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In which the singer sets up right on the middle of the floor and gets the audience to join in on some rousing call and response.

In which the cultural references come fast and furious as our first act combines short tv show songs with equally short originals.

In which we try to reduce the number of rapid bass switches.

In which the Truetones are stripped back to the essentials, but still pack more than enough punch to keep the Lion's share of the attention.

In which we go for the full on cheese as we power our way through the final stretch.

In which the bassist gets to take the lead for a bit for some heavier rock action.

In which Louisa and Morgan add a set of stripped back loopstation covers to the middle.

When you're a function band, you never have to worry about running out of material, so the sets stretch to epic lengths.

In which I'm forced to take the high ground right from the start as one of bristol's busiest covers bands plays to a packed out bar.

In which we conclude with another eclectic collection of songs from the maestros and their charges.

In which our hosts get a second wind and rock out even after a long day.

In which the collective's vocal coach brings a latin touch to the procedings to warm them up again.

In which Len has songs enough to spare to fill in again unexpectedly.

In which sara & elliot flip back into backing mode for some angular indie-rock.

In which the kings combination of groove and politics has extra resonance for people suffering under the government cuts.

In which our organisers take centre stage for the first, but not the last time today.

In which simon surprises us with a bit of psychedelia that gets it's own special slot.

In which we crank up the volume and go back to the old school.

In which Len turns around and takes centre stage in the second of many demonstrations of his flexibility.

In which we're reminded of the link between creativity and mental health struggles, with a whole day of acts linked to the Mind Your Music charity.

Live at the awards show.

In which we conclude with some high energy flamenco rhythms.

In which Chandra makes up for lost time with a long-awaited guest star backing up her songs.

In which I ensure improvised moments of beauty are not lost like tears in the rain.

In which Sue and Paul bring out their winteriest songs as the nights reach their longest point.

In which the headline act wear the t-shirt of the support band, but prove why they're on top with crowd pleasing banter and stagecraft.

In which the renamed RIYP tear at their instruments, and keep the momentum up between songs with weird loops.

In which a jagged drum machine, a monogloved bassist and a snarling vocalist come down from the midlands to kick off another very loud evening indeed.

In which the band trade off vocals and riffs, and force the audience to get involved.

In which the guitar is made to scream spectacularly, helped along by plenty of effects and a smattering of loops.

In which the set is filled with playful banter between and sometimes within the songs.

take 4

In which we test the upper and lower limits of the speakers with some sharp, violently stop-starting songs.

In which our guests from birmingham rocket through their set with plenty of time to spare.

In which we crank up the guitars and the red lights, which complement each other quite nicely.

In which both the band and audience get to cut loose and move around.

In which the whole band is finally all together.

In which the band are given plenty of room to play around on a wide but shallow stage.

In which the bassist drives things along with some serious popping and tapping action.

In which we continue with the funky theme, and add some serious pedalboards and more sophisticated song structures.

In which the audience joins in extra enthusiastically when the band does their solos.

Here we are again, plus guitar and bass, minus keyboard. Which songs work better this way around?

In which Heg gets to leave the keyboard for a bit and explore the drama in minimalist arrangements.

In which the wolf chorus finally adds some serious low end to their sound, and revive some older songs to take advantage of it.

In which we prove for a third time tonight that duos have no problem sounding big and dramatic, regardless of what instruments and effects they're using.

In which a single guitar is made to sound absolutely immense by clever application of effects and arrangements.

In which we're all dressed up for Halloween, which gives our performers extra freedom to indulge their dramatic sides.

In which Drunken Butterfly continue to explore the boundary between fragile and heavy, as suits their name.

In which Rita gets Mike McNeil out from behind the desk to fill in on short notice.

In which the Flowerpot girls kick things off with a semi-acoustic set and see how their songs deal with the change.