The promise of this evening is one we’ve been excited about since the last time Eagulls rolled into town in March, though since then they’ve toured the world and played a multitude of festivals. To begin with there is the small matter of a couple of support bands to attend to.

First up local lads High Tide 15:47. However, by the time we arrive we only have the opportunity to catch the tail end of their set, we’re pleasantly surprised and we shall endeavour to catch them in full in the not so distant future.

Next up though are fellow Leeds natives, Autobahn who were in support last time as well. Tonight, as last time, they don't disappoint. On the face of it, with a name like Autobahn our minds immediately jump to Kraftwerk, but the German name is where the similarities end.

Straight out of the blocks they stamp their authority all over the proceedings, lead singer Craig Johnson bouncing around the stage baiting the crowd. They are a true powerhouse of a punk band, reminiscent of early Wire there’s a real ferocity to the band's delivery, a real angst. To be wholly honest they’re the perfect support band for Eagulls and by the time they leave the stage the crowd is buzzing.

As the lights are dimmed and the projector is started, the crowd chant and the band's opening music plays. Through the darkness they emerge. Wasting no time in lifting the roof, George Mitchell’s ever-passionate vocals echo out through the venue. It's immediate, it's mind blowing, these guys are the perfect live band, blasting through the openers as the over-excited crowd throw themselves in to each other.

Eagull's frequent touring and playing live undoubtedly shows, they’re tighter than any other band around at the moment. By the time ‘Nerve Endings’ gets an airing, the whole venue is awash with flying bodies; the sold out crowd enjoying every second of the set. Mitchell’s visceral delivery intimidates as he moves ever closer to the crowd.

We’re consumed by the intensity of the band like overly excited teenagers, as they work through tracks off their self-titled debut. What we really notice though, is how far these guys have come from first seeing them over three years ago, they’ve honed this huge sound and these awesome walls of noise. Tracks like ‘Fester / Blister’ stand out above others, the eviscerating guitar that hits you is nothing short of face melting. It also has a slightly different element to it, whilst maintaining the intensity.

The most striking thing about Eagulls though is the heart and the honesty of their work. Often described as a band for the realists they’re not afraid to tell it like it is. There are far too many bands that are willing to sugar coat life and create music for the sake of being cool, Eagulls shun ideology in favour of unabashed, no-holds barred honesty.

This evening goes some way in restoring our belief in real British music as Eagulls close out what has been an emphatic set, ending with the utterly awesome ‘Possessed’. We cannot hold them in any higher regard, so few bands around right now are this good and those that are all seem to be emerging from the same area.

Are these five guys going to inspire a generation? Only time will tell but we certainly think they have the potential to.

Touring her second album and first with a full band, the former Bonnie Prince Billy backing singer Angel Olsen makes her way to Newcastle, bringing with her, her friend Rodrigo Amarante who takes to the stage alone, the packed audience make him feel nothing but welcome.

He flits between English and Portugese as he serenades us with his delicately picked acoustic guitar and well-chosen words. Delivered in a soft, sweet manner Amarante seems genuinely touched by the crowd’s reaction this evening. At the same time it is nothing less than he deserves, we’re blown away by the delicacy and beauty as the man bares his soul in front of us.

In something of a contrast Angel Olsen takes to the stage with her band, and her voice is as beautiful as Amarante’s if not more so. Yet there is a much fuller sound filling our ears - Angel’s beautiful Americana infused indie rock. Theres a real passion in the early part of Angel’s set, and whilst the band is there her voice upstages everything.

She is almost motionless whilst delivering her heartfelt tracks, and numbers such as ‘Stars’ sound exquisite; the music becoming supplementary to the lyrics, and whilst there is little movement on stage, it adds to the captivating element of the performance. We’re seduced by the power of Angel’s voice, as if it were a spell of some sort.

‘Lights Out’ possesses a phenomenal Americana quality to it; Angel’s set evolving in front of our eyes. The earlier parts are much folkier, though as she traverses into Americana ‘Lights Out’ is arguably one of the stand-out tracks of the evening. The gorgeous guitars fill our ears as a deep pain fills her voice and we’re like over-excited teenagers as she raises the tempo even more.

The latter part of the set is a much rockier affair, reminiscent of another favourite of ours Courtney Barnett. ‘Forgiven / Forgotten’ is a brilliantly brash slab of lo-fi , perhaps a simpler track than some of the earlier ones but one that doesn’t fail to provoke a hefty crowd reaction. As Angel chants “I don’t know anything.” The awesome fuzzy guitars are a welcomed break to the quieter sounds of earlier on this evening.

Angel closes out her set with a beautifully spaced out cover of ‘Dreams’ by Fleetwood Mac, another personal favourite of ours but this version takes this song to a whole other level. As the band leave the stage Angel remains for one final track ‘May as Well,’ another beautiful song filled with heart and a complete contrast to the latter part of the set, yet it compliments them so well despite its sad tone. A truly fitting end to what has been a very special evening.