate this lot" - which meant it was a very pleasant surprise when I heard their songs. They played some decently catchy, quite funky songs, with a drummer that looked a bit like Boris Johnson, and this singer leaping madly around the stage. He generally seemed a bit needy of attention, and everything he did screamed "LOOK AT ME" - but the songs sounded good, and that's all that matters I suppose.

By the time Mumford And Sons ambled onto the stage, there had been quite a wait since the support band, which meant that the anticipation had built to quite a level. They walked on stage, and stood fiddling with their instruments for a minute or so, as the spontaneous cheers and applause filled the venue - without them even having played a note. When they did play a note, it was to kick off with the incredibly powerful and atmospheric Sigh No More, the title track and opening track from their new album. The way that this (like many of their songs) starts off quietly, then builds to such a rich finale, can send a shiver down your spine when you are watching and listening. Fantastic band.

This was one of the first gigs where the band have been touring their album as such, so it gave a good opportunity to hear how those excellent early demos and EP tracks have been translated into an album. They had an extra 5 musicians at the back of the stage, so the sound was definitely deeper and more complex - but for me, this took something away from the beautiful simplicity of 4 people playing acoustic instruments. In a way, the extra musicians added bits to the songs, and meant that the real band had to work a bit less hard - but it seemed to take away from the intensity of it all, to some degree. Still, with songs as good as they have, I'm sure their album and their live set will win them a huge number of fans on this tour. I'll definitely be aiming to come back, the next time they play in London.

The Hold Steady, Nic Dawson Kelly - Islington Academy, London - Thursday 10th September 2009

After an enforced travel ban, during which I haven't been to America for 9 months, a Hold Steady gig was always going to make me nostalgic. As part of a short trip to the UK to play the End of the Road festival, they also managed to find time to squeeze in a London date - and it was a relatively small one, at Islington Academy. Knowing that when they are in London, they stay at the Jury's Inn around the corner from this venue, I couldn't help thinking that this played a big part in the choice of venue.

I got into the venue just in time to see a bit of the support act, a guy called Nic Dawson Kelly. He played typical singer songwriter fare, leading with his guitar and some interesting sounding vocals. His voice didn't seem to be all that powerful or distinctive (although of course this could have been thanks to the sound), but a couple of the songs were interesting enough. Whilst his set was going on, the venue was slowly filling up with a few hundred balding men in their 30s or above - just the core audience for a Hold Steady gig then!

When the band arrived on stage, it was pretty obvious from the outset that they were very up for the gig, and were on very good form. Kicking off with Constructive Summer and Hot Soft Light, the venue became suitably hot and sweaty within five minutes of them starting the show - and of course, that was the way it all continued. Just what the doctor ordered. The band seemed to be having fun from beginning to end, so the gig became one large party, soundtracked by Hold Steady songs.

We also got to hear a couple of new songs in this set - a couple of which sounded really rather good indeed. Presumably this was a warmup for their festival set a couple of days later, but hopefully the new songs may mean there is a new album coming in the not too distant future. Good though the new stuff sounded, it was the old favourites that really sent the venue crazy, Your Little Hoodrat Friend in particular seeing bodies flying around at the front. As the encore drew to a close (including a rare treat of a rendition of How A Resurrection Really Feels - one of quite a few songs from Separation Sunday that were played), Craig Finn left us all with the words:

We're The Hold Steady, you're London, England, and we fucking love you.

On this showing, there is an increasing number of committed people that love this band too. This was a relatively small gig for them, but their fanbase seems to keep on growing in size and fervour. Quite justified it all is too, The Hold Steady on their day can put on a live show that few bands can top. This was one day where they were on incredible form, and it was a fantastic gig as a result.

Setlist: Constructive Summer / Hot Soft Light / Multitude of Casualties / Magazines / Our Whole Lives (NEW) / Sequestered in Memphis / The Swish / Massive Nights / Party Pit / Goin' On A Hike (NEW) / Stevie Nix / You Can Make Him Like You / Heaven (NEW) / Sweet Payne / Same Kooks / Separate Vacations (NEW) / Little Hoodrat Friend / Stay Positive / Slapped Actress. Encore: First Night / Stuck Between Stations / How A Ressurection Really Feels / Killer Parties.

