They’re a band whom many hold very close to their hearts and rightfully so, Ocean Colour Scene are currently triumphantly celebrating the twenty-year anniversary of their classic album Moseley Shoals. They’re doing it in style to with carefully curated outdoor shows and tonight is no different as they take over the huge Times Square in Newcastle with a plethora of bands both old and new in support.

We arrive in time for Sunderland’s Hyde & Beast whose early set gets everyone excited with their upbeat sing-alongs, with the likes of 'Train To Nowhere' and 'Keep Moving' proving to be particular highlights. Their buoyant manner lifts the mood considerably; the band seem to be having equally as good a time as the crowd. However, you get the feeling that today isn’t about the new - the crowd are here for the nostalgia.

They get that in spades with John Power of Cast's hit-laden, hands in the air set as Times Square fills to capacity. The early evening sing-alongs come thick and fast. The nostalgia effect truly takes hold of the crowd; the likes of 'Walkaway' could be heard for miles around. 'Alright' invokes a similar reaction as Power effortlessly fires up the huge crowd, as the alcohol takes a grip of the audience things only seem to go from strength to strength.

This boisterous crowd scream back every word at deafening volume making us thankful for ear plugs even in this outdoor space. If John Power fired the crowd up The Bluetones took everything to the next level, with front man Mark Morriss swaggering on to the stage before breaking into opener 'Cut Some Rug'. Morriss is full of bravado as he taunts the crowd but they respond in kind, arms aloft whilst once again excitedly singing everything back.

It is yet another packed set, the likes of 'Slight Return', 'Marblehead Johnson' and 'If…' all playing their part in yet another passionate and exciting set. There is a real excitement in the air this evening, every band is going above and beyond expectation, each raising the level and if Mark Morriss is full of enthusiasm, Rick Witter is on another planet.  

Taking to the stage in spectacular fashion he wastes no time in turning everything up to eleven, his swagger is quite literally off the scale. Taunting the crowd in between songs he and Shed Seven put everything into their performance, 'Going For Gold', 'She Left Me On Friday' and 'High Hopes' all providing yet more memorable moments for the crowd. With the excitement almost reaching fever pitch the save the best until last with a rousing rendition of 'Chasing Rainbows', which again will undoubtedly have been heard for miles around.

With the crowd now tightly packed in and the effects of the alcohol overwhelming many, this leery crowd begin to get restless with anticipation. It’s safe to say it’s been a long day and many haven’t coped all that well, the floors are overly sticky and the paths are littered with casualties. However, it is the turn of Ocean Colour Scene, the dapper foursome take to the stage to a rapturous reception from their adoring fans.

Opening up with a cover of The Beatles 'Day Tripper' it invokes yet another deafening sing along, which is quickly followed by arguably three of the band's biggest tracks in 'The Riverboat Song', 'The Day We Caught The Train' and 'The Circle'. Each one met with an astounding reception as drinks fly overhead and words are screamed back, these fervent tracks are what this crowd have been longing for all day.

However, Ocean Colour Scene remain true to the album's original track listing, which appears to be this evening's downfall. Following the euphoria and unbridled excitement of the early part of the set there is a lull that seems to plague the middle part. This is such a shame as the band appear to be on top form. Yet it lacks the rousing excitement that was delivered by so many of the other bands today.

That said though they pick up the pace again in the latter part of their set with a selection of their other tracks from across their back catalogue and this revives the mood. It just feels like a true shame but at the same time we can see the reason for playing the set in this order, it still doesn’t take away the fact that on their day Ocean Colour Scene are still one of the greats of this genre and tonight in many ways they still prove that.

Further images from the show can be found here.

Anna von Hausswolff

Anna von Hausswolff’s third album, The Miraculous, is underpinned by the sounds of the Acusticum Pipe Organ in Piteå which, combined with her soaring vocals, makes for a hair-raising listen. I can’t wait to see how the album translates to a live stage.

ANOHNI

Moving on from her days as lead singer of Antony and the Johnsons, ANOHNI released the album Hopelessness in May this year.  It’s a gorgeous, thrilling listen and the combination of the rich timbre of her voice combines with the album’s electronic notes creates a record that’s simply irresistible.

The Tallest Man On Earth 

I’m really keen to see how Dark Bird is Home comes across live, seeing as it was the first of The Tallest Man on Earth’s albums to embrace the use of a full band. Kristian Matsson’s always been a charismatic and utterly compelling performer and I can’t wait to see him on stage under a wide open sky.  

Daniel Norgren

I’ve only recently been switched on to Daniel Norgren, after a few of my Swedish friends started talking about him. I’m utterly charmed by his particular brand of blues-folk, shot through with Americana and topped by grainy, emotive vocals. Do not miss.

Cloves

There was something really striking about the minimalism of Cloves’s EP ‘XIII’, realised last year: a confident, rich vocal line most often combined with little more than a sparse piano melody. Live, this could be something really special.

Niki & The Dove

Niki & The Dove’s latest album, Everybody’s Heart Is Broken Now, in an absolute beast of indietronica that’s on its way to being my record of the summer. Here, things are more laid back than on previous releases, notes of the '70s and '80s abound and there’s more than a hint of Prince and Stevie Nicks lurking in the background. Lush.

