Wire are a British rock band who have been linked to the punk scene since they formed in the 1970s with their debut release Pink Flag. Fourteen albums later, Wire, accompanied by their latest self-titled LP set up their equipment on the Brudenell stage. Slightly in front, a curly haired couple share a delicate moment, hopefully in reminiscence of that sweaty night they met; probably throwing punches and wearing ripped denim in the '70s.

A shiny, silver Ipad is placed centre stage just left of Colin Newman’s microphone. Visions of synthesis and guitar pairings come to mind, or Newman impressively programming his own light show right from the stage. Its purpose is still undecided as it seemed to be only used to check lyrics, as Newman glances over to the white illuminated screen and clicks to what can only be a shortcut to Lyrics Mania.

For some reason Wire’s transition from track to track does not feel that fluid or consistent. This could be down to the Robert Gotobed on drums counting in with a traditional click from the sticks with every other song. Or it could be down to the contrast in sound from the Pink Flag tracks, to sounds from their latest release, Wire. This is not necessary a bad thing, but at times certain tracks did drag on with no reason or intention, which is surprising due to most being under three minutes.

The show is packed with newer tracks like 'In Manchester' and ‘Burning Bridges’, along with the more familiar songs like ‘Blessed State’ taken from their 1979 album 154. The aggression in the delivery has softened, yet still remains engaging and meticulous. What is left is a slightly downtrodden, deflated punk groan from Newman’s throat, which makes each track darker and more looming. The show peaks at a high frequency, pounding through the chest of Wire’s followers. Even plugging the ears of some with yellow foam, the pure rattle that squeals out of Matthew Simms’ guitar leaves the unplugged ears ringing afterwards.

The crowd that stands looking up at the quartet are not surprisingly mature. Unconventionally, a young-ish looking guy walks through the crowd with a full 12 inch box of pizza and begins to munch on it as the performance continues. Slightly strange, but it does sum up the lack of raw enthusiasm that seems to correlate between the less aggressive performance and the audience.

Tracks from their latest album sound almost dystopian, running guitar riffs and the repetitive hi-hat climbs without reaching a crescendo. This abrupt end urges the sweaty necks of the people standing side by side to yell things like “We are not worthy”. That alone shows the cult influence that perpetuates out of Wire's every move and every note. Sturdy baselines and wondering guitar licks add to the atmospheric satisfaction in tracks like ‘Harpooned’ wire intended for the evening.

The show tonight seems to be more about a bands exploration as Wire's music takes a slightly different direction into a distance dystopia fuelled by atmospheric melodies. This is something they do exceedingly well and the audience do look on idle yet content with Wires’ new direction. For me the show is too self-seeking, as I would rather punk punched me in the face than wonder by aimlessly.   

Tonight sees one of the most exciting bands of the year making their way in to arguably the best venue in the UK. With a stacked support line-up there’s plenty for us to get stuck into this evening. Chaika are up first, hailing from Leeds they set the tempo with driving guitar riffs, and an overall anthemic sound.

Chaika are a pretty interesting prospect and they have an excellent stage presence, with a charismatic front-man and ample backing. However, they’re lacking something that the other bands on the line-up tonight posses, though that said, we’re almost certain that this isn’t the last we shall hear or see of Chaika.

Next up are some other Leeds natives, Bearfoot Beware. They really are awesome, with their huge sound, they storm the stage in visceral fashion. Screeching their way through their set, their sheer energy raises the roof on the Brudenell tonight and we're completely aback. There’s a true power here, which was perhaps lacking in Chaika’s set.

Ought take to the stage pretty soon after, and immediately we notice front man Tim taking his shoes off before launching into the set. From the off there’s an excited atmosphere filling the room, as the band set about their business of thrilling us all, though for a band with one of the albums of the year though this isn’t that much of a difficult prospect.

Tracks like ‘Pleasant Heart’ speak for themselves, whilst Tim’s delivery is spellbinding as he dances and croons. The crowd in complete awe of him, their angular indie rock providing perfectly danceable grooves throughout, if anything its difficult to prevent us from staying still.

Yet tracks like ‘Forgiveness’ project a whole different vibe, Tim’s vocals taking the key role with minimalist music. The whole feeling of the set is somewhat shambolic, yet that endears us to the band even more. They have a limited repertoire but this is often for the best, a short sharp stab without spinning things out.

Ought fly through their set with effortless ease. There’s intensity, a purposeful looseness and a phenomenally charismatic lead singer, overall culminating in a brilliant set. The band close out with the phenomenally ramshackle 'Gemini', though as they attempt to leave the stage the crowd chant and they’re forced to stay and play as yet unreleased track ‘Beautiful Blue Skies.’

This evening has proven why Ought are hotly tipped for big things, with their truly endearing behaviour and exciting performance, it’ll not be long before everyone is humming ‘Beautiful Blue Skies’ on their morning commute.