Better Oblivion Community Center may be a supergroup of sorts, but the name still draws less recognition that its members (Phoebe Bridgers and Conor Oberst from Bright Eyes). Maybe it’s just too complicated to remember, because a packed Shepherd’s Bush Empire proved the band’s wide appeal – lairy lads and muso pensioners, side-by-side for a night of charm and angst.

For a time, it looked like Catfish and the Bottlemen might finally be the next-gen guitar band with crossover appeal. Though that never quite came to pass, their new show promoting latest album The Balance proves why the indie faithful value them as Britain’s guiding light. 

Before we get to the music, there’s the title of Clinic’s first album in seven years to deal with. It comes from the title of a 1970s Granada TV series, The Wheeltappers and Shunters Social Club, a northern entertainment revue presented by, among others, Bernard Manning. The surviving episodes of the show, with the blue dialed down for a wider audience, offer a veneered view of working men’s clubs that gently steers anything too unsavoury into the wings. As a symbol of Britain’s relationship with its past, it’s damn near perfect. 

Three albums in, and Vampire Weekend were due a shake-up. Enter Father of the Bride, by far their most ambitious record to date. It’s an 18-track behemoth featuring 14 musicians and six different producers, spanning from folk to jazz. It may be a bit kitchen sink, but it’s also their most exciting release since their eponymous debut.

Editors’ last album, the electronic-infused Violence, was hailed as a big departure for the indie rock band on its release a little over a year ago.

Suede finish “Sabotage”. It’s a mid-paced, elegant number set off by swirling, circling central guitar. Frontman Brett Anderson hangs from his microphone stand on the left apron of the stage to deliver it, with the lights down low. Afterwards he paces back to his bandmates, body taut, hair a-flop. He tells the audience he’s been involved in a long ongoing experiment; “standing in front of VOX AC30 amps for 30 years.” The resulting problem, he adds in a rising shout, “is that I can’t hear you.”

It begins with The Stone Roses’ “Don’t Stop”, the fourth track from their 1989 debut long player. A backwards though thoroughly remixed version of “Waterfall”, the album’s preceding track, it enthusiastically pushes the button labelled “psychedelic”.

Circa Waves, the guitar-band from Liverpool, go over a storm at festivals and large venues. With simplicity, tightness and concentrated energy, they know how to play with the tension that can build between soft and hard, the yin and the yang of rock forms that continue to sound fresh because they're delivered with a sense of fun and the joy of making party music with catchy lyrics.

The Drums appeared a decade ago out of New York, riding a media froth about indie music to critical acclaim and, at least for their debut album, some degree of commercial success. They were a four-piece who owed a large debt to New Order but had enough of their own pizzazz to look promising.

“We like people here in Estonia. I think we all here very much value being European. To all our British friends, we know that the offer of e-residency has been ticking-up constantly. You can find a sure foothold for your business here in Estonia. There’s enough space, please come.”