Those fortunate enough to fit into ‘NME’s Britain’s Best Small Venue of 2014’ on Sunday night were treated to an hour-long performance from The Maccabees. Tickets were allocated through an online competition, with a fair part of the ‘first come first served’ queue, the largest the venue has no doubt ever seen, turned away as there proved to have been a gross overestimation of no shows, and so, too many winners. People travelled miles and booked into hotels, to say this was a special gig is putting it rather lightly. The night was filmed but it didn’t prove too invasive, the sponsorship meaning a free Jack Daniels for all with a couple of copies of NME scattered about. The venue was chalked up, the foyer acting as a photo gallery, the bar area bearing the brunt of the co-corporate sponsorship.

There is no support act, the main room is comfortably packed and everyone is excited, the sense of occasion proving evident throughout the set. We are greeted with an abashed ‘Hello’ before opener ‘Love You Better’, followed by an apology to those who didn’t get in as Orlando rubs his eyes and explains that it may take a while to adjust, referring to the intimacy of the venue, having just finished a month long arena tour supporting Kasabian. It is the first time the band have played the Norwich Arts Centre since the release of their 2008 debut album ‘Colour It In’. Shouts for ‘Latchmere’ are greeted affectionately before being dismissed in vain. The show is treated with sincerity, and feels open and honest. Shouts from the crowd are greeted individually, a point returned, a raised fist greeted with a smile. The set was well complimented by the lighting with the venue proving capable of an incredible sound quality.

Four new songs are offered as proof to the patient Maccabees fans that their absence hasn’t been in vain, the first, ‘Kamakura’ is a mellow consistent track complimented by female backing vocals from the pianist. The second offering, ‘WW1 Portraits’ is a more exciting track, if only slightly darker than their previous material. Despite the great set and sense of occasion, the crowd didn’t really kick off but there was a great atmosphere and it all felt a bit magic, like we were all in on one big secret.

Given that this could have been dismissed as an easy gig, the entire band was clearly aware of how special this night was and embraced it. The proximity offered by the venue acting as a breath of fresh air, as the entire band constantly looked around and were able to see 290 individual happy faces, making it feel like one of the more meaningful shows that they’ll have played in a while. It’s clear that Felix (guitar) loves the entire thing as much as the audience as he interacts and excites, wild-eyed and with child-like animation, the novelty and momentous feel do not tire. It is evident throughout that the entire band are giving it their all, a warm feeling of connection existing between crowd and performers. Orlando (vocals/guitar) shuffles around on stage like a boxer, appearing timid and yet at ease, waving his hands with twinkling fingers in figures of eight, eyes shut and head dropped. Rupert (bass) when not playing simply stands back and sings along, bathing in the happiness. Hugo (guitar) seems entirely comfortable on the stage, smiling and resting his cheek upon his microphone.

The latter two of the new tracks, prove to be the more exciting offerings, one starting a cappella, adding pieces and building before pauses and breakdowns and typical Maccabees choruses, the kind of leveling they do so well but that can only be fully appreciated live. The new songs work well in such a small venue and will transfer easily to the bigger venues they will no doubt fill on their next tour. It’s impossible to stop smiling throughout and swearing in disbelief, singing-along, eyes making connections. ‘See you soon’ promises are made.

The first stage exit leaves a buzz in the room, the encore, a staple of the concert experience that is now taken for granted, is softer, making my eyes water. ‘Toothpaste Kisses’ and ‘Grew Up At Midnight’ are both so intense and beautiful, you feel as though Orlando’s velvet tones are whispering only for you. In the former his whistle croons out over silence and is meet by an audible gasp at it’s pure sincerity that squeezes everyone’s hearts to silence after a few bars are shared. A while after they exit the stage for the final time, the spell breaks and it sinks in that I will probably never get a chance to see them in such a small intimate venue under such magical circumstances again and yet, I can’t help but feel euphoric.