Aptly kicking off with Reelin in the Years, we are immediately taken on a scintillating journey down memory lane. Anyone who is familiar with Jim Kirkpatrick as the guitar slinger with melodic rock gods FM will know just how fine a guitar player he is, but here as band leader and singer he proves he is just as good in those roles too. Charismatic, charming, with an anecdote or story to introduce every number and an easy banter with fellow guitarist Paul Rose, it’s a good-natured, easy-going approach that draws the crowd closer, engendering a real warmth and camaraderie between those on-stage and off. Paul too has a fine line in a mischievous, dry wit, and coupled with his sensational playing, alongside Jim makes for a devastatingly talented and compelling double act.

What Guitar Heads do so well, is remind us that these songs aren’t just static museum pieces they are vital, living pieces of art; this talented band takes them and dances along that fine line of remaining true to the originals whilst adding greater depth and heft, in the process bringing them back to life and giving a tantalising glimpse of just how thrilling they must have been when first released. This is surely in no small part due to the titanic rhythm section of Thunder’s Chris Childs and Harry James, laying down the rock-solid foundation for Jim and Paul Rose to let their guitars soar. Experiencing these songs tonight is like reacquainting yourself with an old friend you haven’t seen for years, but one who has spent those intervening years down the gym. The same as you remember but bigger, bolder and more muscular than ever before, even making lighter songs like The Shadows’ Wonderful Land sound fuller and rockier than Hank Marvin could ever have dreamed of.

Jim and Paul swap guitars to Flying Vs (“the only thing better than one Flying V is two Flying Vs” quips Jim), one of which previously belonged to the much-loved and much-missed Bernie Marsden, before launching into a blistering Hocus Pocus to bring the first set to a breathless dynamic close.

The Waterloo’s superb sound really needs to take a bow here, coming into its own and providing a crystal-clear separation between all the instruments and allowing each one to shine. Good sound is so key to a great gig, and the Waterloo’s is consistently excellent, but here it provides the perfect showcase for the sublime musicianship from each individual member of the band.

The second set seems to pass in an instant, a sure sign of a fantastic gig, as it’s one you don’t want to come to an end. Nick Foley’s sublime Hammond playing also needs special mention, adding another layer to the band’s sound with its mellifluous, richly evocative tone, at times supporting, others taking the spotlight, in songs as varied as Money or a brilliant version of She’s Not There.