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Poor old Kowalski. They've just spent a couple of days outside in the sun filming their latest video, have been enjoying a spot of BBQ in the afternoon, and now are suffocating in a hot, oppressive venue. To make matters worse, the sparse crowd seems to be similarly afflicted with the malaise that warm weather brings. It's a shame because Kowalski have a well-earned reputation as a good band; they're long term ATL faves, and have worked more than one filled venue in this city into an excitable mass with their shimmery sunshine pop.

Indeed, they are perfect festival fare, exactly the sort of band you want to see on a mid-to-late sunny afternoon with your friends and a couple of drinks, rather than in a dark empty room which seems to suck the fun out of it. 听The set-list spans the past, present and future, oldie 'Phil Kansas's' jaunty organ sitting side-by-side with a dance-indie synthy untitled newbie and new single 'Outdoors'. The problem is that it's all very pleasant, but just seems to be lacking a little something - the one hook, the singalong chorus - to elevate them from mid-ranking solid professionals to genuine contenders.

In contrast Esben & The Witch don't seem to do sunny days, nor pleasant. Named after a Danish fairytale about a murderous hag, they've been tipped by many after their, at times difficult, debut album. An elegant piece of Gothicism, it hasn't really done them justice live, as the intensity is ramped up several notches and the oppressive atmosphere added to by smoke, unsettling lighting and several crystal heads on-stage. Our front-woman (and percussionist and bassist) seems at times possessed, howling over rumbling backing tracks and distorted guitars, with thumping drums battering us and them. This most definitely isn't (Phil) Kansas anymore, Toto. 听

The discordant, detached, ghostly effects and deranged actions of the trio on-stage push us into the realm of performance art, having wandered down the path of Patti Smith, Portishead and Bat For Lashes, and then having gone running into the dark woods. Climaxing with 'Eumenides', the quieter start seems more delicate after the barrage before, building to a finish as the guitarist grabs a drum and bolts for the back of the venue hammering out the rhythm, the beats from stage and floor bouncing back and forth over the heads of the audience creating one last connection and burst of energy. 听And with that thunderclap the spell is broken and the skies have cleared.

William Johnson