Brendan Hitchens, Journalist

As the cliché goes, sometimes the journey is as important as the destination. In tonight’s case, the journey is one of exceptional highs.

Positioned somewhere between Sister Act, Puberty Blues and an awkward teen rom-com, Choir Girl, in its cross generational appeal, is a Comedy Fest surprise packet.

Legally, the court’s proved the racist claims to be wrong. Tonight, he proved the review to be wrong. Positive four stars!

Finally finishing with Blessed Love, at 64 Cliff isn’t just a living legend, he is fit, firing and as relevant as ever.

“I think we’ve got a good show. I think it’s real. It’s been honest right from the start, which I think is cool."

Her punch lines are delivered in quantity, but by far, the highlight is her uproarious instagram parody of Nelly Furtardo’s Turn Off The Light.

“We had talked about how I was a fan of ‘90s hip hop and Raekwon and RZA and the rest of Wu-Tang guys. They had this really nice sound where they had these organic piano sounds and loops that would drift in and out so we wanted to go for that idea, but on live instruments."

"The guys at Interscope made a great pitch. They essentially gave me a marketing plan that meant I didn’t have to change anything about how I do my business or compromise anything artistically."

Two people spend the rest of the set in an ambulance outside the venue, being treated for cuts and lacerations, as the mayhem, though now tamer and more constructive at the band’s request, continues inside.

“Ellen digs independent artists. She’s not listening to top 40 radio, which is great for me.”

Maybe Future does try to do too much all at once in trying to appeal to teenage club heads as well as old-timer indie kids. But today we danced to The Stone Roses playing Fools Gold, and that’s all that counts, really.

Two mid-tier bands and regular visitors to the country using the show as a warm-up and keeping plenty in reserve.