Mumford And Sons, Alan Pownall - The Borderline, London - Monday 24th August 2009

After what seemed like a while waiting, the wonderful Mumford And Sons finally played a London headline gig, in the intimacy of the Borderline. I had first got into them a year ago, seen them play a short set at Pure Groove records back in December - but then fate had conspired to make me miss all of their London dates since. With their gig at The Scala next month sure to be a triumph, this was a great chance to see them somewhere smaller first - in front of what looked like an audience of family, friends, and diehards.

Support came in the shape of a short set from Alan Pownall, a long time friend of the band. I say "short", it probably lasted no longer than 20 minutes, to the extent that a trip to the bar accounted for most of it. He played quiet acoustic songs, to a mainly respectfully quiet audience. It all sounded good enough to me.

Mumford And Sons took the stage at 9:30pm sharp, to a wild reception. They kicked off with the title track from their forthcoming album, Sigh No More, immediately followed by lead single Little Lion Man - both of which got the crowd going nicely. Of course, many of their songs follow a similar format, starting quietly with vocal harmonies, then descending into a riot of loud vocals and instruments, before ending suddenly. However, this never seems to get boring in the slightest, such is the hard work that all four band members put in - switching instruments, and generally doing a number of different things on any one song.

At times, this gig reminded me of some of the early Magic Numbers gigs I went to - a very tight band, with vocal harmonies, songs that sound instantly familiar even on the first listen, and a feeling that the band is about to become pretty famous. I would certainly be surprised if Mumford And Sons aren't very well know in a year's time. Tunes like Roll Away Your Stone and Dust Bowl Dance show that as well as the folky stuff, the band can also provide the soundtrack to a party.

The best thing for me about this gig was hearing some of their songs for the first time - like Timshel, Thistle And Weeds, and encore Whispers In The Dark. The last of these was an unfinished new song, that showed what the incredible future for this band might be like. A true indie rock classic, it deserves to see them see significant success. I'm really looking forward to their Scala gig next month now, but was really pleased to see them at this gig - if there is any justice in the world, it will be one of their last in a venue this small.

Kasabian - Brixton Academy, London - Thursday 16th July 2009

Five days after seeing Kasabian blow away a packed Wembley Stadium in support of Oasis, it was time to see them play a headline show of their own, in a much smaller venue. In London, this was one of what seems like increasingly rare opportunities to see them in venues as small as Brixton Academy, as they are stepping up to arenas now. So, a chance not to be missed. On what was an absolutely baking hot summer day, the humidity levels had crept up to an almost unbearable level, even before getting into the venue.

Once inside, it was hotter and even more humid - definitely the hottest gig of the year for me, and rivalling the hottest gig I've been to. One of those where you go to the bar intending to get a beer, then decide that a Coke might be more useful, and you actually end up getting a Coke and a pint of water. I know, lightweight. Not for the first time at a Kasabian show, I was offered pills on several occasions, by scally twats in tracksuit bottoms - maybe showing that the band are the natural successors to the Stone Roses as well as Oasis!

So the set itself - it was pretty similar (although obviously longer) than the set they played in support of Oasis, starting off with an incredible version of Underdog, the bass of which ripped through your stomach. Shoot The Runner and Processed Beats provided the old stuff in the early part of the set, but much of it was of course about showcasing the songs from the new album.

The best of those songs, judging by the 2 sets I've seen this week, is undoubtedly Fire. A real crowd singalong favourite, and a song that works excellently both in the recorded and live versions, it is one of those that has people singing the riff long after the gig is over. Like LSF in that respect, but different, more complex, and possibly better. All in all, an excellent set from an excellent band, who are getting huge before our eyes.

Oasis, Kasabian, Reverend & The Makers - Wembley Stadium, London - Saturday 11th July 2009

Occasionally, Oasis decide to do a series of absolutely massive gigs, and 2009 was decided to be the time for the latest set. With Kasabian and The Enemy supporting on every date (in theory), and 500,000 tickets selling out in a few hours, they really do still know how to do these things on a ridiculous scale, and to shift an awful lot of concert tickets. In the UK, there are still few that can match them.

