The title comes from the August 1965 Paul Revere & the Raiders single “Steppin' Out,” a paint-peeling stomp which just missed the US Top 40. While it wasn’t a massive hit – a UK release made no mark at all – the track can be taken as helping to define a strand of American pop which is, well, identifiably American. It didn’t matter that “Steppin' Out” was released by a major label: it’s directness, heft, reductiveness, snotiness, unbridled pep and lack of sophistication positioned it as garage rock.

Things do not look promising at 8.55 PM. Half the 1500-capacity Engine Shed is curtained off. The venue is still far from full. The crowd is mostly between their 30s and their 50s, lots of couples. The lights are on. The vibe is lacklustre. Mumbled chat and pints. It’s ex-Kasabian frontman Tom Meighan’s acoustic RAW show and it doesn’t seem likely he’ll be able to turn this around. But, within ten minutes of hitting the stage, he most certainly has.

“I don’t remember yesterday, but I remember when I was eight years old.” The opening lyrics of “Sure & Steady,” Gained / Lost’s second track, underline a core concern of UK indie stalwarts The Wave Pictures’ 20th (!) album: the passage of time, what can and cannot be remembered, what may or may not have a bearing on the here and now.

VINYL OF THE MONTH

“Never mind the Sex Pistols, here's the rotting corpse of Johnny Rotten, stinking to high heaven like some maggot brain from the Bryan Ferry School of Design. Rotten has dubbed his new band Public Image Ltd. PiL's first single ‘Public Image’ sounds like a powerful Pistols' reject. And for making a nyah-nyah statement, the single is sufficient...but an entire album of catcalls is pure self-indulgence.

Mermaid Chunky’s music is a celebration of fun and frivolity. Combining loops of electronica, pipes, flutes and various percussion instruments with Edward Lear-like nonsense lyrics that seem to be largely improvised on the spot, their weirdness is a fine tonic in these difficult times and a joyful soundtrack for misfits everywhere.

Although the Beaches may hail from Toronto, they evidently have more Scottish connections than many bands that come this way. Drummer Eliza Enman-McDaniel announced early on that she got her very first tattoo on a visit to Oban around a decade ago, but this was trumped by guitarist Leandra Earl recalling she lost her virginity in Dundee.

“Fuck Thatcher, fuck neoliberalism.” After these words from the stage, an audience response. “Fuck Thatcher” echoes the approving shout from the darkness.

In November 1975, UK music weekly New Musical Express included an article by Charles Shaar Murray titled “Are You Alive To The Jive Of The Sound Of '75.” Recently in New York, he was revealing what he had discovered.

“Lincoln, you have not been a Monday night crowd, they can be a bit funny,“ says Suede frontman Brett Anderson just before then band exit the stage for the final time. “You’re more than just watchers, you got involved.”