As the Junction slowly begins to fill, indie’s future kings, Video Nasties, take to the boards, filling the venue with 80’s influenced synth pop dance tunes with more heart and energy than should be humanly possible. Sounding like Razorlight (before they went all MOR) on acid is never a bad thing, and the way these boys do it means Video Nasties are possibly one of the best young bands to be emerging from the capital right now.

Stepping on stage next is Wild Beasts, a four piece from Kendal and Domino Records’ new signing. Any hopes that they’ll be of the same quality as any of their label mates are soon dashed, though, as they make their way through their first song. It’s like your French teacher’s misread the NME, thought Mika was cool, squeezed into skinny jeans and persuaded his three least dignified colleagues to join him in somehow blagging a support slot with one of Britain’s brightest stars. In other words, one to avoid.

After this disappointment, Jack Penate is bound to seem brilliant. Getting straight into former single Spit at Stars, it doesn’t take long for both the crowd and artist to get moving. Trademark crazy dance moves are thrown in at every opportunity as Penate moves seamlessly through songs from his forthcoming debut album Matinee. Although many of these are as yet unreleased the crowd can still be heard singing back every word, particularly to favourites Learning Lines and Made Of Codes. In between songs, the singer gazes in amazement and declares the gig the ‘maddest of the tour so far’. And mad it is, as the immaculately dressed audience dance and jostle to every beat, showing just why this boy from South London is being hyped quite as much as he is. Before we know it, thank yous are uttered and Penate’s biggest hit to date is underway, with the crowd singing the first verse alone, whilst on stage disbelieving grins are exchanged between the band. After a sublime rendition of Torn on the Platform, Penate and his boys leave the stage, coming back a minute later for three more songs including a cover of Beat International’s Dub Be Good To Me and ending with crowd favourite and debut single Second Minute or Hour, a final chance to dance like a lunatic, before the stage is emptied for good to chanting and cheering from an audience of very satisfied customers.

Writer: Rhian Daly

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