Obviously, one thing about Oasis gigs, especially big ones, is that they can tend to be full of complete tossers in the audience. A Saturday at Wembley Stadium was always likely to live up to your worst expectations on this particular score. That, coupled with a light but determined drizzle, could have made this something of an annoying day. So, it was all the more fantastic to get into the Golden Circle at the front of the standing area - offering protection from the worst of the rain, and from the most idiotic of the crowd, piss throwing and all.

Reverend & The Makers were the first band of the day, a band who I'd seen once before, on home turf a few years ago. I wasn't very impressed with them then, have been largely unimpressed with their recorded output since, and was not terribly enamoured with them tonight either. They do have a couple of decent songs, Heavyweight Champion of the World being the obvious standout - and their live show definitely seems to add something to the songs as they would be on CD. That said, what they do still doesn't really grab me - I can see how they would be entertaining at a festival, but can't ever really see them attracting huge crowds to their own gigs - their songs just don't seem good enough for that.

Next up were The Enemy. Oh, hold on, The Enemy pulled out of a gig, AGAIN. They are starting to look like the Pete Doherty of the modern era, pulling out of shows all over the place - this being the second on the Oasis support tour alone. Now fair enough, people occasionally get ill and can't play gigs - although when you look as pasty as The Enemy, eating some fruit and veg might be advisable to avoid getting ill quite so often. But when you hear that they played a great set at Somerset House the previous night, then hit the aftershow party, and were fine to support Oasis on the Sunday at Wembley - that just sounds like a hangover, which is not really being very respectful to anybody. Not to the fans that paid good money to see The Enemy play, and not to Oasis who gave them a great opportunity to increase their fanbase. Quite what they were playing at, crying off probably the biggest gig they've ever played, I'm not sure. Poor show, and if I were Oasis, I might not invite them back in a hurry. Such a shame, because when they do show up, they are really good!

Still, every cloud has a silver lining, and in this case, the silver lining was that Kasabian got to play a longer set to fill the time. So, we headed into the Golden Circle, and before too long, the opening riffs of the amazing Underdog started booming from the speakers. This kept going for a good couple of minutes, building the excitement nicely before the band came on stage and launched into the song proper. A fantastic opening song it is too, and of course it was immediately followed by the likes of Shoot The Runner to build the crowd up more.

As the set went on, you were reminded of just how many decent singles Kasabian have made across their 3 albums. Their latest album of course provided most of the album tracks to fill out the set, but these were all pretty decent, the highlight being a raucous version of Fast Fuse. But it was the singles you had almost forgotten about, that provided the most excitement when they appeared - songs like Empire, latest single Fire (which sounds absolutely incredible live), not to mention Club Foot and LSF. All in all, this was a fantastic set, probably one of the best support sets it is possible to see, and it would have eclipsed most headliners.

Oasis, however, are not like most headliners. When they are on form as they were tonight, they are one of the best live bands it is possible to see. I guess it helps that I liked them from the start, and that I was at University during the 2 years when they were the biggest band in the world, but still nobody can do it quite like them. Songs like Roll With It and Live Forever made welcome returns to their setlist this time, and My Big Mouth was being played live for the first tour in a while. It was a largely brilliant setlist, there were always songs that could have been added, but what they played sounded great.

Noel Gallagher thought it was a good night also, writing later:

"Saturday was altogether a different kettle of fish. What a night. One of THOSE nights. What an atmosphere! It pissed down but that only added to it. Easily one of the best nights ever. There was some moments, let me tell you. If you were in that crowd, and if I wore a hat I'd doff it in your general direction. I wouldn't go as far as Mr Bruno saying, "You're the best fans in the world". As Arsene Wenger once said, "Everybody thinks they have the most beautiful wife", or even more ludicrously (is that a word? ..it is now!!), "You're the best human beings in the world!"?? Nonsense! My kids are the best human beings in the world. Fact. BUT the version of "Don't Look Back In Anger" was very special indeed."

