Whilst Blossoms may have named themselves after a historic pub in Stockport, I highly doubt they’ve been popping in for a pint very much recently.

After a string of massively successful festival appearances, recordings for Radio 1 and being labelled Radio X’s ‘Record Of The Week,’ they’ve acquired a very young, excitable loyal following since I last saw them at the tiny ‘Bungalow Club’ in Stockport.

With a queue snaking down Whitworth Street outside The Ritz, a gaggle of teens clutch their tickets eager to witness the current so called ‘psych revival.’

When Blossoms show themselves, they’re raring to go. Lunging in with ‘Cut Me And I’ll Bleed,’ the scenes occurring in the audience are worthy of a seasoned band like The Courteeners. Pints of what you hope is beer soar through the air, drenching mortified guitarist Josh Dewhurst’s pedal board whilst another member of the sweaty clamor clambers onto the stage before security can cart him off, whilst his foot is still tangled in lead singer Tom Ogden’s guitar wire, carry-on style.

It’s surprisingly rowdy and raucous for such an ethereal genre but that seems to be one of Blossoms strengths, recreating and evolving the expected.

The Doors references are still apparent but spliced in is a distinct link to the Manchester music scene. Having just started recording their debut album, their back catalogue remains on the skinny side and it’s still the keyboard from Myles Kellock that truly sets them apart, with a knack for irresistible riffs, their particularly 70’s sound is a rarity in 2015.

They rattle through their recent EP, reeling off ‘Blown Rose,’ ‘You Pulled A Gun On Me’ and new release ‘Charlemagne.’

The festivals have clearly served them well, their songs are now chanted back at them and their stage-style has developed hugely. They toy with tension, elongating their song endings, utilising the clashing crescendo favoured by the likes of AC/DC to ensure that everything is always teetering right on the edge.

The tempo slows when they perform ‘Stormy’ with one of the member’s dad’s on piano. The audience are restless, willing them to play the ones they can sing to. They launch into a predictably well-received cover of Electronic’s ‘Getting Away With It’ which Tom’s vocals master effortlessly.

They end on a ridiculous high with ‘Blow,’ reaching the end of the song and singing the first line of the chorus before bowing out, leaving the crowd to finish it for themselves.

Tom Ogden describes it as ‘mind-blowing,’ reminding everyone that despite the swagger and sudden popularity, they’re four lads from Stockport who are as surprised at their own success as everyone witnessing it.

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