Vox, Fender, and Marshall Amps. The band's logo on the bass drum. A Rolling Stones decal on the bass guitar. This is what we want to kick off the second day. The 'Movement come out on stage to piano chords over an electronic pulse, singer Mal Tuohy comes out last of course, in time honoured lead-vocalist style. We get the first of (many) "oh, Oh, OHs!" and he's got the microphone pointed out the crowd already. The 'Tide have not come here to stare at their shoes and mumble about their feelings. This is the big rock, purpose built for festival crowds to sing along to. There are three chord descending riffs, something about "Jumping out of the shadows" from Tuohy whose voice is a tiny bit strained but improves, and a tempo drop and build up. 'Changeling' is a shot on an open goal, but they take it and put it away in the corner.

There's some guitar tech trouble during 'You And I' but Tuohy pays it no mind, getting the crowd singing a "shit don't stink" refrain. During new song, 'Something Special', my old pal/nemesis/teacher Sam Snort appears from the backstage area, looking at the stage with a quizzical air.

"Carty! Didn't that guitar player used to roadie for Foghat back in the glory days?"

I doubted it given the fella's youth but he does admittedly look the part.

"What's his name?" Sam asked through his large Kahlúa and pineapple.

"JPR Dalton"

"That's gotta be him!" roared Sam before wandering off to charm a lady in leopardskin pants. I got back to work.

'Something Special' turns out to be a bit tasty. They then take a left turn into New Order territory for 'Plastic Oceans' which, before you can say Moon in June, is rhymed with emotions. 'Skull And Crossbones' gets back on the rock track - plenty of punters singing the chorus that's propped up by a good four chord trick. More "oh, Oh, OHs!" than a U2 concert in 1984, mind. They change it up with some "ba, ba, ba-das" for 'I'll Be There', in "your darkest moment" apparently. Hey, it worked for Oasis. I'm not knocking it, it's all toe-tapping fare, delivered by a band intent on getting through, and winning an audience over.

Down on one knee with the microphone out? Check. Foot up on the monitor? Check. Pointing at the crowd rarely fails. Older admirers of Jim Kerr are happy to see it all, although they have better songs than 'Elephant In The Room'. Better songs like the bright and shiny 'It All Works Out' with its infectious Blondie-style hi-hat beat. Tuohy's thanks to a large and enthusiastic crowd are heartfelt and genuine. The Movement are a hard band not to like, fair play to them.