This was a fantastic show from a great live band, made all the better for me by that magic Golden Circle wristband. This made the show like being in a 2,000 capacity venue to see Oasis, which is a rare treat. The fact that there was a stadium of 80,000 people behind you, just made the stage show and sound even bigger for the benefit of those at the front. The performance of the band, and my experience on the day, mean that I'll remember this one for a long time. One of the better stadium gig experiences you could wish for, that's for sure.

Setlist: Rock 'N' Roll Star / Lyla / The Shock Of The Lightning / Cigarettes And Alcohol / Roll With It / To Be Where There's Life / Waiting For The Rapture / The Masterplan / Songbird / Slide Away / Morning Glory / My Big Mouth / The Importance of Being Idle / Half The World Away / I'm Outta Time / Wonderwall / Supersonic / Live Forever. Don't Look Back In Anger / Falling Down / Champagne Supernova / I Am The Walrus.

The Killers, The Kooks, Howling Bells, Passion Pit, Air Traffic - Hyde Park, London - Friday 26th June 2009

With a 4 month old baby, Glastonbury is obviously out of the question for this year at least. So, to get a safe, clean, nearby and non time consuming festival "experience", I headed for Hyde Park, for one day of Hard Rock Calling. Having already announced Neil Young and Bruce Springsteen as headliners (following in the vein of their usual super oldies like Aerosmith, The Police, and The Who), it was slightly surprising to see a third day announced, with The Killers and The Kooks headlining. A "full supporting bill" was also promised, which then disappointed as a few uninspiring bands were grudgingly announced about a fortnight before the show. In any case, it was a gloriously hot day, so a decent opportunity to sit in the park.

I arrived just in time to see Air Traffic's set on the second stage. They have obviously been writing a few new songs in the last couple of years, which sounded like they were very much in the same vein as their debut album. The set was a good mix of new and old - whilst they worked the crowd very well, and sounded OK, they didn't really inspire me. I have compared them to Keane before (with the improvement of adding a guitarist and some guitar based songs), and I would completely stick by that assessment on this showing. Interesting to watch, sounded nice, would fit really well on Radio 2, but no more exciting than that. Maybe my general disappointment when I see Air Traffic is mostly my fault for expecting something more "rock and roll".

After Air Traffic, I moved back into the sunshine of the main stage, where Passion Pit were playing. I had heard good things about them, and was interested to see what they were like. Overall, I was impressed - they reminded me of an interesting cross between Black Kids and MGMT - playing songs that combined indie rock with an element of a dance beat. All in all, they had a fair few decent songs, and sounded like a band that are perfect for festivals. Hopefully many people will walk past their sets this summer, and be suitably impressed. As well as that, I also thought they would probably sound incredible in a small indoor venue, their gigs are probably real party events.

An excellent Passion Pit set over, the next support band were Howling Bells. I have heard some (but not all that much) of their stuff, and was interested to see them live. Generally, I was reasonably impressed, but not much more enthused than that - I would certainly not be walking over broken glass to get to a Howling Bells gig any time soon. They were fine, they passed the time, the odd song stood out as being better than the rest - but they just didn't really grab me any more than that.

Next up were The Kooks, who predictably prompted lots of screaming from the zillions of teenage girls that had by now entered the venue. Putting The Kooks and The Killers on the same bill is always going to attract that particular demographic I suppose - this was generally a very safe, very middle of the road gig. That said, I was surprised how good I thought The Kooks were, they seemed to be well fired up for playing the gig, and they all bounced along merrily throughout. The set never really seemed to dip for the whole hour, and that length was just about right to not need to include any of their weaker songs. The girlies loved them it seemed, and I thought they sounded good also. They are now a band where you think "where do they go from here" - they are pretty big, but not likely to be selling out a gig like this as headliners, and with the added risk that people will just get bored of a third album of the same kind of music. We will see.

Finally, The Killers - it wasn't even dark properly when they came on stage, which meant that the show definitely improved in atmosphere as it went on and got darker. They started with Human, which seemed to go down a treat - one of the songs from their third album with which I'm not really very familiar. The set overall seemed to play most of that album (I could tell when a song started that I didn't know, that we were listening to something from the new album), so most of it got an airing. As well as that though, there was plenty of room for the stuff I went to see - basically their first album! The set seemed to abruptly switch after about an hour, when the band totally stopped playing any new songs, and turned instead to single after single from their first two albums. Almost like 2 sets - a "new album" set, and a "greatest hits" set. I preferred the second, of course, but the first wasn't half bad either.

