Stornoway, Band on the Wall, Manchester 12th March 2013 7/10

The Guardian recently posted a somewhat depressing article about the challenges of the mundane life of a support band. However, Southampton's Pale Seas gave every indication that they were enjoying themselves, and there was a surprising energy in their dark, atmospheric dream pop. Drummer Zealah Anstey's technique reminded me of Haim, and it was telling that the audience already almost filling the venue was compelled to listen. I discovered Pale Seas only because of their support role last night, and I'm not surprised to find out that they've been signed to Communion Records. They're yet to release an album, but have some tracks on Soundcloud and are definitely one to watch. Below is their lead singer, Jacob Scott; they're a young band, some members still studying at university.

Brian Biggs and keyboard player Jon Ouin of Stornoway met at freshers' week at Oxford University: the name was chosen before they'd even travelled to the town on the Hebridean Isle of Lewis. Their break was to be the first ever unsigned band to appear on Jools Holland, in 2009, alongside the Foo Fighters. Last night's gig at an intimate and excellent venue in Manchester sold out quickly, and I was lucky to have secured a ticket released at the last minute. Comparisons with Mumford and Sons in the folk pop area are inevitable, but Stornoway are more laid back in style, less inclined to work their way into the popular consciousness through sheer energy and volume.

Brian has a laid back stage persona, telling humorous anecdotes between songs (even if many have a tenuous connection to the music).  He was most impressive in the thrilling unplugged acoustic performance of November Song which closes their second album, Tales from Terra Firma. It was released only this week and has received a largely positive critical reception. It has a more glossy pop sensibility than the 2010 Beachcomber's Windowsill, but the strongest songs are the more introspective such as The Ones We Hurt The Most, with delicate, introspective melodies. Here in its nostalgia, I detect a hint of the Celtic, which justifies their nomenclature.

Interest on stage was maintained by the regular instrument changes, and the addition of a fiddle player to the regular quartet was welcome, especially given her imaginative use of peddles. As well as trumpet, double bass and mandolin, a loop was created in Farewell Appalachia with an axe, tearing a newspaper and banging on a saucepan. A highlight for me (other than the two unplugged numbers) was the celebratory You Take Me As I am, which demonstrated their easy going, fun nature. Yet I found the musical content frustratingly inconsistent: for example The Great Procrastinator's flippancy didn't engage me emotionally. My reaction to Dawes, listened to on the drive home, made me realise I missed an Americana influence.

More pertinently, fantastic performer though Brian is, there was something just a little too slick about the show. It may seem churlish to suggest a lack of authenticity, but much though I admired it, I was moved only sporadically. The execution can't be faulted, but at times the music is on autopilot, feels saccharine, or simply lacks distinctiveness. This is probably a minority view: several of those present had attended their previous two Manchester gigs, and all those around me seemed to be enjoying myself. The use of instruments as esoteric as a saw and dulcimer and the enthusiasm onstage kept me entertained, but the music's sheer niceness failed to challenge. However, don't let this put you off experiencing them live yourself, or at least listening to their new album.