Everything Everything @ Albert Hall, Manchester, 20 Jun

Crossing genres and generations, a sold out Albert Hall is filled with fans from all backgrounds: young to old, male to female and those designed to provide respite from the heat.

Opening the bill is Boxed In, the brainchild of Oli Bayston, who bring an infectious and intriguing blend of dance electro and cerebral krautrock that formally sets the venue up for a night of transgressive music.

The show coincides with the unveiling of the Everything Everything's fourth record, A Fever Dream. It follows 2015’s remarkable Get To Heaven; an album that garnered the group a fresh batch of devotees with its jarring yet incredibly infectious songs that played on the feeling of confusion that seeped through the country at the time in its own unique way.

With the temperature reaching fever pitch and the room fast filling with tightly trousered and flustered-looking indie kids, the group begin with new track Night of the Long Knives, a bold statement that is built around a sumptuous bassline before shifting to arena sized bravado that is heralded with a drum solo that has a panicky drama reminiscent of Dire Straits’ Money for Nothing.

Stating from the get-go that the show will feature plenty of new songs, the set is made ultimately invigorating by interspersing the new songs with old favourites, beginning with Kemosabe, which instigates the pummelling light show with every ‘Hey!’ that rings out during the chorus.

The new tracks ooze with potential and maintain the group’s idiosyncrasies whilst baring a new, more grounded edge. Desire bundles along with a rolling drumbeat before unveiling a monolithic chorus, and Ivory Tower convulses from an r‘n’b style jam into a crescendo of space-age guitars and synths.

Jonathan Higgs’ sublimely expansive falsetto is also as prevalent and captivating as ever; though mixed with the group’s cataclysm of noise and the fans burring overhead, it’s hard to decipher exactly what’s being tackled in the lyrics.

But that’s not such a problem on the most mesmerising and well-received new song of the evening. A fragile piano line opens up the new album’s title track (which Higgs jokingly begins by singing Daniel Powter’s Bad Day, a moment that underpins what is otherwise a set of minimal interaction) before a snaking synth ensnares the hall and intensity reaches fever pitch as the refrain of All I’ve Seen, Fever Dream, Falling Down is bellowed out to an immense conclusion.

Each track fits in luxuriously with the precise choice of oldies, which all helps to flesh out a band of magnificent variety and appeal. Regret’s primal chanting and Motownesque verve is still as disarming as ever and Cough Cough has the band at their most alarming yet appealing.

Following a momentous Distant Past, the group return for the encore baring ‘I Love MCR’ shirts and launch into infectious lead single I Can’t, which courses over a bold synthline and has their group at their most appealing.

The most cathartic moment is saved for last though, as the punctuating drum roles of No Reptiles begin what has become the indefinable group’s most defining moment. It has Higgs’ falsetto at its most gobsmacking and with a bedlam of cascading synths underlining the redemptive message of being on the right path home, they bring to an end what is a humbling and progressive homecoming.