Everything Everything have felt the pop landscape rumble beneath their feet. When their debut, Man Alive, came out in 2010 their fusion of glitchy R&B and white funk seemed daring and eclectic – an indie-urban love-in that dared not speak its name. Since then, there has been a parade of artists tapping the same influences (Coldplay went day-glo pop, Beyoncé, as per her Major Lazer hook-up, turned ‘indie’). In other words, what once was niche is now virulently mainstream.

You suspect this suits the Manchester four-piece fine. In interviews they’ve stated that being a cult affair was never on their agenda and, on their second LP, Arc, aggressively lay out their mainstream credentials. Speaking to this journalist recently singer Jonathan Higgs was perfectly frank: if there is an opportunity for Everything Everything to join the ranks of Coldplay and Snow Patrol, the group intend seizing it with arms outstretched.
They’re not quite there yet, but may well be on their way. On a cold Monday they’ve sold out Whelan’s and the squeals of acclamation that ripple around the room as they open with Arc stand-out track, ‘Kemosabe’ suggest this is an audience of die-hards rather than curious casuals. From the balcony, it’s like watching a stadium concert in miniature: Higgs has all the necessary poses though is not so po-faced that he doesn’t crack up at the sight of an uber-fan perched on a pal’s shoulder, as if marooned at the far-end of Knebworth.