Kings Of Leon, Glasvegas - O2 Arena, London - Tuesday 16th June 2009

With a free evening on the horizon, I headed to Scarlet Mist, to see what if any gig I could pick up a late ticket for. I was very excited to see a Kings Of Leon show, with Glasvegas supporting them - but less happy that tickets seemed to be like gold dust. Nothing on Scarlet Mist over the week or so I was checking, and tickets being touted for silly prices on eBay. So, I was rejoicing when, having almost given up hope of getting a ticket, one popped up. A couple of quick emails and texts later, and it was mine. All good stuff.

Before the gig, I headed down to the O2 early, to have a bit of a better look around - last time I'd been there, I'd been whisked in and out, and not really had much chance to nose around. The venue is like a little piece of America, with seats like a big multiplex cinema, and lots of identikit eating and drinking places. Nando's, check. Frankie And Benny's, check. More than one Starbucks, check. A minimum of Four English Pounds for a beer, check. The American owners must be very proud, they have created the ultimate corporate venue, in the richest market in the world for that kind of thing.

Anyway, with the £4 beers, I got settled into my (very comfortable) seat for the show. Glasvegas were on first, and although they played an excellent set, it got lost a bit in the hugeness of the venue. There seemed to be a few people up at the front who were getting into what they were doing, but for everybody else, it looked like something vaguely exciting that was happening a long, long way away. The lights were up a bit too high (maybe to help thousands of people find their way to their seats), the air conditioning was on full blast, and the sound was echoing around the venue. If you didn't already know and love Glasvegas, you wouldn't have been converted by seeing them here (and through no fault of theirs). Even for a convert, it was a struggle to enjoy their set from half a mile away.

Kings Of Leon, on the other hand, were altogether much easier to enjoy. The venue filled up by the end of their first song, and although there were a lot of what you can only describe as "new fans" (you know, the kind that had heard Sex On Fire on Capital Radio, and decided to come along), the atmosphere was pretty decent. They opened with Closer and Crawl, before throwing in a load of songs from their first 2 albums. California Waiting, which had been missing from the previous night's set, made a most welcome appearance as well.

Generally, when you watch Kings Of Leon playing live, the thing that strikes you is how damn good they are. A few years ago, they were a well kept secret - now, with 3 sold out nights at the O2, and festival headline slots, they seem to have accidentally become one of the biggest bands "in the UK", (at least for UK audiences), and have attracted a crowd who seem to hang on every word from all four of their albums. They have undoubtedly courted the mass market recently, and it seems to have responded, in a big way. Sex On Fire is the biggest selling download track ever, and that is a huge achievement for a guitar band - KoL are a real mainstream band now.

Anyway, this was a very accomplished gig as expected, from a band that are now well and truly in the big league. Apparently their home country is also starting to realize what a great band they are now, so they will be busy in the Autumn, touring US arenas. We can only hope that they remember how well their UK fans have treated them, and helped them on their rise - we hope to see them back soon.

The Enemy - Brixton Academy, London - Saturday 11th April 2009

So, after a recent false alarm, where I got to find out what a down to earth and decent band The Enemy are, I finally got to see them play some of their songs. Their cancelled gig in Tunbridge Wells proved that they care about their fans, and seem to really be aware of where they have come from. This gig, though, was one of the biggest on their pre second album tour - one where they could revel in the acclaim that being in a big rock band brings.

The band started the day appearing on Soccer AM, where again they underlined their "nice, humble, normal bloke" credentials. They seemed really in touch with reality, and very much sticking up for their home town. They said how honoured they were that Oasis were playing Coventry, when they didn't really need to; Tom talked about how he bought a Coventry built Jaguar that his grandad worked on building; and about how they sponsor local football and rugby league teams. Lastly, they talked about how they actually have some respect for people on TV talent shows, because at least they get young people listening to music. All in all, a very grounded band, in touch with the normal people in their fanbase.

