It is sometime in the beginning of May and I am queuing outside of the ‘Chalk’ Nightclub in the Brighton lanes.

I have vacated Cardiff just for the weekend to attend the annual Great Escape Festival of new music in my home city.

I am with my Dad, my aunt and my uncle; we are all slightly tipsy and slightly out of breath, having run here straight from another venue.

The bouncer checks our tickets and we are funnelled into the venue as soon as the lights are lowered.

Despite this, the club is visibly packed with people, mostly in their 50s, the sort that treat BBC Radio 6 as a religion.

All I know about the next band is that they had won Glastonbury’s ‘Emerging Talent’ competition and supported ‘Geese’ on a European stint of the ‘Getting Killed Tour’.

This is some feat for a band without a studio album. Onto the stage walk the quartet, all in their early to mid-twenties, Jimmy Bradbury (vocals, guitar), Reuben Haycocks (vocals, guitar), Aoife Anson O’Connell (vocals, bass) and Paddy Murphy (vocals, drums).

They are young enough to be the son or daughter of most of the audience.

They spend some seconds tuning their instruments and before the audience can even quieten, the drummer screams “WESTSIDE COW- BOY”, slaps their sticks together and they erupt into a performance of their first song of the slot.

Cowboy by name and cowboy by nature, they subscribe to a 90s Americana sound yet sing with a definitive English accent.

Their self-coined genre, ‘Britainicana’, is a nostalgic feel ruptured with the energy and angst expected of a post-punk band.

We leave completely impressed, in agreement they may be the best performance of the festival.

I type the band’s name into Instagram and apparently I am very much late to the party, I have 12 mutual followers.

So, I get on the train home and begin to listen to the singles. They met in Manchester, as all good bands do, the remanence of another.

Murphy and Bradbury as part of Katz, a “three-piece surf-punk band that played so fast it ceased to exist”, and Haycocks and Murphy playing in a noise pop group, DieKaiDie.

At that point the band’s discography was made up of six singles and an EP, their debut album set to release sometime in early Autumn.

They spent the summer performing at intimate venues, punctured with a set at Leeds Festival and the TRNSMT in Glasgow.

Then finally, It Goes On was released on the 21st of August and as I write this in late September, I have not since stopped listening to it.

The eleven song track list is loud but controlled with fantastic drumming from Murphy, and Anson O’Connell’s vocals add a nice counterpoint to the otherwise all male vocalists.

Soundwise it remains similar to the thumping they made in that night club in May.

The guitar truly anchors every song, it edges mid-west emo in its open string drone.

This achieves a much bigger feel to every song, helping to add some depth to a relatively simple arrangement. If you have to judge them off one song, I truly recommend any performance of, ‘Kick Stones (The Boys)’.

You can find it on Youtube filmed from their appearance on ‘Later… with Jools Holland’.

And, if you require any final convincing, both my aunt and I simultaneously bought the new album for my dad and he is quite pleased with owning two.

Westside Cowboy play Tramshed, Saturday 15th October, as a part of Sŵn Festival.