Bastille @ O2 Academy, Glasgow, 6 Feb

Following their second album Wild World, one which was heavily intertwined with politicised confusion, Bastille have somewhat become pop's voice of reason in a world of chaos. That record captured the feelings of many following the turmoil of the modern political climate, and what then was shock, is now the fallout on upcoming release Doom Days. With that on the horizon, the band bring their post-apocalyptic indie-pop party pieces on the road to forget about the end of the world, if just for a couple of hours.

A mysterious projection of light on a red-lit sheet covering the stage reads ‘still avoiding tomorrow?’, setting the scene for the teched-out stage behind. The screen stays present for most of the band’s opener, a mellow cover of Cat Stevens' Wild World (see what they did there?) that sees a spotlight focus on the now shaven-headed frontman Dan Smith as he twinkles on his keyboard. As the first chorus of newish single Quarter Past Midnight kicks in, the sheet drops to an array of vivid, flashing colours. It's a party anthem, a night out on the lash with mates, forgetting normality for some good times – and the sea of bodies jumping along all apparently feel the same.

Tracks like Send Them Off!, The Currents and Things We Lost In The Fire keep the party on track, glossing over hits both old and (semi) new, with much of the set material coming from the group's second album. While there’s not much in the way of new material (bar some songs from the Other People’s Heartaches mixtape), the themes of Wild World and Doom Days seem to slot seamlessly together, as new track 4AM sits solemnly next to the acoustic melodies of World Gone Mad. Yet, unfortunately, some of the song choices do lead to a slight loss of momentum, with tracks like I Know You, Fake It and Happier feeling like they’re hogging a spot from some better tracks on Bastille's discography.

The visuals are the real star of the night, with various images projected upon the stage’s back wall along with some smartly-used props, like a 70s-looking sofa that Smith lies upon for the aformentioned 4AM, or a broken doorway atop a revolving raised platform that Smith finds himself spinning around on time after time. It’s here that Bastille have shown their creative streak performance-wise, even if a sheet does get stuck on the backwall upon being dropped and has to be somewhat hilariously gathered by the band’s crew.

The finale of the set is the real crux of the night, saving the big hitters of Pompeii, Good Grief, Of The Night and Laura Palmer right for the final moments. As usual with a Bastille show, the final song, Flaws, sees Smith walking among the crowd as he croons along, high-fiving and taking selfies mid-performance. A solid show indeed, and a far grander stage than Bastille have ever had before – but they just need some fresh tracks to cap it off.