It is with this in mind, then, how I view the gig tonight. First on is Entrance – otherwise known as Guy Blakeslee – a one-man indie-blues extravaganza from Baltimore, USA. With his Marc Bolan hair and fantastic thrift store chic, it looks like he’s just legged it down here after busking outside nearby Kentish Town tube station. So far he has failed miserably. He is not wearing anything bright or shiny and remains rooted in the same spot on the huge Forum stage. Tsk. As he attaches bells to his wrists and ankles (no, really) I begin to think I wasn’t so far off the mark with the busking suggestion. He does, however, manage to win the crowd over with his unassuming presence and soaring voice. Entrance’s debut album ‘The Kingdom of Heaven Must Be Taken by Storm’ was released on Tiger Style Records earlier this year and seems to receive adoration from all who listen. His performance tonight was toe-tapping and sweet, but the repetitive nature of the bluesy riffs meant the half hour set wandered into boring territory.

No chance of nodding off during The Locust, though. Someone should probably have had a word with them about their costume choice. While a bright and shiny outfit is good, five grown men in matching skin-tight white boiler suits with masks is definitely not good. This is probably funny for about five seconds. Then you just look like twats. The set consists of well over 20 songs that barely reach the two-minute mark and all sound the same. It’s thrash hardcore but done with no message, no soul and no originality. Maybe they should just try and, as I suggested, work the crowd a bit. A lone plastic beer glass (empty) flies on stage, so the bassist calls the crowd “f***ing c***s” and, unsurprisingly, the (full) beer glasses keep on flying. The Locust are truly dreadful. Avoid at all costs.

By the time the Yeah Yeah Yeahs appear the crowd are practically salivating. As the deliciously wild Karen O bounds onstage, resplendent in a metallic lamé super-hero leotard, the lacklustre support acts are soon forgotten. The New York trio’s music often takes a back seat as their effortless cool and Karen’s, er, unique fashion sense are examined and revered. This is a shame as their debut ‘Fever to Tell’ was easily one of the best albums of last year. The band’s hectic touring schedule has put song-writing on the back burner for a while, so tonight we are treated to almost the whole album.

Songs like ‘Date with the Night’ and ‘Rich’ although great on record seem to gain new life as Karen dances her way through them. The Yeah Yeah Yeahs are meant to be heard out of breath and sweaty – and they sound better for it. Describing Karen as ‘energetic’ barely does justice to what she actually achieves on stage. It’s like watching a punk rock Superman as she whizzes from corner to corner; crawling, leaping, high-kicking – my eyes can barely keep up. The crowd have clearly fallen head over heels in love with her and, as she smiles and coquettishly dodges flying bras and items of clothing, it’s easy to see why. “Don’t be scared of love” sings Karen and this one line captures the heart of what the band are about. They are a great band to be loved up to and this is perhaps why slowie ‘Maps’ gets the biggest cheer of the night. Every song flirts with the hairs on the back of your neck and inspires a giddy excitement.

There’s something inexplicably perfect about the Yeah Yeah Yeahs. It could be the way each song can soundtrack your life, or the pure energy and passion radiating from the band themselves or – and I’m backing this one – it could be the good use of the stage, fancy clothes and bonding with the fans.