Anyway, on to the gig. Brixton Academy was a sellout for 2 nights, although judging by the ticket prices from touts outside, and the amount of space available inside, it was one of those Brixton sellouts that wasn't quite as busy as it could have been. Busy enough for the bar queues to take a while, of course - but there also seemed to be quite a few couples there. I got inside just in time to catch the end of the support band - Twisted Wheel, who seem to be popping up all over the place lately, and are no less mediocre for it. The song I heard was pretty dull, and generally they are one of those poor bands that survive for a while under the patronage of Oasis - but I really don't get why anybody would like them.

The same cannot be said of The Enemy, who played what I thought was a fantastic set. They only played for 45 minutes - an hour with the encore - but every minute was really enjoyable, they definitely left the audience wanting much more. Their guitars sounded fantastically grinding, and the songs rocked out that much more live. The band and especially singer Tom seemed to be really up for the gig, which always helps of course. Highlights for me were a really rocky, anthemic version of Happy Birthday Jane during the encore, and This Song, which had everybody singing every word.

The fact that, for a lot of their better known songs, people seem to know and sing every word, really reminds me of Oasis 15 years ago. Tonight's set was drawn mainly from their debut album, with a few tracks from the new album. These new songs seem to comprise a lot of anthems - songs you can imagine people singing as they fall out of pubs. That, along with their common touch and the way they connect with their fans, make me think that they could become absolutely huge in the next 18 months. That would need luck, of course, as all bands do - but the support slots for Oasis, the quality of the new songs they played tonight, and the fact that they seem to have captured the mood of large sections of the population, mean that they could well be the next "band of the people". On tonight's showing, with their excellent songs, and their great live show, they look like they would deserve it - it couldn't happen to a nicer band.

Stereophonics, Noisettes - Royal Albert Hall, London - Thursday 26th March 2009

I wouldn't normally do this, but I went to see Stereophonics. A mate had a spare ticket at the last minute - and, needing to get out of the house, I went along. Not exactly my favourite band - although I liked their very early stuff - and this was the first time I'd been near one of their gigs since walking past their encore at Reading 2000. Tom Jones was on stage with them that evening, which they probably don't do at every gig! This show was for Teenage Cancer Trust, at the Royal Albert Hall, so a great cause in a fantastic venue.

The support band were Noisettes, a band I walked past when they were supporting somebody a couple of years ago, but who sounded crap at the time. They had a number of decent support slots, most notably Muse, but just didn't go down very well at the time. This time, they seemed like a totally different band - much better. They were fronted by a very tall black woman, who jumped around the stage quite energetically - even falling on her arse at one point. They played a decent half hour set, including their very catchy single Don't Upset The Rhythm, and another standout track called Never Forget You. Really enjoyable set, they are a much improved band since 2 years ago, and they look like they are about to go quite big.

After some inspiring videos of people who had been helped by TCT, Stereophonics arrived on stage. They started off with a couple of excellent old songs, More Life In A Tramps Vest, and A Thousand Trees. All in all, they played quite a bit of material from debut album Word Gets Around, which seemed to be well received by the audience, me included. It reminded me how good their very early material is, in contrast with how bland much of their radio friendly later stuff can be.

One thing about Stereophonics is of course that singer Kelly Jones has a fantastic and distinctive voice, without which they would undoubtedly not have survived as long as they have. Some of the songs are good, some are average, but it is his voice that lifts the band above others that weren't as successful. The audience at the gig surprised me - lots of them seemed to be incredibly excited to be there, as if Stereophonics were their favourite band in the world. I guess I shouldn't have been surprised, but it was a bit of a weird thought. They have a few nice songs, but I can't imagine how you could say they were your favourite band. Whatever you could like about Stereophonics, there is another band out there that does it better, surely?

The highlight of the gig for most people, and a low point for me, was when they played Have A Nice Day - the audience were all on their feet, with hands waving from side to side. The song is a crime against music as far as I'm concerned, absolute middle of the road daytime radio dirge. Ok, it was one of their most famous songs, but really, it is incredibly dull and wet.

