It has merely been a matter of months since we last caught Nick Mulvey, but in that short space he has gone to incredible heights having been a contender for the prestigious BBC Sound of 2014 list earlier this year as well as receiving constant airplay for his latest single ‘Cucurucu’. With the announcement of his debut album First Mind due for release in May alongside the demand for his current tour, Mulvey is only poised for great things.

Opening up the first night of the tour is Eaves (real name Joseph Lyons) from Leeds. It seems that Eaves is destined for the same amount of success as Mulvey as he has the audience in complete silence from his first song ‘Purge’ onwards. Eaves music feels like it sits quite comfortably between the quieter moments of Eddie Vedder and Neil Young, especially on the sinister ‘Drawing Demons’ which has a chorus which feels as if it was lifted from Nirvana’s In Utereo. Closing out his set perfectly with ‘Old As They Grey’ which begins with falsetto melodies before soaring vocals take the reigns in the verses and chorus’.

As Nick Mulvey takes to the stage, only one thing is apparent. His command over an audience. Taking time to refine the tuning of his guitar, the entire audience sits still until all that can be heard besides the guitar is the bar staff clearing up. Opening up with the dissonant rhythms of ‘April’ as his fingers effortlessly fall onto his guitar, Mulvey’s incredibly technical guitar work is the first thing that is apparent of the night as he barely even looks towards what his hands are playing.

Another thing that is apparent is how much more relaxed Mulvey is since last time he was in Birmingham, he feels more comfortable to embellish songs such as ‘Juramidam’ and ‘Nitrous’ with longer introductions and even commenting after ‘Nitrous’, “that was how I originally wrote that song”. New track ‘I Don’t Want To Go Home’ feels like a lovelorn Bob Dylan deep cut which describes not wanting a long journey to come to an end.

One of the highlights of the night however comes in the form of the final song ‘Fever to the Form’, although the studio arrangement of the track really brings out a lot of the melodies in the song, the stripped back performance of just Mulvey, his guitar and an absolutely silent audience really highlights the song’s poignant lyricism and despite the set just flying by, it’s clear that the audience were longing for more.