Did you attend this show? Head here to submit your review of the event.

Throughout my gig going life, I've been in plenty of different venues. From grimy underground clubs where sweat drips from the walls to vast football stadiums where going to the bar is a huge no-no lest you want to lose everyone you're with to ornate churches in which it feels a bit weird to be drinking beer at 3pm in. Yet I couldn't quite prepare myself for Somerset House's gloriously expansive courtyard.

On the hottest day of the year so far, while everyone else had dashed out of the office and onto the bank of the Thames or various beer gardens dotted around, in hopes of getting a spot in the glorious sunshine, we've chosen to nestle ourselves securely in CHVRCHES gloomy electro-pop bosom. As part of the Summer Series, they took to the stage in the courtyard of this neoclassical riverside 'house' to play to a sold out crowd; a far cry from their first London gig at The Nest in Dalston two years ago.

Despite the sky rocketing success between now and this gig, they look utterly at ease in front of this unusually mixed crowd of city boys with their magnum bottles of whatever is the wine of choice this evening and your regular pop lovers. Lauren Mayberry, an elfin frontwoman in stature and voice but with a real sharpness to her, talks of the touts outside trying to sell her a ticket to her own gig and of her knees (all the better for kicking in the scrote with), even throwing in a Taffin reference for any Adam & Joe fans in the audience, though she does cling to the mic stand like a life support for most of the set.

Opening with the wonderfully bouncy We Sink, they fly through most of their debut album The Bones Of What You Believe, an album dripping with '80s synthpop influences, including the luscious 'Night Sky' and the Gary Numan-esque 'Lies'. Drum machines clap and thud, basslines groove, and their signature synths glitter and shimmer; a concoction that, when coupled with the colourful lights dancing across the courtyard's façade and the sun setting over the London skyline, makes for a potent mixture that's almost impossible not to dance to. Mayberry's light vocals perfectly cut through the often dark and moody electronic sounds; the perfect complement, particularly on the likes of 'Science/Visions'. 'Tether', despite being one of my favourite tracks on the album, does lead to a little bit of a lull in the setlist, though the explosive ending does pick things up a little.

Martin Doherty even gets a turn at taking centre stage and proves a much more energetic presence than Mayberry, bounding around the stage like an excitable puppy when he takes the mic on 'Under The Tide'; a song that is, admittedly, my least favourite on the album, but, here, becomes an unstoppable force of a tune that would easily work as a club banger. It almost feels like an entirely different gig and, perhaps, if Mayberry had had a similar gravitas, the atmosphere would've been even greater. In fact, throughout most of the gig, both Doherty and Iain Cook always caught the eye in their positions flanking Mayberry, be that Doherty enthusiastically slapping the drum machine or Cook having the time of his life with his bass guitar.

Rounding things out with the true crowd pleaser 'The Mother We Share' enraptures the crowd as arms are raised aloft and the collective voice of the crowd begins to drown out Mayberry's sweet vocals. But with most of the major tracks on the album already being received with rapturous enthusiasm from the crowd, what is left for the setlist? While some were hoping for their Whitney Houston cover, what we actually got was just 'You Caught The Light' and 'By The Throat'; a disappointing end when you consider most band's use encores to crack out the big crowd pleasers, though 'By The Throat''s mix of glittery synths and almost trap-like beats does prove a great finish. Here is a band embracing their success in some style and a headline gig in some rather palatial surroundings seems right.