With already three pretty successful albums under their belt there’s no denying that you’ll be expecting three things from their long-awaited fourth album; catchy hooks, storytelling lyrics and dance-ready anthems. Luckily you’ll get all of this on ‘Stories For Monday’ but you’ll also get a whole lot more. For starters vocalist Brian Dales moves away from penning down his heartbreak and lost love and instead rejoices his past as more of a warming memory than a regret in tracks ‘Figure Me Out’ and ‘Missin’ You’.

Venturing into new territory ‘Jean Jacket’ conquers new horizons with the addition of a very The 1975-esque sax solo, giving the album (as well as the track) an unexpected maturity and whole new vibe for the band. Though not to fear that the party-ready quintet have abandoned their beloved sound which they’ve crafted over the years, The Summer Set revisit similar sounds heard on 2009’s ‘Love Like This’ and 2013’s ‘Legendary’ with big choruses on ‘When The Party Ends (Can’t Hardly Wait)’ and catchy gang vocals on ‘All My Friends’.

Though not without its blandest moments, ‘Stories For Monday’ takes a dip with ‘Wonder Years’. A ballad which shows a softer side to the album and a chance for listeners to catch a breath, but it does stutter the fluent pace created throughout the album so far. However on the plus side it does highlight that the quality of Dales as a songwriter hasn’t been substituted for an addictive alternative.

Evidently there’s a reoccurring message of positivity throughout the record and this is especially relevant to track ‘All Downhill From Here’ but even more so with record closer ‘Wasted’. The track (which has a slight resemblance to 2013’s ‘Rescue’) is a great insight to the youth of not only Dales but the entire band growing up in Arizona. The echoing of gang vocals along with drummer Jess Bowen sway-inducing percussion brings the closing of ‘Stories for Monday’ to a great high.

For an album that nearly wasn’t ‘Stories For Monday’ is a move away from living legendary and searching for fictional yellow umbrellas and a step towards reality. From Dales instantly ego-checking himself in ‘Figure Me Out’ to the festive and uplifting ‘Wasted’, ‘Stories For Monday’ may be more honest than usual but The Summer Set haven’t lost their enthusiasm which began with 2009’s ‘Love Like This’.

Produced by The Summer Set’s very own Stephen and John Gomez, ‘Stories For Monday’ may not demand all the attention in the room but it is a delightful reminder that we would have definitely missed The Summer Set in our lives if ‘Legendary’ was their swansong.

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Even with enough gusto and energy, openers The New Regime do very little to get the crowd going. With a mass congregated outside in the smoking area it’s only when the shaggy haired Ilan Rubin and the guys leave the stage that the crowd start buzzing with anticipation.

As the lights dim, a strange buzz engulfs the sound-waves and the floor hurls at the instant sound of the recognisable starting speech of ‘In Love and Death’ opener ‘Take It Away’. With the crowd screaming every word back it seems that The Used were not only right to bring this tour to London tonight, but this album seems to be very close to a lot of fan’s hearts. With only a pause to celebrate Bert McCracken’s birthday, The Used continue with the evident fan-favourite ‘I Caught Fire’. With the majority of the standing crowd buzzed from a mix of atmosphere and liquid substances, ‘I Caught Fire’ goes down a treat bringing the room to an ear-drum-blowing volume.

With McCracken being extra chatty tonight, the night continues with storytelling pauses before ‘Let It Bleed’ and ‘All That I’ve Got’. But with as much energy as the track demands it’s not until ‘Listening’ that the room develops circle pits, moshing to the band’s delight. With drummer Dan Whitesides exceptionally shining during this track, it suddenly takes a more sombre turn with ‘Yesterday’s Feelings’ showcasing not only the talent of tonight’s band but the crowd as well. Screaming each line louder than McCracken and at points even more delicately, ‘Yesterday’s Feelings’ may be slower than what we’ve heard so far, but it’s by far one of the highlights if the atmosphere is anything to go by. However with The Used being more known for their catchy hard rock, ‘In Love And Death’ is a great arsenal of their more reserved and far more emotional tracks like ‘Hard to Say’ and ‘Lunacy Fringe’.

Putting his faith in the hardcore Used fans ‘I’m a Fake’ starts with McCracken questioning whether the room tonight knows each verse to the poem which introduces the last track on the 2004 album. Without missing a heartbeat the room faultlessly echoes each word, reducing the guys on stage to nothing more than a shocked grin. With the crowd keeping up the energy they’ve had all night, ‘I’m a Fake’ is the perfect ending to the album which has had the crowd gripped all night.

Not ones to leave without a signature, The Used return from their short demise to play one of their most known tracks ‘Pretty Handsome Awkward’ which sees eager fans hurl themselves over the barrier, creating circle pits, and anything to make the show one to remember. With promise of new material it won’t be another long wait until the guys from Utah are back on our shores.

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Produced by David Bendeth (Paramore, BMTH, Breaking Benjamin) ‘Limitless’ kicks things off with the galactic ‘To Be Free’; with punchy drums and riveting guitars mixed with Jenna McDougall’s hearty  vocals, it makes for a strong start. Halting the momentum created by the opening track with ballads ‘Oxygen’ and ‘Human Interaction’, which both ooze 90’s inspired pop-rock, they continue to push the sound further away from the rebellious material created in their early days.

McDougall has explained Limitless as a “record that is just as much about redefining boundaries as it is about challenging the illusory concept of boundaries itself” and in this, third single ‘How Does It Feel’ succeeds. By warming the temperature up from the what we’ve heard so far, its arena-worthy guitar thrashes, whiplash inducing percussion and addictive choruses make for a nice change from the emotive pop-rock we’ve heard so far.

