A modest turnout early on for the energetic showcasing of the youthful Colour Change for Camouflage. Word on the street spoke of the exuberance and carefree tenacity they’ve been bringing to Oxford stages over the past year, so they were eagerly awaited here. Emily, Will, Brodie, Craig and Easy make up the Witney-based five-piece, displaying varying hairstyles from dreadlocks to afro – with the frontwoman perhaps the most sensibly presented. A vocal style similar to the comparatively dynamic Oxfordian female-fronted Baby Gravy, but with unexpected elements thrown into the mix… The most Dreaded of the three guitarists on display, Easy Chalmers, brought some great Libertines-esque tone with his playing, adding to what could easily have descended into chaotic yet cacophonous noise. On the occasions that he was called on for vocal duties, like on the brilliant ‘Fibonacci And Fractal Patterns In Nature’, he brought some legitimate fire to accompany Emily Wharton’s ashen vocals. An even ‘indier’ sound is found when Foals-inspired, and huge-haired guitarist Will Healy shares vocals – they’re softer and more accurate than the rest of the Red Bull-soaked set, and these variables provide a lot of scope for development. With a set list on their phones, and playing to a handful of friends and those whose curiosity had been aroused, this is still early days; but they’re tidier than might be expected, and a great time.

Next, a rare solo set from the incurably charming James Hitchman, frontman of Oxford scene heavyweights Alphabet Backwards. It should be remembered that AB did start off a solo project, and so the ease with which the transformation is executed shouldn’t perhaps be much of a surprise. Taller than you might remember, the usually seated guitarist comes across with the persona of a journeyed solo artist, in the vein of the lesser-travelled Jack Peñate, or as referenced later in the set, Jamie T. With a comprehensive understanding of the nuances of a full band set – and the subtleties of an acoustic only show – he reels off his well-crafted four-minute pop melodies, broken only for brief insights into his day job with the band. Featuring songs from the band’s latest offering, The British Explorer EP as well as favourites like ‘Ladybird’ and ‘In Love With The Weatherman’, it all flows nicely, and it’s as homely as the full band shows. It felt an honour to witness.

One of the most talked-about up-and-comers in Oxford are the multi-faceted Very Nice Harry. For the uninitiated, this was a particularly unexpected change of pace – going from acoustic only to this quartet’s math-rock and electro-infused material – but hey, this is Oxford, the hometown of the genre. The vocals bring a Maximo Park style masculinity to their mid-song guitar interplay which, whilst mesmerising and showing a complex mastery of their tools, do take up a lot of the room in the song sandwich. Hugely promising, and highly active in the local scene, they are responsible – along with acts such as Spring Offensive, Minor Coles, Gunning for Tamar and so many more – for maintaining the ressurgence that Oxford has seen in recent years.

On record, part of Empty Vessels‘ charm is their tendency for dirty guitar and bass lines. Here, in the flesh, they’re pretty much wallowing in them. Two of the standout tracks from their early catalogue, ‘Blood On The Streets’ and ‘Love Is All We Need’, were the highlights of their set. They’re even able to leave out a couple of fan favourites out and still go down a storm. This was a masterful performance from the charismatic frontman Matt Greenham and his funk-a-delic crew.

When I was first introduced to Deer Chicago in the summer, in the lead up to Truck festival, I assumed they were an already established act – such was the fluidity of their performance, as well as their mere presence on the main stage at that event. In a smaller room – smaller than a field! – they come across as a professional, self-aware outfit, focused more on showcasing their creations than in indulging an ever-growing audience with tales of ennui. Fat Lil’s regular and spearhead of DC, Jonny Payne’s style suggests comparisons to Jim Lockey & the Solemn Sun, storytelling in nature, with angst-ridden underscoring. For three guys, they produce a lot of sound, but it is definitely well-rehearsed. There doesn’t seem to be any mid-song showboating to fill a couple of minutes – you feel that they’ve got enough in their armoury to keep going, and they probably will. It’s all aiming high and hitting targets here; they are superb musically, lyrically and vocally. I cannot criticise anything about this outfit – they’re simply magnificent. Make sure you catch them in 2012.

Black Hats are the reason everyone is here today. Huge thanks to them, their initiative in putting on this fantastic event, and to the venue for doing everything they could to make it a success. We can only hope that this will become an annual event, or even a winter & summer event? Something to think about… and something that would be hugely welcome. Not content with waiting for things to come to them – as in fact I’m sure they will – they’ve invented their own festival. Though they’re the godfathers of the event, they unnassumingly play support to some of their favourite acts from Oxford – the ever reliable Phantom Theory and Secret Rivals who unfortunately we couldn’t stay for due to work commitments. Without crawling too much, let’s just say this – Black Hats are in the game for keeps. Musically, they’re easy to listen to; rhythmic bass and drums, with just one guitar. Lyrically, they’re challenging, in the best of ways. Only a few levels of intensity away from being a hardcore outfit, their social commentary and focused delivery bring to mind bands like Anti-Flag and Sunny Day Real Estate, in the very best of ways. The most enjoyable ways. They’ve successfully got a lot of people out of their doors and to this event on what isn’t a particularly inviting time of year – all credit to them.