You know you’re getting old when a band you still think of as “kids” is on their seventh album. You know what you’re getting with All Time Low. Alex Gaskarth and co are reaching the maximum age at which they can still get away with this. Then again, one need only look at Green Day trotting out the same schtick that they were playing as teenagers to see that the facade needn’t fall while the time is appropriate.

Like Pierce The Veil, ATL are a different proposition on record than they are live. Live, they are the descendants of The Descendents, while in the studio, they are The Wanted. The production is laid on so thick that it is difficult to see through but if you can penetrate the studio sheen, there are solid tunes underneath that usually only surface when the band play live. This Cartesian dichotomy makes listening to Last Young Renegade like panning for gold, but the gold is there.

The title track that opens the album has a ‘Boys Of Summer’ melody with a melancholic vibe to match. The familiar line between the emo and the euphoric continues on ‘Drugs & Candy’. ‘Dirty Laundry’ and ‘Good Times’ are sub-boy band whinging but the lost momentum is swiftly recovered by ‘Nice2KnoU’.  On this recent single, ATL unleash riffs and beats under ‘woah-woahs’ and a bouncy chorus that Blink-182 would envy. The refrain of “One more time as if we planned it/We just want to do some damage” will get the dance floor hopping.

‘Nightmares’ is a departure and the standout track of Last Young Renegade. It's an Airborne Toxic Event type tune; understated by ATL standards and easy on the autotune, ‘Nightmares’ has Chvrches melodies, and is an adventurous and ambitious song. ‘Dark Side of Your Room’, bizarrely, has the most recognisable pop/rock lead vocal but is given the least straightforward musical banking. With ‘Ground Control’ and ‘Afterglow’, the record peters to a finish in an uninspiring fashion with some ‘80s AOR.

Last Young Renegade isn't going to change your life but it should win more young alternative fans for the band. A lot of this album will slip straight in to their live set and fit squarely with their greatest hits. If you’re an ATL fan, past or present, you'll dig this. If you're not, then you're not missing much.

Last Young Renegade is available via Amazon and iTunes.

Still on a high from the previous evening, Saturday begins with a liquid breakfast and a trip to the Main Stage to catch LA's Mariachi El Bronx, who cheekily introduce themselves as “The Bad News Bears from Reno, Nevada” before immediately launching in to a short but perfectly executed set of Mariachi music. From the bemused looks on some faces there are several people here who would rather be watching the band's hardcore iteration, but the first act of the day, the likes of 'Right Between the Eyes' and 'Wildfires' make for a gentle and novel start to the day's proceedings.

Remaining on the Main Stage, the upbeat pop-punk of Wrexham's Neck Deep are more to everyone's taste, and despite the current controversy surrounding the band the devotion of their fans is evident. A plethora of circle pits open and close across the crowd whilst the bodies of crowdsurfers are flung mercilessly towards the stage to tracks such as 'Damsel in Distress' and 'What Did You Expect?'. You can't fault the band, nor the crowd for the matter, but for someone who has seen the likes of New Found Glory several times in the past, it's nothing groundbreaking.

Taking a breather we navigate back towards the NME stage in order to catch American Football for the second time this year. Unsurprisingly their set is comprised only of a handful of tracks, but the likes of 'Honestly?' and 'The Summer Ends' still sound as fresh as they did in the late '90s, and though few people in attendance realise the enormity of what a band liked AF coming to Leeds means, those that do offer the quiet respect the tracks deserve. Finishing with the anthemic 'Never Meant', it's clear that there's going to be more than one person going home to practice their guitar noodles.

Over on the Lock Up, Aussie punks The Smith Street Band play to a disappointingly small crowd; their set resting heavily on tracks from last year's Throw Me in the River. It's a shame the band draws such little numbers, especially given the vocal support in the past from the likes of Frank Turner. Unfortunately it's probably attributed to the fact both Panic At the Disco and All Time Low are gracing the Main Stage at the same time, but given the relevance of either band to a 20-something punk-at-heart, we're more than happy where we are.

Following The Smith Street Band, Philidelphia's The Menzingers draw a somewhat bigger crowd, allowing us to relive their support slot for The Offspring from just a few days previous. How they're not bigger I don't know, but with tracks like 'The Obituaries' and 'Burn After Writing' as well as the now-expected cover of The Bouncing Soul's 'Kate Is Great' thrown in to the mix, it's difficult to imagine them staying on the fringes of skate-punk for much longer. In contrast, folk three-piece Bear's Den play the Festival Republic tent and offer up a more subdued but no less heartfelt half an hour for those that find tonight's headliners Mumford and Sons a little too much to stomach.

Keeping things suitably pop-punk however, given the rest of the day's acts, we opt to spend the last two sets of the evening forgoing the middle class Mumfords niceties in favour of both Simple Plan and New Found Glory, both of whom pull what is arguably the biggest crowds The Lock Up has seen all weekend. With both bands considered pop-punk royalty. Unsurprisingly both bands litter their set with a handful of classics; the tracks which soundtracked the adolescence of everyone in attendance. It may seem a little trite to see tattooed twenty-somethings singing the lyrics to the likes of Simple Plan's 'I'd Do Anything' or New Found Glory's 'All Downhill From Here' with such adoration, but these are songs that meant everything to their fans at one point or another; the reason many of them became fans of pop-punk and alternative music to begin with. To see two such bands back to back, in a setting that was once synonymous with the halcyon days of pop-punk, at least as far as Britain is concerned, well, it doesn't really get much better.