THIS performance is the latest stop on The Cult’s New Blood, Deep Cuts tour, whose attendant PR promises a mix of new material and live rarities.

The majority of the set comes from the band’s classic first three studio albums but is peppered with more recent gems.

Dressed entirely in black, with glinting aviator shades and hair flowing, Astbury leans into mic, still every inch the rock star. His archetypal rock voice, among the best of any era, is untouched by the years.

But tonight belongs to lead guitarist Billy Duffy.

Sporting a Beckham-esque blonde quiff and toting an arsenal of white guitars, he sprays out a seemingly limitless selection of driving riffs with which Astbury’s classic rock vocals form an irresistible chemistry.

All the great guitarists have a sound of their own and Duffy’s lightly chorused sonic signature is as instantly recognisable as Marr’s chiming arpeggios or Hendrix’s fuzzed-up blues.

On tonight’s highlight, Nirvana, Duffy unleashes yet another irresistible hook that burrows beneath the skin and emerges at the hips and feet.

Mid set, Astbury sits in mock protest at what he perceives to be a lethargic audience (“It’s like the House of Lords in here”) and warns them to get their act together for the final eight songs.

The sell-out crowd responds in kind and from ‘straight up head banger’ Wild Flower onwards the already-appreciative audience displays a new energy replicated on stage. She Sells Sanctuary follows two songs later driving the audience to new heights of ecstasy, Astbury immodestly announcing that ‘most bands would leave after a song like that’.