For casual fans and hardcore Reuben fans alike, this intimate experience feels as if it’ll be a night to remember. Following the release of his quirky covers album ‘Shuffle’ this summer, Lenman has so many different ways to dazzle us this evening with his wide musical palette.

But first off, we’re treated to half an hour of cathartic noise rock, courtesy of ex-Heck members Haggard Cat. Whilst the two-piece group are less destructive on stage than Heck, front man Matt Reynolds and drummer Tom Marsh are still a true force of nature as they churn out blistering post-hardcore riffs and heavy-handed drum fills. The energy in the room is mostly lukewarm, but the sheer amount of people here to witness their theatrics is admirable. Reynolds takes full advantage of this, finishing ‘American Graffiti’ by crowdsurfing to the very back of the room and onto a ledge, with his guitar surprisingly still intact.

Arriving on stage to gracious applause from his adoring fans, Lenman opens with his version of ‘Tomorrow Never Comes’ by The Beatles. If the original is a seminal sonic adventure, Lenman’s cover, by comparison, is more like a cocaine fuelled rollercoaster, especially with the addition of the racing synth loops.

Armed with a few pedals and a war-torn Yamaha guitar, it is blissful to witness Lenman pull off such a big sound with a minimalist set up. Shifting from Reuben classics like ‘Lights Out’ to a funky bass guitar rendition of Cindi Lauper’s ‘She Bop’, the set choice is as emotional as it is playful. At one point, his vocals are drowned out by the audience as the end of ‘All Of England Is A City’ is belted out as loud as humanly possible. In that very moment, memories of early 2000s memories from our youth flash and are brought back to life again.

As well as Lenman being a prolifically solid songwriter, he is thoroughly charming, taking the time to deliver greater context to his songs and constantly assessing the vibe of the room. You feel as if you’re conversing with a long lost schoolmate down the pub as opposed to being at a gig. As he changes over to the acoustic part of the set, he deals with an obnoxious audience member by politely sending him to the back;“I don’t want you getting crushed during the heavy songs mate.” It can be easy for musicians to lose their temper when an audience member causes trouble, however, Lenman deals with the situation through politeness and brevity.

After a delightful selection of soulful acoustic numbers, the pit opens up as Lenman delivers ‘Coda’, a song released by punk outfit Caretaker. Opting for oppressive synths rather than heavy guitar riff overtones, the cut is an unexpected but thoroughly welcomed addition to the evening. Ending on Reuben’s festive hit ‘Christmas Is Awesome’, Matt Reynolds bounds onstage to join in the carnage, reminding us that this is indeed the most wonderful time of the year.

For Jamie Lenman, 2019 might have been a victorious year, but tonight was one of the strongest performances of his entire career.

ASHWIN BHANDARI

The shiny, glittery arched ceilings and brightly coloured, balloon covered dancefloor place this evening’s gig, visually at least, somewhere in the region of American High School prom meets ‘Phoenix Nights’.

Tonight the Moth Club is playing host to two bands that care about creating safe spaces for gig go-ers, so the venue have introduced unisex toilet facilities for the show.

Kicking things off is Scotland’s The Spook School, who introduce themselves as “one of those queer bands you’ve heard about”. Their crossover sound of power pop and emo also channels the catchy 1970’s ‘chart punk’ bands, think Muncie Girls playing Buzzcocks songs.

Lyrically, The Spook School are quite intense, covering very current issues on gender and abuse. Their shared triple vocal duties intensify the gravity and urgency of each topic, whether it’s calling out “fuck you I’m still alive!” in a song about abusive relationships, the self-explanatory “Burn Masculinity” or “I wish I was as strong as my Mother”.

Despite the weight of their lyrical content, The Spook School are still able to bring good vibes and energy to the stage, uniting the crowd and very much living the idea of self-expression.

As New York based duo Diet Cig take to the stage, frontwoman and guitarist Alex Luciano takes a moment to explain that this show and every Diet Cig show is a safe space free from discrimination or prejudice in any form. Luciano’s brief speech is met with hearty applause and cheers of endearment.

With Higgs Boson-like energy, Diet Cig explode into action. For a two piece, their sound is dynamic and fills the room with ease, and as balloons start flying it becomes clear that this isn’t just a gig – this is a party.

Between vocal lines Luciano leaps around care free, on and off of bandmate Noah Bowman’s drum kit. As well as their very relatable songs about coming of age, Diet Cig also take time to address some heavier issues with modern society. And much like The Spook School, they let the songs speak for themselves.

Alex’s performance has an almost child-like freedom to it. She never stops smiling, even while singing songs that must have been written with a heavy heart. Diet Cig soon launch into their single “Tummy Ache” which was released at the start of the year, which hits on the importance of feeling safe and having fun whether you’re gay, straight, bi-sexual, transgender or non-binary. The band are met with an entire room of people who are comfortable in their own skin right now, chanting “it’s hard to be a punk whilst wearing a skirt!” A lyric that has clearly resonated the fans here tonight.

Alex and Noah return to the stage for an encore explaining they want to give the crowd :a proper goodbye” before launching into the title track of their most recent album, ‘Swear I’m Good at This’. In response: yes, yes you are good at this!

Tonight has been all about having fun, having a good time and really driving home the punk ethos that it’s OK to be different or not fit ‘the norm’. Both Diet Cig and The Spook School have shown us that if they continue along the paths currently beneath their feet, they could end up becoming voices of a generation.

JAMES DAVENPORT