As someone who spent three hours of Record Store Day, April 22, looping Manchester’s Northern Quarter, queuing for the vinyl release of Cabbage’s first LP, Young, Dumb And Full Of…, and having happened upon the band in a radio interview one year ago, it was a stirring prospect to see the city’s latest flagship success on one of its most prestigious stages.

The socialist savages have carved themselves a reputation for their fuelled performances, antics and all, which has overtaken the underground punk culture they’ve exposed; a quality which in recent weeks has backfired on their surge, in light of accusations of mid-performance controversy.

This adjusts expectations for their final tour-extension show at Manchester's Academy 2, layering it with implicit questions and an ever-present elephant, coming off the back of Dingwalls, London, and a homecoming set at The Witchwood, Ashton-Under-Lyne.

Jolting the capacity crowd with opening tracks, ‘Uber Capitalist Death Trade’ and ‘Necroflat In The Palace’, the noisemakers brim the room with their acidic energy, as swathes of the youthful crowd clatter and clamour along to the socio-political protest chants; smiles painted across faces. But something feels awry.

While the set is a broad tour of the band’s catalogue, exploring all four EPs via latest single, ‘Gibraltar Ape’, and a new grunge number (name unknown), the typically manic displays feel somewhat sterilised and conscious. Where they formerly had you claimed their own, submitting to the sonic rhetoric, unable to take your eyes off the uncontrollable circus show they unleashed, they now seem aware of the limit line in the sand, falling victim to recent antics.

With a crowd that could be seen to be jumping upon the latest Mancunian pop cult bandwagon, the five-piece are perhaps (inadvertently or not) adopting the mantle of the image and culture that their early noise arguably fought against, as their socialist declarations of inclusivity ironically attract the very Mancunian stereotypes that they criticise.

Recently questioned on Cabbage’s legitimacy, The Blinders, a punkadelic Manchester three-piece serially supporting Le Chou, commented that the criticism of Cabbage’s radio-friendly pop position misses the point, and that it is the very platform the band need, in order to get their political message across.  

Cabbage, a band whose song titles have unaccountably more artistic merit than most else, may no longer seem the troublesome bunch that embryonic fans fell in love with, cooking their socio-political quiche, and invading Media City in £1 suits ready to tackle Rad Mac. But a closing performance of first single, ‘Kevin’, is enough for me to realise that they’re the same old crazy we just can’t resist. Cabbage; the band I love, but sometimes struggle to like.

Less than a week after a huge Coachella show, playing the second UK date in a seemingly endless world tour, Future Islands are on good form, beaming as they step on stage. Enjoying the hard-earned and richly deserved success of a band who don’t seem to have stopped in over a decade and are coming good after an infamous Letterman performance in 2014.

Future Islands are currently touring The Far Field, their fifth album, released at the start of April. The Far Field builds on the success of its predecessor, Singles, their breakthrough album and doesn’t stray too far from the band’s now signature Synthpop-Disco-Punk sound.  

Opener ‘Back In The Tall Grass’ eases the Bank Holiday crowd into the show with its simple groove of drum and bass with dainty synths which drive Future Island’s sound, affording singer Samuel Herring the freedom to act every word. It’s a narrow venue, famed for The Who’s Live At Leeds show and live record of the same name from 1970, which plays into Herring’s hands. Everyone is close enough to see the whites of his eyes and feel his enthusiasm.

This is the third time I’ve seen Future Islands, but the first time at their own show, not at a festival. Here they create an atmosphere and intimacy, which you’d always expect in a smaller show, but they are particularly intense. This is in no small part down to Herring’s enigmatic and endearing performance.

He's now infamous for his exuberant dancing, punk-style chest beating (his chest must be purple by the end of the tour) and metal grunts. His theatricality and emotion while performing is very refreshing and has clearly struck a chord with fans leading to their growing popularity as the sold out tour indicates. He dances like no one is watching and it’s wonderful to see in such cynical times. The crowd erupts when they go into ‘A Dream Of You And Me’, a song that highlights the poetic lyricism of the band and Herring’s delivery is akin to a soliloquy.

However, it would be a disservice to Future Islands to merely wax lyrical about Herring. The Talking Clock could set its watch by drummer Michael Lowry and bassist William Cashion’s playing. They have the sonic rapport necessary for the rhythm section of any great band. Keyboardist Gerrit Welmers further adds waves of depth and atmosphere with his understated playing.

It’s one of those shows where you realise you’d forgotten how many great songs the band have. They play a Singles and The Far Field-heavy set list with a handful of older tracks that show the band's development. All The Far Fields material is well received, with new singles ‘Ran’ and ‘Cave’ as highlights. Herring’s gyrating to ‘Cave’ whips the crowd up and the soaring, ethereal synth and vocals on ‘North Star‘ are spine tingling.

