Photo: Lee Hammond

Having followed Bear's Den for a number of years now, it's encouraging to see them grow from the little-known folk three-piece they were, in to the rapidly accelerating force they're becoming. And, as if their burgeoning visibility isn't proof enough, tonight's venue has been up-scaled from Academy 2 to The Ritz, in order to accommodate the fans that clamored for tickets. Indeed such an up-scaling in venue certainly attests to the band's popularity, whilst keeping fans happy, but where does it leave Bear's Den themselves? Can a band that thrives on intimacy make a venue such as The Ritz feel as intimate as those early shows at the likes of The Deaf Institute or Ruby Lounge?

Both yes, and no. By its nature the Ritz isn't the most intimate of venues, and this is something that Bear's Den seem to have factored in to tonight's set; the likes of 'Elysium' and 'Don't Let the Sun Steal You Away' are factored in early on, providing the crowd with ample sing-along opportunities, each taken from their debut LP. As the set progresses however, tracks from earlier EPs are introduced. 'Sophie' for instance, marks the half way point, and is the first occasion that guitars are unplugged and the band rely on both their voices and the venue's acoustics to carry the track. Unfortunately this is the first time the set seems to stumble slightly, though through no fault of the band. Pockets of the crowd refuse simply to just shut up, and as such our position near the sound-desk means the collective voices of the band are half-lost on their journey from stage to the rooms rear, taking with them any feeling of frisson the track might otherwise have offered.

A couple of new songs pepper the setlist; both 'Red Earth and Pouring Rain' and 'Roses On A Breeze' suggest the band have undergone yet another maturing process since the release of Islands and as such give a brief insight in to what we can expect next from the band. Unsurprisingly, however, it's the haunting 'Isaac' and the soaring 'Above The Clouds of Pompeii' that find the crowd in full voice, something that's carried over the final track of the evening 'Agape'.

Before that, we're treated to the band once again unplugging their guitars, but this time entering the crowd for a rendition of 'Bad Blood'. It's a typical trope for the band, and those who have seen them before are anticipating it, but that doesn't mean to say it's any less impressive. Fortunately as well, the bands location in the centre of the crowd allows their sound to carry far better than it during 'Sophie' and even though the track does promote another sing-along, this time it's more of a whisper, and each fraught annunciation or deft guitar slide is audible above the crowd's collective voice.

Bear's Den are a band faced with a difficult decision. Their popularity is on the up, and looks set to continue to remain as such for a long while yet, but in this, they're also faced with a decision about the kind of venues they play. Their live show is one based around intimacy, and such intimacy is difficult, if not impossible, to maintain should they progress to the Apollo's and the arenas of the UK's touring circuit. So is it in their best interests to focus instead on writing more tracks like 'Elysium' and 'The Love We Stole', both of which are atmospheric in their own right, but also anthemic. Or, do they focus on the hauntingly understated beauty of tracks such as 'Bad Blood', which lend themselves perfectly to the kind of performance mentioned above, yet wouldn't stand a chance of having the same 'pin drop' effect in a crowd of a couple of thousand? We don't know what direction they'll take, but we do know we'll be there to watch them when they do. 

While the rest of the country is watching Ireland trounce Canada in the rugby. Fibbers is hosting a daytime, all ages show in its darkest of dark basements. Punk veterans Blood or Whiskey are the main attraction. The main support act is four teenagers from Dublin, The Klares. They've just won the Schools Award in The Big Break 2015 and are heavily influenced by the Arctic Monkeys and Catfish & the Bottlemen. 

They have impressive stage presence and play well together. They have a real future in music, once they finish school of course. The newer material from new EP, Cookoo, is more sophisticated without sacrificing what makes them great in the first place. The Klares play a mix of originals from their two EPs and classic rock covers from The Who, The Undertones, and The Black Keys. 

Lead singer Andy Burke dances around wildly and gees up the young crowd in front of the stage. The older crowd at the back look suitably enamoured by the tight, up-tempo pop rock and are visibly impressed by the storming interpretation of 'Voodoo Chile' that closes the set. It's a brave move to finish with a Jimi Hendrix cover but The Klares pull it off with panache, put a modern twist on it, and make the song their own.  The audience demand an encore and the headliners graciously shout encouragement to the youngsters. They have used all their original material so finish up with perennial crowd- pleaser 'Twist and Shout'.

Celtic punk veterans Blood Or Whiskey follow in the headline slot. Originally formed in 1992, the Dublin based sextet have been there and done it. 2005's album Cashed Out On Culture is rightfully regarded as a punk classic. They've toured the world with fellow trad lovers Dropkick Murphys and Flogging Molly, with the added touch of authenticity that comes from actually bring Irish. 

Their brand of catchy, melodic, good time songs with call and response choruses blends seamlessly with their aggressive undertones and socio-political messages. The usual punk set up of guitars, bass and drums is augmented with banjo, accordion and tin whistle which both modernises the sound of trad music, and keeps true to the rebellious spirit it evokes. 

From the off, it is clear that these guys are head and shoulders above almost every band in Dublin in terms of stage presence. They are at ease on stage, masters of their domain, and they carry the crowd with them every step of the way. They back up their amiable swagger with quality tunes which also say something about modern life and the world we inhabit. Blood or Whiskey describe themselves as The Dubliners being played by The Clash. They have a small army of hardcore fans, one of whom states that this is the band Shane MacGowan wishes he was in. 

From the first chord, skinheads are slamming and mohawks are pogoing.  It's a fun and exhilarating alternative to sitting in a crowded beer garden watching overgrown, overpaid men push each other round. Or, at least, the uniforms are more interesting. 

The all ages gig means a wide age range. From young lads with hair swept across their faces to weather-beaten punkers in Doc Martens and cut off denim, there’s a sense of camaraderie that only the proximity to consensual acts of mild violence can inspire. There’s a girl in a black and white dress standing stock still, front row centre like the gothic eye of the storm as the pit rages. 

Blood or Whiskey are consummate entertainers without getting twee or clichéd. The charismatic lead singer, Finny McConnell,  gets down into the crowd on a number of occasions to lead the dancing, twirling his mic stand like Freddie Mercury leading a band of majorettes. 

The energy levels ramp up further when a bunch of red balloons are introduced to the dance floor bringing the already bubbling dancefloor to the boil. The floor is all spilled beer and broken glass and the band slow things down as the staff mop things up. ‘Back Home in Derry’ always sends shivers down the spine but Finny tempers the maudlin lyrics by taking a  dance partner from the crowd and leading her around the floor. The skins and punkers join in and the scene resembles a Terry Gilliam fever dream.

Blood or Whiskey remain a vital and fun live act. Even if you are new to them, they would win over all comers. And with singalong songs like ‘They Say No’ and ‘Poxy Pub’ I would defy anyone to resist them.