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In which the lion dance scares away any evil spirits, and more than a few kids.

In which Sazzey saves the day in the face of technical problems with some freestyling.

In which Makala takes centre stage and lets all the hard work of months of organising and promotion finally pay off.

In which our youngest performers get a chance to show off their dance routines.

In which the more advanced martial arts techniques get a good showing off onstage. (as you don't want to get too close to weapons. )

In which we mix ancient and contemporary dance styles to keep in theme with the event.

In which our local martial arts dojo gives the crowd a demonstration of their basic techniques.

In which we whiplash between all sorts of pop songs at high speed without the dancers losing the rhythm.

In which Makala recruits oriental artists from across the country to celebrate the mid-autumn harvest festival in style, kicking things off with this multiinstrumental duo from Bornemouth.

In which the languid drums, bass grooves and funky wah work continue to a surprisingly punctual finish.

In which it's demonstrated that the slimmest of basses can still produce the skankiest of basslines, setting up a serious groove for our friday night.

In which we kick off a double-header of acts ironically dominated by headless basses. First up, we have some eclectic electronica which also features a theramin.

In which our scottish headliners keep their thick coats on all through the set in true grunge style despite the heat in here.

In which the first of our touring acts slams our eardrums back with savage guitars, and even harsher vocal tones.

In which we combine punk attitude with a wash of highly effected and treated sound from the second guitarist.

In which we conclude the evening with a touring acoustic duo putting plenty of emotion and dynamics into their performance.

In which Gina's acoustic sound is augmented and transformed by electronic wizardry and a full band.

In which we get the unique combination of tubular bells played fingerstyle with poetical lyrical flow.

In which Jimi adds bass drum and kazoo to his flamenco to become an (almost) one man band, and take us on a tour of songs with all sorts of origins.

In which they switch to keyboard, and introduce another young performer mixing originals & covers.

In which I check out the long-running 12 Months of Summer nights for the first time, and run across Jelli Records' latest young artist, playing an even mix of covers and originals.

In which Aaron pushes his band's limits, and they drench whatever he throws at them with gorgeous harmonies.

In which we start off with some gentle fingerpicking from a singer who's trained at Joanna Newsom's pixie school of singing, but keeps her between song banter down to earth.

In which our headliners strap on their instruments, and show us all the different sounds their pedals can make.

In which we draw heavily from several early 90's influences to create a loose funky sound that gets the audience going wild.

In which we stack up the effects pedals and abuse the tremolo bar for some seriously gnarly guitar noises.

In which a batch of classic covers gets the crowd singing along, so they can sneak one original in without lowering the tone.

In which the guitarists do the foot pedal dance to get a wide range of tones while keeping the momentum of the songs going.

In which the twangy high energy riffing gets the crowd pogoing rapidly and enthusiastically.

In which we start off the evening with some very loud guitars playing rapidly shifting time signatures.

In which we launch into a selection of continually mixed grooves with some live horns to get us in the mood for the weekend.

In which Makala pushes through injury to give a high energy performance.

In which gentle piano and singing is combined with massive beats to hypnotic effect.

In which the performers swap lead vocals, harmonies and instruments at ever increasing speed, and the audience respond with similar enthusiasm.

In which it's time for the partying to really start, as a whole melange of acoustic instruments play fast and furious.

In which we add some beatboxing and other genre experiments with the choir format.

In which the Great Sea Choir celebrate their 5th birthday, squeezing onto the old market stage to a packed audience.

In which Makala and the band pump up the bass and keep the audience dancing well past midnight.

In which muff said have their audience interaction honed to a fine point, so they can get them to skank, pogo, mosh and conga over the course of the set.

In which we celebrate international women's day with a an all-female cross-genre lineup. First up, spitting some fast-paced bars over grimey beats.

In which the room is packed solid all the way through, leaving no room to leave for an encore, but they manage to build up the suspense for their last songs anyway.

In which the crowd are singing along right from the very start as Crinkle Cuts return to a familiar stomping grounds to get the weekend going.

In which the bouncy ska and jokey banter gradually lures the punters away from the bar over the course of the set.

In which it's time for the rest of the collective to get their turns to perform, and build towards getting the audience to sing along too.

In which we're reminded that maintaining mental health is an ongoing process, and also that you should never stop learning new skills, as Sarah switches to bass for another mixed selection of originals and covers.

In which Tim Burroughs and a collection of Songsmith regulars chip in to add some haunting overtones to our evening.

In which times are tough for Mind Your Music, and the weather's cold, but they're still determined to put on a good show and keep hope alive for us.

In which the guitarist from the last act gets to take centre stage and play a set of his own to make up for the two cancellations.

In which Edson & Vigo improvise not just one, but three songs on the spot, and do it with style.

In which we pick up the guitar again, and the music takes a bluesey turn.