The cool kids will be watching The National in the grandiose surrounds of Alexandra Palace. The cooler kids will be at Koko, getting down to Mount Kimbie. But the coolest kids are packing out Electric Ballroom, watching two women who bonded over a shared love of needlework making one hell of a racket.

© Getty Images / Burak Cingi / Redferns
Deap Vally's Lindsey Troy

© Getty Images / Burak Cingi / Redferns
Deap Vally's Julie Edwards
Perhaps ironically for a band who trade in delightfully scuzzy, bluesy rock, Deap Vally have been quietly making waves over the summer with a string of well-received festival appearances and a Top 40 debut album in the form of Sistrionix. Yes, their performance is gritty, loud, ballsy, soulful - all those mildly patronising rock and roll clichés - but what's more, every single song is performed with a sense of joy that proves impossible to resist.
'Raw Material' and 'Gonna Make My Own Money' instantly set the tone, the latter giving Julie Edwards licence to show off her formidable drumming skills. Her customised bass drumhead rattles with such fury that you can't help but wonder whether it might need replacing mid-set. The more introspective moments such as brooding rock ballad 'Six Feet Under' and the haunting 'Spiritual' (on which Edwards sings lead) also leave a powerful impression.
'Walk of Shame', which a jovial Lindsey Troy remarks is being played "in honour" of anyone going out at the weekend, electrifies the crowd and easily gets the best reception of the night. When Troy goes crowd-surfing, albeit briefly, it feels like a balmy spring evening at Coachella rather than a cold autumn night in north London. 'End of the World''s infectious singalong style and the triumphant, slightly arrogant hook of 'Baby I Call Hell' send the crowd out into the night feeling invincible - and on that basis, it's a job well done.
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