Apologies in advance as this year's experience of BYAF was truncated due to football rescheduling, meaning none of Friday night's acts were seen - sorry about that.

When it comes to writing about the rest of the event, the tenth of its ilk, one's kind of scuppered to begin with as, having read MTAT leading light Derrick Johnston's history of & thoughts on the festival in the accompanying pamphlet (along with contributions from associated folk from across the Ecossemo & punk scene) it's hard to better what those so intimately & emotionally involved with it over the years have to say. As you've not got access to their heartfelt words though I'll do my best.

This year’s weekender saw the downstairs shows in The Firefly including full bands in the proceedings, rather than just solo acts so the air there was rent by some of the heaviest acts of Saturday’s bill – Carson Wells, The Burnt Tapes, Mug and Aberdoom’s mighty BOAK. Earplugs a must for every set but all to the good as you can’t play that sort of stuff quietly. At other times during the day Canada’s Chris Snelgrove was a good draw down here, as were Glasgow’s Brian Curran whilst Joyce Delaney were as enjoyable as when last seen at Pop South! In January.

Upstairs in Buskers, whilst the insanity of Get It Together’s performance was missed (but easily imagined from the debris), Sink Alaska pulled it out of the bag despite the need for a short notice drummer, Bratakus were an enjoyably cheerful new discovery (along with sporting the finest headgear of the weekend) and Elk Gang, PMX, Bed Of Wasps, Lachance, The Kimberley Steaks and The Cut Ups all turned in absorbing sets. Revenge Of The Psychotronic Man were probably one of the most engaging acts of the event (& certainly the most rubberfaced) with one of the widest ranges in subject matter – Dadaism to Corbyn via Space & good old booze, whilst Billy Liar was an undisputed highlight, especially for the all-star line-up of Paper Rifles, Chrissy Barnacle & Freddy Fudd Pucker which joined him for his final track.  

Closing things out on Saturday came the reunion of ska punkers Joey Terrifying and the ever entertaining old guard of Oi Polloi.

Sunday, as was the case last year, for some reason saw a smaller crowd throughout the bulk of the day but the bands were undaunted. Emo’s usually a description that sets me heading for the door but the Dundeemo of The Barents Sea (reformed just for today & sporting two stand-ins) proved to be one of today’s highlights, the others being Chrissy Barnacle’s full set in The Firefly and yet more emo-tinged stuff from Terrafraid. Bulking things out for me before the last two late nights and another day on my feet took their toll were Salem Street & their Clash/’50s influenced punk, intense sets from Clearer The Sky and XharoldshitmanX, The Sparrowhawk Orkestrel & the brazen cheek of Torturo Nervosa (making it a family show with the drummer’s 15 year old daughter joining on guitar for a number).

Another cracking weekend of punk and more from the MTAT team, amply upholding all they hold dear and benefiting Tayside Mountain Rescue, Insight Counselling and The Royal Life Saving Society in the process.

As local punk band Bratakus take to the stage, the almost pitch black basement venue that is Broadcast is finally light up with reddish pink stage lights and the glow of the daylight streaming in from the upstairs window. It’s a small crowd to start off with but as they race through their set at Ramones style speed more onlookers descend from the staircase. An interesting mix of guitar, bass and a recorded backing track to fill in for the drums, Bratakus are loud, fast and all together brilliant. Their songs range from the Riot Grrrl tinged 'Cyber Queen' to the thrashing 'I Know Nothing'. Their cover of ‘Where is My Mind’ is especially well received and lays out a neat path for their last song, 'Mind’s Eye', to finish the set.

As we patiently wait for the next band, Breakfast Muff, to take their places, we learn that they have had to pull out at the last minute and will be replaced with pop trio, Joyce Delaney. Not that we wish ill health upon anybody, but Breakfast Muff’s loss was certainly our gain; Joyce Delaney were incredible. With Rob on drums, Chrissy on guitar, Nyla on probably the most beautiful bass ever to exist and both girls on vocals, their brand of “bubblegum punk pop” is catchy and super tight with some seriously relevant song content. With song titles like 'Ding Ding, Don’t Be An Asshole' and 'Do I Even Like People', they explore the subjects of sexuality and body confidence among others. Coupled with the hard hitting, straight up advice spilling from Chrissy between songs, Joyce Delaney’s set was inspiring, hilarious and just pretty god damn fun. If you ever wanted (more) proof that the future is definitely female, here it is.

The room finally seems to have filled up as we all wait excitedly for Kelli and Peyton to let us in to their mysterious world of poetic lyrics and '90s style punk rock vibes. With four albums behind them and maybe a hundred songs to choose from, their energetic set provided an insight in to all the stages of the 6 year career as musicians. Playing 'Ugly' early on is a great start to the show and as Peyton drums the hell out it before swiftly moving on to guitar, which Kelli just shreds, for the beautiful 'Nothing More Than A Body' you are reminded of how deeply talented they both are.

They both remain in place as they begin 'Oddie Moore', one of the bigger tunes from their latest album, The Big Fit. Peyton’s voice is so wonderful on this track especially; her range creates an amazing layer of emotions behind the music, she is at once vulnerable and strong, despaired yet valiant in her intentions. There is something incredibly magical about their songwriting, even more so when it is delivered live as they both seem to really live the situations as they play out the songs.

As they take us through more brilliant tracks like 'Stop Digging', 'Pretektive Boy' and the super creepy 'Hey Sweet', everyone in the crowd is bouncing. It’s so great to see such a receptive audience full of young people who are excited about music and a band that knows how to cater to its fans and as the show comes to a close Kelli sings in to the crowd, owning every part of that adoration.