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In which Simon plays us one of his 60's inspired original songs.

In which it's time to flip forward a few decades and tackle a bit of Arianna Grande.

In which the group's dance instructor takes us back to the 60's for a bit of classic Dusty Springfield.

In which Mind Your Music's singing tutor squeezes a single song in, as we have a lot of people to get through this evening.

In which Len warms us up while we wait for Elliot to get back from an awards show and find out how well Mind Your Music has done.

In which our headliners from Manchester deliver a short but incredibly high energy set that breaks down the barriers between band and audience.

In which a bear and multiple jesuses start off with shorter, catchy songs, and end in an epic prog jam.

In which a smart casual skeleton and very casual ghost play a selection of short but surprisingly varied songs.

In which the lighting guy drenches a color named band in completely the wrong shade, but they don't let it slow them down as they exchange vocals and twist strange sounds out of their guitars.

In which regular gigs have made Bashema increasingly adventurous in her choice of covers, and more relaxed playing around with her own songs as well.

In which we turn up the harmonic complexity a bit for some jazz, mixed with early 00's covers.

In which it's time for some (west) country music, as Zoe gives us some songs that do indeed have both three chords and the truth.

In which we finish off with a high energy set drawing on the songs of the singer's multiple bands.

In which we have a good excuse for the drums to sound a little bit boxy, as we get a high energy performance that pushes the limits of the acoustic format.

In which a last minute lineup change means I run across the singer from Springbreak again, playing some of the same songs acoustically.

In which Fifi hypnotises the remaining audience with a selection of downtempo grooves.

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.