First up at the Newcastle Academy, were Forgive Durden who hail from down town Seattle. Coming from the fuelled by ramen label there was always going to comparisons to fellow band label members, Fall out Boy and The Academy is.... But they hold there own, with clever and entirely original lyricism and instrumentalism, as well as Thomas Dutton's versatile vocals, they played some quality tracks taken from their debut album Wonderland.

Their performance would have been even better if they kicked the stupid guitarist out, shamefully he wore sunglasses indoors. Who the fuck does that? It's dark mate, mincing about like he's somebody. The band ticked all the boxes; side partings, tight jeans and classic EMO breakdowns, they ended the set with a five minute drum solo with all band members getting stuck into it, call them what you will; fortune-seekers! Princes! Prodigals!

Next up were Men, Women and Children, I was expecting something good from them, with former members of post hardcore godfathers GlassJaw in the line up. In late 2004 Todd Weinstock, Dave Allen, and Larry Gorman left the band due to a multitude of reasons. GlassJaw had been considering moving down to one guitarist for a while, and the band felt it was time to make some changes. Todd founded his own band, Men, Women and Children, and that's how they ended up on the stage in front of me. The thing is they haven't looked any further than Daryl Palumbo's (GlassJaw singer) new band Head Automatica. They sound like a tribute band, the singer is spitting double of him and they sound exactly the same.

I think the bassist Ricky Penzone wants to be Bruce Springsteen the Guitarist is a Santana look-alike without the skills, all this mixed with synchronised arm movements and clapping, it's not good at all. Half way through the set they stop and ask the crowd to shout monkey at the right bits for the song Monkey Monkee Men. Then the singer pulls out a big fucking bone and turns into a scene from a Carry On film with the band running about like tossers. When the final song was announced it was unsurprising the new single, Dance In My Blood, half way through the song the crowd erupted. Brendon Urie and Ryan Ross (Panic at the Disco members) burst onto the stage and take the microphone. They start singing along with the crowd and the band; it turned out to be the best part of a pretty bad set.

To sum up Men Women and Children take a Carry On film, Bruce Springsteen and Head Automatica with the end result is a mess as you can imagine. Afterwards at the bar they were two kids talking about Men, Women and Children, suggesting that they were better on CD. I laughed out loud, if you cant do it live it defeats the whole point in being in a band.

Finally the main event Panic! At The Disco, it all started in the suburbs of Las Vegas when 12-year-old Ryan Ross asked his parents for a guitar for Christmas. Not to be outdone, neighbourhood pal Spencer Smith begged his parents for a drum set so the duo could start jamming. "Really, from that first year [playing instruments], all we really did was cover Blink 182 songs" remembers Spencer, laughing.

The band eventually matured, moved on from all the small things and recruited classmates, Brent Wilson and Brendon Urie on bass and vocals, respectively. With their flair for experimental instrumentation and intimately observant lyrics, it wasn't long before they sparked the interest of Fall Out Boy's Pete Wentz, who brought the band to Decaydance/Fueled By Ramen, a label with a green thumb for new talent.

Panic! At The Disco stroll out on to the stage in calm manner with the trade mark suits looking rather dapper possibly one of the best dressed bands of the minute. Brendon sits down at his keyboard and plays the intro to The Only Difference between Martydom and Suicide Is Press Coverage, then the band kick in. They are well dressed dudes and are exploding all over. The crowd and myself love it. The sound of Panic! At The Disco is genre-busting blend of slick, poppy Emo-influence punk, Strokes-like rock, and, well, disco.

While the first two genres fit together seamlessly, a blend of all three is a risky proposition usually attempted only by experienced professionals. Nevertheless, these inspired neophytes score time and again with tracks like the glittering "Camisado", with its sparkling sequencer interlude, and the witty "Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off" (the opaqueness of Panic's song titles is a large part of their charm). The band's lyrics tumble out in a rush, while their musical ideas are a complex distillation of pop's last 40 years, played with innocence and enthusiasm as infectious as it is exhilarating. P! ATD slow things down half way through the set to do an absolutely outstanding rendition of Counting Crows Round Here. You wouldn't hear their record and say, hmmm, these guys are influenced by Counting Crows, but they are their favourite band.

P!ATD get things started again with I Write Sins Not Tragedies to an all mighty cheer they look overwhelmed but carry on like pro's. Brendon isn't afraid of getting stuck in, singing, playing guitar and keyboard he's quite a versatile guy. A good frontman he's got some move as well. The set ends and Brendon comes out and sits at the keyboard and plays another cover this time, It's Better When We Do by Third Eye Blind.

They finish the set with There's A Good Reason These Tables Are Numbered Honey, You Just Haven't Thought Of It Yet followed by Build God and We'll Talk.I look forward to seeing Panic! At The Disco again a really good performance and portrayed the CD to an outstanding quality.

www.panicatthedisco.com