As Chris Murray stands guitar in hand ninety minutes into set it?s hard not to marvel at just how good his one man acoustic ska act is. Quality song after quality song has led to the obligatory ?Rock Steady? and a joyous, if not slightly polite, crowd sing-along. Unplanned and unplugged, this is exactly how everybody should see this man perform.

Rewind a few hours and a big shout out is in order for the Staying South promo team; tonight has another fantastic undercard portraying the varied UK scene in an oh so deserving light. Opener ONE NIGHT STAND IN NORTH DAKOTA (mouthful) has a simple set-up; two guitars, two vocals and an impressive sound. Integrating softened singing and fiercer bellowing, the Durham two-piece is streets ahead in terms of nailing that beaten-but-not-broken acoustic grit that is on the increase, and manage to deliver it all with wit and languid charisma. (3.5/5)

Sheffield quartet CALVINBALL (ballsy) rips through twenty minutes of straight-up punk rock that fits right in there alongside The Arteries and You Me and the Atom Bomb. Fast, melodic and foot-stompingly addictive, this is pretty much the blueprint for the type of punk you can expect at The Windmill on a regular basis. These Northerners should come South more often. (4)

APOLOGIES, I HAVE NONE (bawling) has a fanbase, that?s for sure. A two-pronged attack of electric guitar and drums (a style more noisy acoustic than Winnebago Deal noisefest) is accompanied by mouthed words aplenty from a crowd that has noticeably skulked to the front. Everyman and his dog have been throwing plaudits in the direction of the London duo and on tonight?s performance it?s easy to see why. A brief set is splattered with heartfelt, passionate and grainy vocals (from both parties during instrument swaps) and has that spiky-but-mellow feel to it. Good stuff, indeed. (3.5)

It wasn?t all that long ago CHRIS MURRAY (gentlemanly) was in the capital warming up the brisk English weather with quaint ska joviality but tonight is different. Gone is the shackled, time-limited set of the Underworld. In comes the oozing character of The Windmill; grotty walls garishly painted and seemingly held together by band stickers; candlelit JD bottles (empty, thankfully); and a curfew that?s pretty much nonexistent. The Windmill is a unique place and tonight it feels just right for Murray.

Opening song ?Rastaman? is one of the few selections Murray makes himself for tonight is to be a ?fan choice? affair. It?s not unusual to see the Canadian throw the floor open to suggestions but tonight it appears this is all he wants to do. The result is calls for the likes of ?We Do the Ska?, ?F-Train?, ?Steady Beat Convention? and ?Dinosaur?. It?s quite the discography pillage. When Murray does guide things along it tends to be to air new material, something that seems to buoy him.

The result is a set that feels special. In some ways the crowd is a little too restrained (Murray really wants people to ?go mental?), most likely out of awe for what is an incredible show. One man and his guitar; such a simple concept, such a result. So ska gem after ska gem is pumped out (?The Real Ska?, ?So Many Roads?, ?One Everything?), seeing off what would ordinarily be just another mundane Monday. Murray simply strums away with a big smile and humble charm. The accolade for best song tonight though is shared by ?Running From Safety? (a knowing wink to life on the road) and ?Why We Go To War? (a call for peace that manages to combine serious intent and humour).

In short, Chris Murray is always a worthwhile watch but tonight there?s a little extra panache and a lovely sense of intimacy to the whole show. Fantastic. (4.5)

Alex Hambleton

There?s no doubt that acoustic music is currently enjoying a resurgence. Whilst the likes of Frank Turner skyrocket into the conscious of mainstream music listeners, lone guys and gals the country over are being given the opportunity to perform to appreciating crowds on a regular basis. Not since the unplugged days of Dylan has it been so ?cool? to be quietly out there on your own. Tonight?s bill heavily favours the acoustic side of life as well as showcasing the sort of ska that defies the miserable drizzle outside and convinces you it?s actually summer.

Opening acts don?t usually receive so much as a batted eyelash at the Underworld but tonight Squab manages not only to flutter eyes but to demand the attention of everyone in attendance. And that includes the bouncers! A big part of it has to do with Harry Yeff: how often do you get to see a human beatbox nicking the drummers spot on stage? The London act, completed by Steve Coe and Jak Brown both on acoustic guitar, plays a mixture of ska and folk delivered in an easygoing manner that allows at times for the beatbox to take centre stage but is never eclipsed by what some will dismiss as gimmick. It?s all highly enjoyable and well worth checking out. (4/5)

Gecko follows up in a similar manner only with the more traditional drum set replacing the beatbox this time. To sum up the music on offer here it?s probably easiest to mention some of the influences on display: The Streets, Natty, The Beastie Boys, Jack Johnson, 60?s Trojan reggae, mariachi music. It?s a mixed bag the size of Wembley Stadium and yet it all comes together so nicely. Will Sanderson-Thwaite, the man behind Gecko, and his backing band The Blizzards prove to be an incredible spectacle blending sometime heartfelt, sometimes comedic lyrics with a hotpot of musical styles that keeps you guessing until the very end. (4/5)

?We?re the only band without an acoustic guitar,? laughs electric guitarist Josh Waters Rudge. ?That makes us the bad guys.? Indeed The Skints aren?t here to ply an acoustic trade, but nor is the London quartet likely to break your ears with some crushing beatdowns. The punky reggae party brought by the hometown band is exactly that: some traditional roots reggae blended with fast guitars and socio-conscious lyrics in a multi-paced, multi-voiced, multi-faceted fusion that has the dance floor skanking just like the old days. It?s a change of pace that actually sits snuggly alongside the rest of the bill rather than being the proverbial sore thumb. Well that?s certainly the impression you get from what is the largest crowd of the night. Without a doubt The Skints are going places. Give them another six months, an album release, and the tour slots the band has lined-up and it?s not unfathomable for these guys to be headlining the Underworld sooner rather than later. (4/5)

Such is the youth before him you?d be forgiven for thinking Chris Murray was a band dad. It?s actually testament to the length of time the now L.A. based Canadian has been performing. From his time in King Apparatus until his present solo status, Murray has been regarded very much as a man of the music. His collaborations with the likes of Hepcat and The Slackers have been interspersed by work with traditional reggae artists, and all this comes across in tonight?s 60 minute performance.

From the off, ?We Do the Ska? sets out the stall: just Murray, his guitar, and a chorus line of not-quite in tune fans. Comfortable in his own performance whilst being thoroughly charming and amenable, Murray takes requests at the drop of a hat. ?Heartache? is a spontaneous request that feels like it should be in the set always, perfectly natural. The likes of ?So Many Roads?, ?Ex Darling? and ?The Real Ska? showcase the chilled reggae vibe and quaint storytelling that earmark Murray?s recordings and then take them up another notch. Live is where it?s at.

As a special treat, Murray invites Gecko and the beatbox Yeff to perform a couple of songs. Favourite ?Rock Steady? sounds particularly enriched by the vocal harmonies, bass grooves and a mouthful of unimaginable noises. I guess it?s what Murray sounds like full band. It makes a pleasant break to the set without losing the acoustic etiquette.

Back to one man and his guitar, Murray closes out a slightly shorter set than he would have liked, and with it closes an impeccable bill of consistent performances, fours across the board. All in all it?s a thoroughly agreeable Tuesday night that won?t leave the ears ringing for days afterwards. This whole acoustic lark ain?t all that bad, you know? (4/5)

Alex Hambleton