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For an act whose brand of indie-electronic was a relatively late arrival on the scene, Maps has persevered through the recent indie rock drought through its refreshingly strange yet ever-relevant sound.

Nestled deep in the bat caves of Cargo, James Chapman – the man at the mixer – breaks into the melodic-organ number ‘You Don’t Know Her Name’. The steady bass and booming gospel overtones are something to nod along to, but not quite enough to dance to. Essentially, it’s a little safer and a lot less edgy than I’d like it to be, but judging by the conventional 30-40 year-old crowd gathered here, it seems that this is the audience that Maps has attracted from its debut days.

However, as the first bars of current single ‘I Dream Of Crystal’ break through, the crowd becomes utterly hooked and goo-goo eyed. With its soaring strings, whimsical bells, and pounding chorus of shrilling echoes, Maps’ new track does a 180 from past singles, setting the pulse beating rapidly for the rest of the show.

Different in style to the singles off the Mercury-nominated We Can Create, Maps’ sophomore set seemingly deserves more attention than the first. Chapman’s apparent ability to enhance his music while keeping his award-tipped foundation is what sets him apart from other shoe-gazing acts that have crashed and burned in the last two years.

Further new material showcases the edgier road Maps is taking. The experimental ‘Let Go Of The Fear’ is filled with resounding cowbells and beat juggling, reminiscent of The Rapture and Hot Chip.

Maps closes the gig with the hyper electronic build-up number of the whole set, ‘Love Will Come’. The track is an explosion of frantic melody, hollering echoes, and driving bass making it the perfect endnote to makes fans linger for more.  Though regularly put on par with Sigur Ros and My Bloody Valentine, if this set proves anything, it’s that Maps is certainly drifting further away from the safer boundaries of the debut LP.

While I’m not sure if we’re still stuck in the ‘shoe-gaze’ era or we have in fact reached the ‘nu-gaze’ age, it really doesn’t matter. Maps’ new Turning The Mind set is redefining whatever state of shoe-gazing we’re at in a delightful way that we’ll be sure to hear more of.

Bat For Lashes prances on to the stage, fully clad in gold cape and black spandex leotard looking like she’s about to save the world, and show us a good time while she’s at it.

Surrounded by an American Apparel ad of hipster backup singers, an array of strange instruments and shouts of adoration, the first bars of ‘Horse and I’ begin. Perhaps it’s BFL’s dark, edgy style or absence of catchy melody but the result is bleak: fans stay fixed in place, sipping drinks, conversing, utterly uninspired and unmoving. And usually the opening track should be the most grabbing.

The following ‘Glass’ is equally unengaging. It’s further made ridiculous by an electric fan blowing in her face (is she auditioning for a TV advert for shampoo?) and cheap projector on bed sheet spread behind her showcasing what rustically resemble Microsoft desktop backgrounds.

As a performer she is cringingly charmless. Like a baffled young girl at her first piano recital, she ignores the audience except for a few giggles at photos being taken of her. Even when she plays her big single ‘Daniel’—which is sure to be a crowd-pleaser—her rigid pose only inspires a few head nods and minimal bopping about.

Not only does Natasha Khan as a performer (the singer/songwriter behind the persona) disappoint, her music seems to fall on deaf ears.

By mid-set there is more traffic of fans leaving the pit than entering it, a mass exodus that is embarrassingly noticeable even from the nose-bleed seats. Frankly, it is more interesting to watch the tweaked-out background musicians jingle a few bells like they are on some psychedelic trip (at this point, I want whatever they are taking just to get through till the end).

Her vocals however are astonishing. Though on Two Suns her sound is similar to Imogen Heap, the sheer power behind her voice live sets her apart from the former. The harmonic duets accomplished on ‘Trophy’ create a pulsating rush; however this small carrot is soon spoiled when the ensuing melodic build ups quickly deteriorate into off-key notes and deafening synth.

Unfortunately, despite the action hero gear, she couldn’t even save herself from her terrible performance. Bat For Lashes’ music is made for the bedroom and bean bags, not the stage.