But it wasn't all like that - they of course played the radio friendly rubbish, but there were plenty of obscure songs like Goldfish Bowl, and early album tracks like Same Size Feet. All good stuff. The show ended with Local Boy In The Photograph, before a 4 song encore which finished with the excellent Dakota. A good way to finish what was a long set at almost an hour and 45 minutes.

Despite not being a huge Stereophonics fan, I was glad I went to this show - they clearly have a hefty catalogue of big singles, so you are always going to hear a lot of songs you know. I still think that they are a band who made a great first album, then sold out to get themselves played on Virgin Radio all day long. Since then, they have written a few songs that have got close to their early heights, and as long as they keep playing them live, they will probably keep playing to lots of people for years to come. I find it quite hard to get excited about them, but they have been around long enough now to deserve a bit of respect at least.

A New Arrival - University College Hospital, London - Tuesday 3rd March 2009

Just before half past midnight on Tuesday 3rd March, after a labour that lasted just over 24 hours, my first child arrived - a beautiful baby daughter weighing 7lb 8oz. We called her Julia. She means that gigs, football and travelling are off the agenda for a while (travelling had already been banned for a month), and will be coming back only gradually! Therefore, I won't be updating this blog very much for the next month or two. Even in Julia's first week, gigs by Mumford and Sons and The Maccabees, plus Arsenal vs Burnley, have all gone by the wayside - there will be many more I'm sure.

The Enemy - Tunbridge Wells Forum, Tunbridge Wells - Friday 27th February 2009

This was the gig that never happened - for a very stupid reason on the face of it - but in reality it was only ever due to happen in the first place because this band care more about their fans than almost any other.

It all started when The Enemy - the band that are supporting Oasis this summer, and who (along with fellow support band Kasabian) probably embody the descendent of the Oasis musical family tree better than anybody - decided that they would play a series of 5 gigs in small towns. Presumably some kind of canvassing happened before they decided on the towns, but Tunbridge Wells was the "representative" from the South East of England.

Not only that, but the Forum in Tunbridge Wells was the chosen venue - admittedly, there aren't an abundance of choices, but there we go. The Forum is a fine choice, a venue that has been around for over 15 years - putting on lots of mediocre touring bands, the odd band (like Oasis, Coldplay, and most recently The Kooks and The View) who did OK; and simultaneously giving lots of local kids a venue to watch bands in, and lots of local kids who picked up a musical instrument a place to play. So, a great thing that a band like The Enemy were coming to a place like The Forum.

The venue was announced at 9am on the day of the gig, and the first 50 people to email a specific address got a pair of tickets. All exciting stuff, and as well as me getting lucky, half a dozen friends also did - so we were set for a good crowd at the gig. The rest of the day was spent getting excited about it, and (for me) getting the train down from London to Tunbridge Wells after work. It was during that journey that I got a bad phone call - the gig was cancelled because Tom had hurt his hand riding a bike. Most annoying, and you suspect that their Wembley Stadium Oasis support slots will not have the same misfortune! Still, it was a free gig, so whilst disappointing, it wasn't the end of the world.

As 10 or so of us were in the pub getting over our disappointment, somebody was on the phone, waving frantically at the rest of us. He had Tom from The Enemy on the phone, calling personally to apologise for cancelling the gig, and saying to go along anyway to have a drink with the band. Incredible - and over the next 20 minutes, the rest of us all got calls from members of the band. Mostly from Tom, although mine was from Liam, which was slightly disappointing, especially when all of your mates are getting calls from the main man! So, they cancelled the gig, but then called everybody to say sorry. This being a 50 person task made it all the easier, plus the fact that they had everybody's mobile numbers - but still something I don't think you'd get Pete Doherty doing when he cancels a gig.

So, we all went to the venue and got a beer. One of The Enemy's mates was DJ-ing on stage, and it was a bit weird inside - a full crowd there, looking towards the stage, in the full knowledge that no band was going to be playing. Then, at about 9:30, the band showed up. Tom took to the stage, apologised again for cancelling, and said that there was a drink for everybody at the bar. Again, something that not many bands would think to do for their fans - so full marks to The Enemy. The band stayed around for a good hour afterwards, talking to everybody, signing autographs, posing for photos, and making vague promises to try to reschedule (we shall see!). All in all, they really made the effort to try to make up for cancelling the show, and those that waited in the venue I suspect now have a lot more respect for The Enemy. Well done to them for "keeping it real". If they can reschedule the gig as well, that would be the icing on the cake.

