"Tonight, we will all dance, like we have never danced before!" exclaimed the energetic Tom Gray, guitarist, keyboardist, bassist and general larrikin from Gomez. This was indeed a prophetic statement, for what was delivered was an amazing on-stage energy filled with Gomez?s trademark blues-infused rock with a hell of a lot of balls.

The Metro Theatre was packed with a large variety of people from very tall guys in glasses to sauntering hippies hiding joints in their pockets. The buzz was certainly electric, as the crowd of loyal Gomez fans were eager to hear material from the new record Split the Difference.

When support act Nations By The River moseyed on stage, they prompted a girl next to me to yell out ?yeehaw!? in response to their jangly, Bob Dylan inspired melodies. This local ?supergroup? consists of Luke Steele (The Sleepy Jackson) Nadav and Edo Kahn (Gelbison), Ohad Rein (aka Old Man River) and Sarah Blasko on backing vocals.

Yeehaw indeed, as the tracks from the outfit?s debut record Holes in the Valley were charming ditties about not wanting to be with girls, walking by the river and all the simple things in life. Radio single Boy received a hearty sing-along, and the Gelbison boys contributed their bizarre space-sound effects to the otherwise customary melodies. However it was the melancholic ballads which overtook the whole knee slappin? vibe and soon all I could hear was crowd banter rather than the broken hearted voice of Luke Steele. Overall it was a mixed response; perhaps a bit too early in the night for an influence-rich, ?side-project? band.

If anyone was left feeling a little mellow after Nations by the River, the long-awaited emergence of Gomez revived everyone instantly.

From the opening riff of Bring it On to the shattering conclusion of Whippin? Picadilly, they delivered an absolutely blistering set, and it felt at times like your ears were on fire. Gomez produced what Nations by the River could not; an amazing on-stage energy filled with warmth and friendliness. Drummer Olly Peacock laid out a backbone of intense, tribal beats while singer Ben Ottewell sweated out thick strings of melodies into the microphone. The band stormed through the head swinging Get myself Arrested and completely pulverised Rex Kramer, creating a spontaneous musical arrangement full of percussion and bass slapping to get everyone moving. They came up for a breather with tracks Sweet Virginia, Revolutionary Kind and popular single Catch Me Up. But it was the encore that was the killer.

Guitarist Ian Ball stared hard into the audience as he belted out the opening of riff-laden Don?t Know Where We?re Going which then melded seamlessly into Detroit Swing 66.

Ben Ottewell then delivered an outstanding version of We Haven?t Turned Around, his voice full of texture and feeling. But he gave up singing when the crowd overtook his vocals with extreme enthusiasm, never missing a word. The staggering, stop-start of Fill My Cup was a moment to remember, with all members singing cheekily, ?Fill my cup, make me happen/Fill it up, make me smile.? And smile we all did. Gomez have it all in their broad range of material, not afraid to stray from their records and take chances with their music on stage.

Truly a dynamic and engaging experience. Now that?s something to dance to.