The album highlight comes in form of ‘Power of One’, which channels a mixture of early 90s Natalie Imbruglia and Alanis Morissette. McDougall achieves a whole new tone to her voice which not only shows maturity beyond her years but allows both new and old fans to hear the potential which is otherwise overshadowed. ‘Limitless’ ends on a more sombre note with ‘The Greatest’, which as delightful as it is could have benefited on ending on a shout rather than a murmur.

What ‘Limitless’ lacks in catchiness when compared to their earlier material, it makes up for in lyrical maturity. From the strength behind McDougall’s vocals and the 90s influence throughout, to the overall refined sound the band have created for themselves, Tonight Alive have definitely pushed all limits for this album. If you’re ready to let go of all your preconceived thoughts about Tonight Alive then you will thoroughly enjoy ‘Limitless’ and their new direction.

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Mixed by Nicolas Delestrade (Betraying The Martyrs, Novelists), ‘Renaissance’ is dark, yet subtly sweet with clean vocalist Mehdi Major lending vocals to the Jekyll/Hyde duel-ship with guitarist Alex Vincent-Rey. With an okay start to opening track ‘Mirrors’, it’s really ‘Blue Valentine’ which perks up our ears and makes us stand to attention. From it’s throat-wrenching vocals, to the non-stop crunching guitars, ‘Blue Valentine’ is an untamed animal in song form. A track that keeps us guessing, It takes an eery turn with ghost-like gang vocals swiftly mixed with an abundance of musical layers, all carried by air-drum-worthy percussions. An early contender for EP favourite, no doubt. 

Though it’s easy to predict these tracks will lie favour with fans who rate the likes of Asking Alexandria and Escape The Fate, unlike masking talents behind what’s already out there, Our Theory subtly mix a hint of electronica in amongst hard-hitting-rock. A winning formula which will leave you only wanting more, this feeling is hard to ignore especially in track ‘Girl’. 

However, not to rely on the crunching guitars and electric surprises alone, ‘Wish You Was Here’ allows a break for sing-a-longs – or shall we say scream-a-longs, to fully allow us to appreciate both vocalists who may monumentality get overlooked by their soundtrack. Regardless to whichever side you pick this track is definitely one for that mid-set pick me up. Production is key with the final track ‘Unbreakable’, with its flawless tricks bringing a lot to this track, especially since the vocals are left a little to be desired. All in all a nice wrap up for this short, but promising EP. 

Quoted to be making a storm in the French music scene, Our Theory have provided a more than moreish taste to what we may expect from their next LP. Though the storm may only reside in France thus far, with thanks to ‘Renaissance’ it seems that it won’t be long before the forecast hits the UK. 

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With fans queuing up as early as 11am, the atmosphere was already buzzing for opening act Boston Manor. Regrettably the room is still only half filled with fans still trickling in as they pelt through the first few tracks; though this relaxed response doesn’t stop the guys performing with much urgency. With a sound which matches the headliners perfectly, Wolf clearly resonates with a certain few in the crowd as an army of fist pumps and cheers murmur throughout. Though without a lack of trying tonight’s crowd are just not warming up fully to Boston Manor.

Trash Boat are a little more energetic which is welcomed quickly by the floor. With more camera flashes appearing around the stage, Trash Boat continuously try to get tonight’s crowd moving, and their work is paid off when Tobi Duncan’s aggressive yells for stage divers is finally heard.  With the four members just about fitting on the night’s small stage, Trash Boat deliver good energy and successfully win the crowd over with their pop-punk charm by the end of their set.

However, it’s not till Brawlers take the stage for the room to really wake up. Harry Johns’ addictive personality shines instantly. From the animated facial expressions of Anthony Wright, to hearing the tightest sound all night with track Annabel, Brawlers have definitely brought the party with them. With the overall vibe still wearing a little thin with the crowd tonight, Brawlers take a new approach to rectify this with a sea of high fives and hugs – but this too doesn’t wake the crowd up too much. It’s only when Johns’ plants himself in the middle of tonight’s floor does the party really take off, as phones and fans climb on everything and anyone to get a glimpse.

Though it’s clear from the crowd’s less enthusiastic taken to the bill so far that the show is all about headliners Fort Hope. The band, who recently signed to Virgin Records, kick things off with EP track Sick to a response of screams and instant singalongs: Finally the night’s crowd have found their voices. Jon Gaskin’s vocals are as immaculate as ever, as he effortlessly glides through each verse. To much surprise Fort Hope indulge in a new track off their upcoming untitled LP which offers fans a new sound to the trio. Though the untitled track may be far darker than what fans are accustomed to, it’s received well.

With this being the first show back since writing the new album, Fort Hope continue on with tracks Control, New Life and EP favourite Tears to a somewhat rushed pace. Regardless Jamie Nicholls’ percussions keep up tonight’s tempo with Crosses, bringing the band in full-sync with Gaskin’s Disney-like vocals. With it being a short and sweet set, Plans ends the night with wall shaking drops and ear-aching screams from the (now) packed room.

With all bands serving a strong set within the night’s festival, we can’t help feeling that the audience brought the atmosphere down a little, that with the rushed pace of the night’s headliners gave a little left to be desired. However with Community LDN being a relatively new festival, as well as being on a week night, maybe it’s just a few kinks which need to be seen to.

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