Description:

There is a weird chill cast over the good ship Thekla just after doors have opened. Small groups of people emerge from the inside and out into the smoking area. Their feet echo and creek as they make their way across the deck, huddled in the cold. The phrase 'ghost ship' comes to mind.

It's not until you get inside and head down into the depths of the cavernous venue that you realise everyone is crammed onto the dance floor, eagerly awaiting the first band.

Overseen by a substantial crowd for a support band, Underground Railroad arrive with a sound harking back to 90's American alternative rock - not too dissimilar to a noisier, angrier Pavement. Their performance is tight, and offers a welcome change of approach in the current musical climate.

For what Blood Red Shoes may lack, or rather opt out, Underground Railroad bring in abundance. The band are full of surprises – the unusual choice of a drummer fronting the band, which incidentally they (half) share in common with the headliners. Added to the mix is a cello player, who, thanks to technical difficulties, doesn't really relish the opportunity to ply her unusual trade next to the rest of the band for the majority of the set.

That said, the Underground Railroad hardly suffer as a result. The songs are crafted well, with stand-outs like the desolate 'NYC (Money Money)' balancing spoken word verses and precise angular plucking perfectly with animalistic yelps and roaring distorted guitars. The band are forever challenging normality – switching between electronic and live drums, fronting a noise solo at the close of the set with the aforementioned cello – one thing's for sure; Blood Red Shoes could have chosen an easier act to follow.

Blood Red Shoes have definitely increased their stage budget over the years – guitarist Laura-Mary Carter and drummer Steven Ansell now appear onstage amidst deep, earth-trembling feedback loop with sporadically dimming lights – before exploding into live staple 'Doesn't Matter Much,' in which Amstell urges the crowd to 'pay attention.' At this stage, it's hard not to.

It takes the crowd a couple of songs to get into the flow before the band hit 'em with the ol’ one-two; new single 'Light It Up' showcasing grungy riffs with Kim Deal-esque chorus shrieks, before 'It's Getting Boring By The Sea' uses its indie disco reputation to fine advantage, sending the crowd into a frenzy.

The wake-up call continues as the pair tear through the set, balancing songs old and new, before changing the pace with the introduction of 'Heartsink,' possibly their most dancefloor friendly song yet.  Amstell is like a man possessed, yet manages to hold the steady groove with minimal effort as Carter tears through a Yeah Yeah Yeahs style chorus.

Ending the regular set with 'Fire Like This' stomp-along 'Don't Ask,' the band leave the stage to a chorus of rhythmic 'Blood Red Shoes!” chants. Not long after, they appear again, to another eruption of applause. They treat fans to 'You Bring Me Down,' a classic example of loud/quiet/loud dynamics, before ending with the epic 'Colours Fade’.

It's plain to see that the band are at their peak. They reproduce their signature album sound with ease, and happy to try to burst some eardrums in the process.

Adam Patmore is a freelance writer who likes to get his ears well and truly rattled.

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