Meursault, Islington Assembly Hall, London

I always seem to end up going to Meursault shows on my own. It’s not that my pals don’t like them, it’s just chance. The Edinburgh band are so engaging in delivery and welcoming with their humble onstage chat, being alone doesn’t really matter. On top of that tonight all three acts on the bill feature one or more members of… well, the other acts. In many ways tonight is giving London a wee sample of the indie love-in and unity that exists in the Scottish capital.

Both support acts set things up nicely. Withered Hand’s signature wildly optimistic / painfully honest songs charm the already pretty full hall with bittersweet pop songs accompanied beautifully by mandolin, violin and at points with the next act, Rob St. John joining in. Set-closer ‘Religious Songs’ is a particular highlight.

Rob’s set (a man who I once took upon myself to knight live on the radio by accidentally calling him St. John Rob), brings a much more abstract, haunting sound to the gig. Hearing him in this grand room really suits his sound, my pop-obsessed ears get it tonight, much more than on record - the dark swirling guitars and harmonies with Meursault’s hooded lead singer Neil on keys set things up perfectly for the main event.

Meursault have produced, in their most recent album ‘Something For the Weakened’ a record that encapsulates all sides of them (and their first two records). It’s one that a lot more people should be madly in love with - song writing that has a lot going on and some real cutting lyrics, but is totally accessible; making me at least want to raise a pint and shout along in knowing unity.

The number one thing is singer Neil Pennycook’s voice. You must hear this. One of the most powerful, dynamic and rich voices around but with a Jekyll & Hyde style innocence and fragility to it at other times. ‘Flittin’ from the new album exemplifies that to a tee with its near-shouted chorus, bringing the room to life and letting any newcomers to the band know what’s coming.

That voice floats in and out of distorted, reverby guitars, driving tom-heavy drums and (for one night only) added string section The Pumpkin Seeds. The string addition really elevates tracks like ‘Settling’ and pre-encore set closer ‘Dull Spark’ to soaring heights. New track ‘The Mill’ continues the most recent albums pop sense, only utilising only a cello, guitar and Neil’s words. Dramatic.

The night ends with a real sense of gratitude: the band grateful for such a turn out, their friends who’d opened for them and after many years of shows in much less grand London surroundings, getting to put on a show in such a space. The crowd are equally as grateful just to be part of it. ‘What You Don’t Have’ is a rousing, fitting end to the whole thing. Like a bloody anthem.