There’s an undeniable sense of pride in seeing a young band up on stage, and realising from the first note that this is going to be a very special set, from very special artists.

WineMom have been performing together for just over a year – but to let their relative newness fool you would be a grave mistake: their energy and the quality of their sound, both onstage and in the studio, rival some of the best well-established musicians in the country.

WineMom at the Workman's Cellar /copyright Patrik Meier/hoptress.com

One of their most recognisable attributes is their undeniable funkiness, seemingly lining every track thanks to bouncy bass riffs and euphoric instrumentations – from the very first song, in fact, it is easy to find yourself swaying on your feet, transported by the boisterous soundscapes.

The unreleased ‘Two For Two’ opens with a carefully crafted, high-voltage guitar riff from Matthew Marshall, before taking a sharp turn towards a groovy vocal performance from Rosanna Harrington, and bringing out an energy that is as dazzling as it is infectiously fun.

WineMom at the Workman's Cellar /copyright Patrik Meier/hoptress.com

‘Neptune’s Sea’, WineMom’s second single, is another track that follows this head-bopping strategy – bubbling guitar chords and unbridled rhythmic sections blend together to accompany an exquisitely smooth melody, making for an jubilant disco-jazz tune.

The other released singles, ‘Blood Moon’ and ‘Roll Of Honour’, are deeply distinctive tracks – in an interview with Hot Press in September, Harrington had explained that her intention behind them was to create something “big, like a wall of sound.”

WineMom at the Workman's Cellar /copyright Patrik Meier/hoptress.com

Practically, in the studio, this meant multiplying vocal tracks, adding improvised cello lines from bassist Millie Moloney in the centre, and experimenting with additional instrumentation. Played live, you would expect the songs to feel stripped back – but in fact, this larger-than-life quality doesn’t go away even when performed as a simple four piece, instead reading like a transporting and nostalgic rock opera, only enhanced by the way the crowd sings along Harrington’s every word.

This epic energy is also found in ‘Everest’, a new track that shares undeniable similarities with the two aforementioned tunes: this one, too, is a maximalist banger – cinematic, like an irresistible call to adventure.

WineMom at the Workman's Cellar /copyright Patrik Meier/hoptress.com

This intoxicating energy stays in full force with the occasional rock covers that tint the set-list – like the high-octane and head-banging rendition of Jefferson Airplane’s ‘Somebody To Love’ that sends the crowd into an appropriate state of frenzy, given back ten folds by the band, who are clearly having the time of their lives up on stage.

Despite their unwavering energy, WineMom are capable of slowing down too – languorous guitar riffs and lazy rhythmic sections gently transforming the Workman’s Cellar into a nostalgic jazz club of sorts, like on the sulphurous track ‘The Sooner The Better’.

WineMom at the Workman's Cellar /copyright Patrik Meier/hoptress.com

If there is one quality that follows them throughout their whole discography, it is an undeniable soulfulness, carried by the absolute powerhouse that is frontwoman Rosanna Harrington. Even the most longing tracks, as the beats slow down and the drums are gently stripped back, the richness of her vocal performance creates a fervent quality that she cannot seem to escape – to the audience’s greatest pleasure.

The band’s collective stage presence cannot be understated – from Harrington’s spirited dance moves to Moloney and Reese Martin’s shared euphoric smiles, and, of course, Marshall’s passionate guitar solos, it feels like excitement is pouring out of them, their joy contagious enough to change the atmosphere of the whole room.

WineMom at the Workman's Cellar /copyright Patrik Meier/hoptress.com

When WineMom step off stage at the end of their all-too-short set, it is under a wild roar of applause and with an unmistakable twinkle of euphoria in their eyes, their chemistry still palpable even as the music stops. In their absence, the crowd is left with the very clear feeling that this band and their electrifying live performances are something to carefully look out for.