’Seasons (Waiting On You)’, after its performance on The Late Show with David Letterman and subsequently going viral, arguably launched them to mainstream popularity and is always a fan favourite that prompts the Herring dancing mimicry reaching fever pitch with the eclectic holiday crowd.

With a 20 plus song set list, a lack of variety in style is noticeable, however the passion and enthusiasm of delivery is unsurpassed and very entertaining. As Herring croons in closer, ‘Little Dreamer’, “And as we say goodnight, I hold you close and tight” you can’t help but feel touched and impressed by Future Islands’ energy and sincerity. If it ain’t broke, don’t fix it.

Set list

Back in the Tall Grass

Time on Her Side

Sun in the Morning

A Dream of You and Me

North Star

Doves

Walking Through That Door

Ran

Balance

Before the Bridge

Cave

A Song for Our Grandfathers

Aladdin

Through the Roses

Light House

Seasons (Waiting on You)

Long Flight

Tin Man

Spirit

Encore

Black Rose

Vireo's Eye

Little Dreamer 

Quite a mixed bag of entertainment here tonight for the seventh Grrrl Crush night. Disappointingly the pub’s stopped doing all the cheese-related food it used to do but nipping out between acts for some isn’t a drama.

First to play are Girl Scout. Starting out grungy & moody theirs proves to be a short set that unfortunately deteriorates into very dreary and unfocussed territory. Quite what they’re about is a mystery & it’s time to seek out a pizza.

Timing-wise things are run pretty tight tonight so there’s little delay in Thee Girl Fridays moving in to occupy the performance space. Sound quality on the night is a bit ropey for them initially but probably only to be expected given the venue. That kazoo sounds pretty weird though. With a fully formed set of their own material (‘Too Much Of A Good Thing’, 'Big Knicker Twist') and a few choice covers (‘Camel Walk’, ‘Goo Goo Muck’) the quartet, with new drummer Liana fitting in nicely, have come on a lot since their initial gig just a few months back at the Girls Rock School showcase.

The crowd are certainly into the music and the performance, whooping it up at the end of every song and dancing about as best they can in the confined space. For some in attendance this could well have been their first exposure to the styles that Thee Girl Fridays dabble in but if they went away wanting more of it then they’ve been doubly well served by the band. Keep your eye out for them at the pre-fest gig for this year’s Franklin Fest, followed by a show at Glasgow’s McChuill’s in July.

Tonight’s final act was Vixxxionary. As it was still rather hard to get anywhere near the front of the crowd (cool that the event was a popular draw) I may be wrong in my assertion that this was a solo act – one girl and a drum machine/backing tracks. Either way the curse of the iffy sound was once more in effect and the first couple of numbers came over as uninspiring so it was time to head off and catch the first available bus. All things considered though this was a good night’s free entertainment so keep a look out for the next one.

The last time The Beatpack graced Edinburgh with their presence was in 1991. Having been away doing other things in the interim (see our interview here for details) their recent EP, Back, Behind And In Front was a record which needed to be taken out on the road and so Edinburgh’s premier club for all things garage & beat and rock ‘n’ roll was proud to host their return to the city.

It’s always a pleasing statement of intent when the lead mic’s placed on the floor rather than the stage, heralding as it does the imminent arrival of a singer unafraid to get in amongst the crowd, something Hugh Dellar is only too ready to do when the band strike up. Ranging as far as his lead will allow he’s constantly in motion throughout the band’s hour-long set of cracking originals (‘Looping With Lucy’ and ‘Met Myself Coming Back’ from the new EP particularly coming off as well as anticipated) as well as the odd nod to pioneers of the genre such as Holland’s The Outsiders.

Maracas get shaken within an inch of their life (and nearly punched through the ceiling a couple of times), harmonicas are howled through and the rest of the group pound and strum away gloriously as all five of the band exhibit a clear love of the live environment and the especial setting and atmosphere which the Franklin Rock ‘N’ Roll Club’s setting allows for such exuberant expression. With the club’s third Franklin Fest fast approaching this was the latest in a long list of excellent shows in the cricket club, showing it to be in rude health.

Support tonight came from musical all-rounder & club co-founder Angus McPake and one of his many musical outlets, The Sensation Seekers. Combining their own compositions along with a few from Booker T. and Ennio Morricone theirs was a mainly instrumental set of both soulful goodness and rocking meanness, propelled by McPake’s proficient organ playing and droll wit. Where else would you gain the top tip of tying your maracas together with a cable tie to keep them from rolling off your keyboard when not in use.

A fine night’s entertainment, as is always the case in our humble opinion. Thanks to Hugh & Simon for their interaction on the night.