The Walkmen at The Wedgewood Rooms

Here’s your guide to the next 72 hours

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Coming on stage unfashionably early, frontman Hamilton Leithauser arrives looking like he’s just emerged from his office cubicle.

He’s in full suit, shirt and tie and plays the first number alone with his guitar before the rest of the five-piece band joins him and launches into the kind of emotionally-charged indie-rock that has nearly made them famous.

Emerging in the early noughties they were peers of fellow NYC groups The Strokes and Interpol but never quite broke into the big time.

Despite critical acclaim, they have remained cult favourites.

And at this warm-up date for a few European festivals they prove to be consummate professionals – proficient and solid players.

Leithauser’s howl is used profusely throughout as he drags frequently from his various drinks and their keyboard-pinned sound swells alongside the chiming guitars to fill the busy, but not full, Wedge.

When they discharge their best-known song The Rat early on in their set it’s without fanfare, clearly as a statement of intent.

And with six albums to draw on, they pull songs from all over their career. Juveniles is the opener to new album, Lisbon, and proves to be a set highpoint.

At this stage in their career, they’re unlikely to break out of their cult act status, but on the strength of this show, they don’t seem to care about that.