As I enter Billboard I’m greeted by the loud murmur of patrons excitedly talking amongst themselves in anticipation of the gig at hand. In the background bangs and distortions, sounds not anywhere near musical, emanate from the stage. Judging by the level of talk and lack of musicality I assume a sound check is taking place. It’s only after a few minutes that it becomes apparent that this is no soundcheck but Mancini 500, the night’s support act. The crowd couldn’t act any more disinterested, and the band doesn’t help matters by having no clear song structures.

They dawdle about in pretentious masquerade masks playing what sounds like five year olds let loose in a recording studio, just bashing without any structure on any instrument they can get hold of. The only continuity comes from some rubbish synths and distorted spoken word that can’t be understood. The best summation comes from a punter nearby who simply states, “What the fuck is this!” The band finishes with flourish simply walking off stage without applause. I asked Robert Levon Been of Black Rebel Motorcycle Club whether they had any say in the support act and he told me that originally the Black Ryder were to support but they had several members leave, meaning we were left with the last minute shambles of Mancini 500.

While BRMC are down to earth enough that they watch the support from front of house with the rest of the crowd, they remain one of the coolest bands around in terms both style and presence on stage. Taking to the stage all dressed in black, Peter Hayes with a cigarette hanging limply from his lips, the band launch into proceedings without introductions or formalities. They are not much for banter and what little there is comes entirely from Levon Been. The band, however, talk volumes with a bravado and intensity conveyed through their actions. The majority of songs are sung by Levon Been but Hayes makes a welcome entry early on with Red Eyes and Tears as well as bring forth his distinctive gospel stylings on tracks like Shuffle Your Feet and Ain’t No Easy Way where he plays harmonica.

Whilst recent addition Leigh Shapiro on drums does an admirable job of not only filling the hole left by her predecessor but adding her own distinctive style, we’re left in no doubt that the show is driven by the creative dynamo of Levon Been and Hayes. For me it’s Levon Been who particularly impresses tonight, he’s a bass player who doesn’t just provide rhythm but draws melody out as well. On Mamma Taught Me Better , he manages to coax a sound not unlike that of Queens of the Stone Age’s guitar from his bass and on Aya , he detunes and retunes his bass whilst playing, warping the notes. On Love Burns the bass becomes so deep I’m afraid he’ll find the fabled Brown note.

New tracks like Beat the Devils Tattoo go down particularly well although the crowd seems pretty placid, perhaps linked to the wafting smells of a certain herb. The highlight of the night for me has to be Berlin on which the crowd sung in unison, “She said, Suicide’s easy, What happened to the revolution, Suicide’s easy, What happened to the revolution.” Followed closely by an extended rendition of Weapon of Choice. Other highlights include Whatever Happened to my Rock ‘n’ Roll and Six Barrel Shotgun.

We are treated to a spoken word version of Edgar Allen Poe’s Annabel Lee by Levon Been before an acoustic Sympathetic Noose during which the audience watches in silent awe. It’s an extreme change of pace as for the rest of the night, he is balancing dangerously on the precipice of the stage, hanging his guitar out over our heads. The band close with a rapturous Spread Your Love before returning for an encore of Stop with it’s mind numbing baseline and Shadows Keeper , which goes to explosive levels before bringing us back to earth as it drops into the hushed tones of Long Way Down. With such an incredible body of material behind them, it’s no doubt everyone would have loved to hear more, but certainly no one leaves disappointed.

CHECK OUT SOME THE PHOTOS FROM THE NIGHT HERE