Esben and The Witch

It wasn't so long ago that Spotlight Kid were on the verge of calling it a day, having just seen off their umpteenth vocalist in quick succession. As a result, the role of singer seemed to be something of a hot potato, as subsequent band members, most notably guitarist Rob McCleary reluctantly took up the mantle like rabbits struck motionless by the full beam of a 4x4's headlights. Eighteen months on, and Spotlight Kid are an entirely different proposition altogether. Sure, the tunes were always there, soaked in a glacial shade of feedback and reverb courtesy of former Model Morning duo McCleary and Chris Moore, while the impeccable rhythm section of Chris Davis and Matthew Holt keep things ticking over at the back. It's the addition of Kat Heath on vocals though that elevates said songs to dizzier M83 scraping heights, the proverbial final piece of a seemingly never-ending jigsaw that almost ended in tears, yet could just be the band that finally puts Nottingham back on the map after far too long in musical obscurity.

For many reasons, Oxford's Trophy Wife are entirely dissimilar to the two bands they share the stage with this evening. Whereas both Spotlight Kid and headliners Esben And The Witch owe much of their sound to a bygone era where long dark overcoats and even darker eye make-up were the fashions of the day, Trophy Wife look like they could have easily just walked off the set of Skins. Hugely indebted to Foals and the local scene that spawned them, there's something quite rigid about their set this evening that borders on the predictable where a more organic, looser co-ordination would benefit. While both 'Microlite' and 'White Horses' flutter intently, occasionally Trophy Wife give the impression they're trying just that little bit too hard, while never really convincing anyone why they're on such an atmospheric, guitar heavy, noise-infused bill in the first place.

2011 couldn't have started any better for Esben And The Witch if they'd meticulously planned it themselves. Having narrowly missed out on a Q award for Best Newcomer at the end of last year, their nomination as one of the BBC's Sound of 2011 still came as a surprise, particularly as they were the only real leftfield inclusion amongst the Jessie Js and Wretch 32s of this world. Add the almost universal acclaim bestowed on their debut album Violet Cries (including a glowing 9/10 here) and their sky seems to become more limitless with every passing day.

Which ultimately brings with it one or two nagging concerns, not least the fear that maybe their star has shone too brightly too soon. This time last year still relatively unknown outside of their native Brighton, the giant leap they've made to headlining 500+ capacity venues on the back of one recently released album, while being a remarkable achievement in itself, particularly with the financial side of the music industry said to be in decline, carries an almighty sack of potential pitfalls with it. Indeed potential is probably the operative word when it comes to describing Esben And The Witch at this moment in time. Comparisons to Siouxsie And The Banshees (correct) and The xx (so wide of the mark it could have ricocheted off Fernando Torres left boot) apart, their unbridled intensity coupled with an innocent nervousness sets them apart from pretty much anyone else on the planet today.

However, the awkward silences between songs coupled with disbelieving looks of "What are we doing here?" between the three band members suggests this may be a jump too far at this stage. It's still early days though, and despite the aforementioned minor flaws, their promise remains unimpeachable.