From observing the queue snaking its way away from the venue, it’s clear to see what a diverse audience Fightstar attract, from young teen girls with their mums, right up to the kind of muscular, heavily tattooed guys that you know are heading straight for the circle pit. Considering the sheer amount of flack that the band have received since their inception about five years ago, (largely due to misconceptions and the ‘B’ word haunting Charlie Simpson,) this can only be seen as a vindication of their resolve and unity as a band, something which is certainly felt by all in attendance.

First up though are Scottish trio the Xcerts, delivering their absorbing mix of effervescent pop hooks and lovelorn delicacy to a reasonably receptive audience. It’s always disheartening to see crowd members talking through a support set, somewhat marring the bands frequent a cappella interludes, but the guys fight through it with their considerable energy and memorable tunes, converting a large swathe of the assembled throng. Songs such as ‘Crisis in the slow lane’ from their new album are genuinely touching with their brittle emotion and low key tone, but tonight it’s the more upbeat material like ‘ Just go home’ that make the most impact. Fans of early Biffy Clyro and fans of pop rock who crave more substance would do well to check them out.

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Fightstar, however, face no such problems in keeping the crowd’s attention glued to the stage, pulling off a set largely comprised of cuts from their latest album, Be Human. Any doubts that the more ambitious new material won’t work live are allayed by opener ‘The colours bleed to red,’ as the band showcases why they are increasingly renowned for their professionalism and musicianship. Older material such as ‘Palahniuk’s laughter’ and ‘Paint your target’ merges well with newer material, and all are blasted out with equal aplomb, to a delighted reaction. They may not have the visceral impact of some other British live bands doing the rounds at the moment (Gallows et al) but when the anthemic chorus of ‘We apologise for nothing’ rings out from both sides of the stage, such concerns become irrelevant. Fightstar seem to genuinely love what they do, and even tracks that the more cynical among us might view as near plagiarism (floods’ opening riff, Muse anyone?) are highly enjoyable nonetheless. When the final chords of punishing closer Deathcar finish reverberating around the room, it’s near impossible to see anyone who hasn’t had a good time.

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