The Lexington is a trendy little pub venue of the kind that seems generally packed out with those either in the industry or those wanting to be in the industry, as well as putting on a selection of gigs that cover both the heydays of indie past and the promise of indie future. The Fortuna Pop Label took heed of this wonderful (and all in my mind) creed in order to put on three bands who bought the indie kids, old and new, swarming to the quaintly welcoming pub in question. Veronica Falls opened the night, very much a band in love with the early 90's indie movement, managing to both evoke and evolve the movement with their brand of sweet but sad sonic lullabies. A couple of charming covers and a smattering of deliciously enveloping vocal harmonies (including a tender Frere Jacques style introductory sing-song) ensured a warmly received beginning. The Loft were next up and are a force from the days of indie-gone-by who gained acclaim for their brief but chaotic career as part of Creation Records, back to bring about a glorious air of indie nostalgia. They emitted an atmosphere of gentle, head-nodding indie melody in the form of twanging guitars and incessantly clattering drums. The headliners are an act who have existed, in one form or another, since the early 90s but had only passed my realm of knowledge last year thanks to an accidental stumbling around Youtube. Comet Gain have consistently pumped out a collection of intelligent, C86 style indie pop and rock that fuses Northern Soul elements to the anarchic elements of riot-grrrl. The anarchic elements were certainly on show as they shuffled around the stage, stumbled through speeches and occasionally messed up an introduction or two. Such was the charm and humour in the room, however, that the crowd simply seemed to warm more to the bumbling hilarity on offer. A genuinely rib-tickling little acapella ditty came from the mouth of lead vocalist David Freck before everything started, setting the tone for the following selection of classic indie calamity. They jerked along in a riotous fashion, utilising a mix of vocals and ideas to form something at times addictive, at times disconcerting, but always interesting. The melody and music is surprisingly vibrant, joyous and tightly wound, amidst the slight air of chaos, showcasing a band still up for a gut-busting good time whilst retaining the ideology and ability to conjure up a toe-tappingly good indie pop track. A new record, produced with the help of Ryan Jarman of the Cribs, is on it's way in the near future, so watch that soulfully chaotic space.