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In which we take away the music for a poetic onslaught of motivational speech and positive energy.

In which crystal visits again from kenya, and proves just as good as ever at getting the crowd singing along.

In which it's time to turn the lights way down low for some acoustic soul and spoken word stuff. First up, a young singer-songwriter from BIMM.

In which the story winds to it's conclusion, and we break kayfabe for the thanks and encore.

After six years, Heg and the Wolf chorus finally release a full length album with a spectacular performance where the stories need no explaining, so they can stay in character all the way through.

In which a small but powerful combo launches into some stripped back rock n roll, and blazes through all obstacles in their way.

Nearly a decade on, and I find the subject matters of Drunken Butterfly's songs are more topical than ever. I'm not sure if that says good things about the way society is going, but at least we can enjoy the righteous anger tonight.

In which we get out a whole range of vocal effects for some heavy cosmic rocking out.

In which Maxi gives us an eclectic set of song topics from nursery rhymes, to comedy, to serious spirituality. (not necessarily in that order)

In which Heybus keeps the audience laughing from the first sight of his shiny trousers, all the way to the end of the last song and beyond.

In which we go straight from one of the oldest performers on the bill to the very youngest, giving us some grungy power chords and mixing up covers and originals.

In which Commander McNeil sets up a big all-dayer to celebrate his birthday (oh, yeah, and keep a radio station on air. ) First up, a veteran performer drawing from both solo work and his previous bands back catalogues.

In which we pile up looping guitar harmonies to form a glorious rainbow of melodic sound.

In which we go back to the cassette era for some analog generated waves of samples and crashing noise.

In which it's time for one man and some laptop wizardry to fill up our speakers, and sometimes sync sinisterly well with the visuals.

In which Adam switches to nylon strings for a set that concentrates on the guitar playing over the electronic soundscapes.

In which we go full on day-glo, with leg warmers, amazing hair, and bouncing stagecraft, while not letting up on the volume a bit.

In which both guitars and vocal chords are shredded by some high energy rock n' roll, yet the performers don't break a sweat. (thanks to some well placed fans)

In which the latest incarnation of Flowerpot continue their progression towards harder rock with a high energy performance that more than stands up next to the headliners.

In which we once again see how a change in drummers affects a band's sound, as NLL blaze through both old and brand new songs.

In which we mix fast and mobile basslines and drums with carefully controlled guitar and sample noise.

In which At the Heart of it All have grown truly epic beards since I saw them last, and continue to make an almighty electronic noise( and some flashing lights too) show to assault our senses.

In which a mysterious veiled figure creates sample filled underwater soundscapes with a collection of effects pedals.

In which the performers may be sitting down to play, but the crowd gets ever sweatier and more energetic as we run through the politically charged acoustic punk songs.

In which even the amps get their own special outfits as we turn up the volume for some smartly dressed, hard and fast hitting rock and roll.

In which Gina makes some slippery harmonies and timing changes sound effortless.

In which Shannon manages to get a bit of clapping and singing along, despite being first thing monday evening.

In which we kick up a gear to the full bands, with some blistering guitar/vox unison playing.

Time for an early start as Moles makes up for lost time with double shifts, starting off with some acoustic singer songwritery and moving up to full-on club night.

In which it takes more effort than usual to get an encore, but the audience are warmed up enough for the task when we get there.

In which Paul gets the band back together and gives their pretty, harmonically unusual music a little boost with modern looping technology.

In which Matt assembles a supergroup of bristol noiseniks for one last blowout before he leaves for Glasgow.

In which a string duo use a variety of effects to multiply and sustain their sound to hypnotic effect.

In which Chris has left the band life behind for solo acoustic performances, and proves more than able to hold a tune without even that.

In which our final act are so high energy they literally have sweat dripping off the ceiling.

In which we squeeze several extra microphones into the stage so they can fill their melodic rock with extra harmonies.

In which our visitors from Swindon give us some fast-paced guitar line trading and energetic drum fills.

In which Simon takes advantage of the spontaneity of being a solo act, and gets the audience clapping along without even having to ask.

In which Wayne mixes up the solo and loop-assisted songs, and gets a couple more than planned thanks to good fortune.

take 3

In which Protest Crayon have a whole bunch of entertaining activities for us, including a competition and a conga line, on top of their multicolored electropop.

In which the golden lion is packed absolutely solid as we say goodbye to Live in the Lion's Den after 6 years. Let's make it one last night to remember then.

In which Mark dusts off his original songs and gets the glitter on to play in a surprisingly spacious little cafe in the centre.

In which it's time for the random indie cover of a pop song sweepstakes, and other playfulness to lighten the mood.

It's that time of year again, when the Stag & Hounds puts on several whole weeks of free music. So lets see what we have on offer the time. First up, some straight-ahead rock with plenty of solos.

In which we conclude by stripping away all the extra amps and pedals, and working hard to entertain the remaining audience, with a little help from Big Jeff.

In which the new expanded version of Mouri combine electronic looping with their heavy riffs to give the songs more textures.

In which we strip things right down to garageband and a mic, and chop up and slow down songs until they become something completely different.

In which these two team up again, yet give us a completely different experience to the last box launch, with a ton of mid-song instrument juggling and pedal manipulation.

In which we have some incredibly delicate piano balladry, made even moreso by the challenge of keeping the shiny headpiece on while playing.