Ambiere’s opener is a mesmerising fusion of fairytale grunge and ethereal dance, where beats collide with her stunning, otherworldly vocals. Moving across the stage with a playful, unrestrained expression, it’s as though she is swept away by the music in the solitude of her bedroom. Each track builds layer upon layer – programmed beats and shimmering synths intertwining with vocals that are rich, flexible, and deeply emotive. Thea lingers in a dark, brooding undertone before soaring into a breathtaking chorus, her movements mirroring the rise and fall of the soundscape. Sleep has a touch of raw intimacy, gorgeously profound and transcendent, as her daughter’s sampled delicate laughter weaves beneath hypnotic vocals and minimal beats. She closes with an EDM-infused beauty, a slow-burning build that erupts into a euphoric finale. For a fleeting moment, there’s an endearing awkwardness as she twirls across the stage, but the crowd’s warmth lifts her higher, and by the final note, she’s fully immersed. A spellbinding performance from an artist destined for big things.

Fig By Four’s live show is a masterclass in controlled intensity. Sarah Statham commands the stage with the same assured energy that made her album, Capture Reveal, such a striking debut. The band’s eight-song set seamlessly shifts from soft, melodious indie-rock to upbeat grooves that are righteous and robust. Only Skin is a gorgeously subdued indie-folk delicacy, Statham’s expert musicianship ever present in her delivery. Mea Culpa brings a crunchy, rock-driven edge, while Lifejackal drifts into a dreamlike haze. A captivating favourite, Plunge builds from a subtly dark groove, expanding with spangly synths and showcasing Statham’s finesse – her lush guitar is just as melodic as her vocals. Momentum builds with each track, each one leaping out with emotional vibrancy. There’s something magical about it – Statham’s voice glows with warmth, lingering long after the final note fades. Authentic, confident, layered, and utterly compelling.

From the very first note, it’s clear this isn’t just any post-punk gig. And at just a fiver, it’s an absolute steal for a band firing on all cylinders. Loose Articles open with Mr Manager, a track that sees them take aim at a rubbish, micro-managing boss, with some spacey synth whooshes and an unrelenting bass hook. It’s brash and playful, the crowd immediately drawn in. Next up is Buses, with its thrashing and fearless vocal assault that caught Dave Grohl’s attention last year, resulting in them supporting Foo Fighters at their biggest show to date.

Their branding looms large with a massive Stella Artois-inspired logo hanging behind them, a bold emblem of ladette energy and a clear warning: don’t mess with us. Sinead Loves Bitcoin takes a bizarre real-life mishap, with band photographer Sinead Ferguson’s Instagram getting hijacked by Bitcoin scammers. The live result is a punchy, tongue-in-cheek anthem, and right on cue, Sinead ditches her camera duties, leaps on stage, and takes the mic to claim her stardom. There’s a sense of The Fall’s influence on Want, where Natalie Wardle’s unapologetic Mancunian lyrical skill delivery contrasts with Erin Caine’s quirky vocal flicks and a layer of groove. Following the skippy rhythm of Pinball John, the football chant turned feminist war cry, Kick Like a Girl roars in, swinging between edgy comedy and post-punk liberation.