*** 

Tempted to get yourself over to Way Out West this year after reading this? Check out the festival's official site!  

The Pet Shop Boys are now the elder statesmen of synth pop. They have survived more than 35 years in the business, and are still socially relevant, with the recent second single from new album Super, 'Twenty Something', being an ode to Millennials working at startups, eating ramen and having to face extortionate rents.

This evening acted as the closing night to a four night residency at The Royal Opera House, one of London’s most prestigious venues, to promote Super and act as a teaser for a new world tour.

The grandeur of the venue was indicative of the Pet Shops Boys' status as national treasures, with the venue seldom being used for events not related to opera or ballet.

Neil Tennant and Chris Lowe arrived on stage in rotating pods, accompanied by lashings of lasers. The instrumental beginning of new single 'Inner Sanctum', helped create a sense of anticipation whilst the band readied themselves on stage.

Lowe's onstage presence hasn’t changed for thirty years. He stood motionless next to his keyboard and made occasional prodding movements. However, the thought which had gone into the presentation of the performance meant that this did not matter. The creative director of the production, Es Devlin, has impeccable pedigree having designed the 2012 Olympics closing ceremony and worked with Lady Gaga and Kanye West.

During the earlier parts of the performance Tennant and Lowe wore retro futurist headgear which obscured their faces. The accompanying visuals consisted of choreographed dancing and clouds.

Around one third of the set consisted of a selection of tracks from Super and previous album Electric, both produced by Stuart Price, and allegedly the first two parts of a trilogy. Full on electronic tracks like like 'Burn' and 'Vocal' showcased throbbing strobes and lasers, with the latter leading up a particularly pleasing crescendo which turned into a full on rave. The Royal Opera House was unlikely to have seen anything like this before.

Interactions with the audience were reasonably limited, with Tennant commenting at the beginning of the show that the audience had been packed full of pop kids, a riff on the title of the lead single from Super.

Despite being a seated performance, the audience rose to their feet for the entirety of the show. The loyalty of the band’s fan base meant that even ‘In The Night’, a relatively obscure b-side that acted as the theme tune to The Fashion Show, received whoops of recognition and full-on dancing.

The latter part of the set consisted of back to back hits including ‘It’s A Sin’, ‘Go West’ and ‘Left To My Own Devices’. During this segment a number of dancers appeared on stage in colourful fat suits, with the video for New Order’s ‘True Faith’ being an obvious reference point.

After a two song closing encore, ‘Domino Dancing’ and the high disco energy of ‘Always On My Mind’, the curtain dropped to an instrumental reprise of ‘The Pop Kids’.

Welcome to the packed to the brim, tiny sweat box that is The Leith Depot. The evening gets off to a somewhat sedentary opening with medical student, climate change and public health activist, feminist and (phew!) song writer, Eleanor Dow. What she lacks in the volume department (she's an acoustic act), she makes up for with her sobering song-writing. Particularly the final song about refugees. Her words are both touching and powerful, if you choose to listen carefully.  

She, as do most if not all of the acts tonight, hone in on the political unrest in the world at the moment, as well as feminist issues, the two not being separate of course.

Unfortunately, the much anticipated Fistymuffs, who were due to be on the bill this evening, could not perform. In their place we have Fistymuff guitarist and tonight’s compare Suki Goodfellow, and Agony Ant Eve King, with some spoken word. Suki's poem about Tennent's Larger is bordering on comic genius; she really has a way of holding the audience's attention, and more importantly making them laugh. She also delivers a composition about love and immigration laws, and a ditty about Nigel Farage accompanied by her trusty ukulele.

Eve King steps up next and recites 'Shake Your Ass or Something' which is a poignant monologue about everyday sexism and beyond. Her performance is very emotive, and the stillness in the crowd is palpable. I don't know about anyone else, but I'm pretty blown away.

Time for a quick break to try and replenish the sweat we've collectively leaked out during the past 90 mins, and it's time for Agony Ant! 

Agony Ant have such an endearing quality about them. Maybe it's their unpolished sound coupled with their enthusiasm of playing live in front of a crowd; well whatever it is, they seem so pleased to be here, and it's infectious. They sing nonchalantly of bread coming out of the toaster, and throw in a couple of covers, a reworked version of The 5678's 'Woo-Hoo' and Le Tigre’s 'Deceptacon', with its booming bassline. Ending their set with a musical version of 'Shake Your Ass or Something' - and hopefully, we'll never be 'ready for this jelly'…

Onto tonight’s headlining Riot Grrls - MiaouMix. Frontwoman, and Girls Rock School co-founder, Caro Marrow and her band tell us that they don't gig that often, but you would never guess, as they all seem comfortable, tight, and don't pull any punches. Songs like 'Biology' and 'Cuts' are pop-punk at its best, and although it seems like a short set, they do come back for one more tune, much to the crowds delight. Which creates another opportunity for more moshing at the front. Marrow also informs us that they are recording an LP soon, so definitely something to look forward to.

Overall a fantastic and refreshing night, and if you enjoyed then don't miss the next Revolution Girl Style Now! special Fringe edition on August 13th (bands tbc), and September 17th with Spat, the Twistettes, Fistymuffs and Playing with Punkarella. More details to follow...