Glasvegas, Friendly Fires, White Lies, Florence & The Machine - Brixton Academy, London - Saturday 21st February 2009

This show was the finale to the now traditional NME tour, which takes some of the best new bands out around the country. At least, the best new bands in NME's opinion, that they are actually able to book. This often provides the chance to see absolute gems of bands like Arctic Monkeys, Maximo Park, and The Cribs - but also gives the dubious pleasure of The Horrors, Joe Lean & The Jing Jang Jong, and other bands that may have seemed like a good idea at the time, but rapidly start to not look so clever. However, the line up this year looked like the best for a few years, at least at the time the shows happened.

First band of the evening were Florence & The Machine, a six piece who were fronted by a tall ginger woman. She ran on stage wearing an incredibly short skirt, revealing that about 2/3 of her height was made up of legs. She was fresh from winning the Critics Choice award at the BRITs the previous week, and has appeared in virtually every list of the acts that will do well in 2009. So, expectations were high.

Florence & The Machine's set was possibly the one I enjoyed most in the evening, partly because my expectations were comfortably exceeded. Her voice was nothing short of incredible, and it is this that really is the standout thing about the band. The songs were decent enough, but Florence is the kind of singer who can make a song that is merely "good", sound "great". She also seemed to have a good rock and roll spirit, dancing crazily around the stage, throwing flowers into the audience, and generally seeming to enjoy herself. The band finished on a fantastic cover of You've Got The Love, a song that you need an amazing voice to do justice to - and they blew the roof off the venue. A really enjoyable set, far too short when it finished after half an hour.

Next up were White Lies, who I'd seen a few months ago and really liked. Since then, they had scored a number one album, and started to sell out headline gigs in decent sized venues. Their set was therefore totally expected in its excellence - their sound was again massive, and they really play with a confidence that they expect to be playing big venues very soon. The comparisons with The Killers, Joy Division and Interpol are all obvious - perhaps the quality of their songs is the only thing I'm still not sure about. There was a great moment in their set when Florence (minus the Machine) ran on stage to duet on a chorus, then dived into the crowd when she was done. Despite the fact that the 2 singers were in a completely different key, it was a good cameo. So, a great set again from White Lies, they are a sure bet to be back at Brixton as headliners later in the year.

The final support band were Friendly Fires, who are not really my cup of tea. I'd seen them at the Camden Crawl a couple of years ago, and whilst they make a nice noise, I wasn't totally enthused. I'm not generally much of an "indie rave" fan at the moment in any case, which means I'm always going to be unlikely to like them. What was hard to understand at this gig was why they were on the bill (other than it being a collection of decent new bands) - because the contrast between them and White Lies or Glasvegas was huge. Still, a testament to the eclectic nature of the NME Tour I guess. Their set was decent enough, but just not my cup of tea really - although I suspect at a festival, they would be much more enjoyable.

So, finally, Glasvegas. Their live shows and their fantastic debut album had ensured that they were rightly headlining this tour, but the event seemed to be a bit of a disappointment for me. The "wall of noise" wasn't there (and generally the bands seemed to be a bit quiet tonight). That took a lot of intensity away from the set, and meant that, whereas previously the guitars could have almost literally blown you away, they were now just one part of the songs. Also, there were a lot of non-believers around me, by that I mean people who didn't really seem to "get" why Glasvegas are so hyped.

Having said all that, of course it was an enjoyable set, kicking off with Geraldine, starting to wind down with Go Square Go, and finishing up with Daddy's Gone - fantastic songs all of them. But, I just felt that something had been lost in the band's transition to the bigger venues they undoubtedly deserve to be playing - some volume, some intensity, and a bit of the excitement of knowing that everybody in the audience was converted to the excellence of Glasvegas. Good gig, but I hope that some of these things return before I see them next.