Intoxicated and a little dizzy with excitement, I bop into Band on The Wall in the middle of Piper Tiger’s set. Three decks, a bassist, a drummer and an MC are all working to fuse elements of trip-hop and jazz; fitting exceptionally well as support for Nightmares on Wax. Rapper Raphael Attar’s lines are forever flowing, boogies ripple and they receive one of the best responses for a support group that I’ve seen since covering the rainy city’s gigs.

When the mind behind the Nightmares’ George Evelyn emerges, he is accompanied by two other vocalists and a drummer (whose names I have been frantically trying to research, to no avail). The famed producer takes a place behind his turntable and begins with ‘Now Is the Time’. The room springs up and the two vocalists shout encouragement to spur on the bouncing and flipping bass-line.

Following this is another track from most recent album ‘Feeling Good’, the about-as-soulful-as-you-can-get ‘Give Thx’. Here the pair switch into expressive harmonies, the tender lyrics are pitch-perfect but I find myself longing for a more organic sound, the live ensemble worked so well for Paper Tiger that a track from a single deck and a drum seems a little underwhelming.

NOW continue with a few beats from the most recent album; a large screen visualiser is raised above the band, its display changes across the set to display anything from star-scapes, psychedelic patterns or video footage of people from every corner of the earth dancing their little socks off. It is an excellent addition to the performance.

Moving forward, Evelyn drops in a few classic crowd-pleasers such as ‘Da Feelin’, featuring an ear-gasm of a drop and ‘Ethnic Majority’, where he runs from behind his position at the decks and starts rapping along with his comrades. All three bellow “it’s a celebration” and pretty accurately represent the revelry in the room. If anyone is stood still, I can’t see them.

Towards the end of the set, the music halts briefly and the Leeds producer shows images of poor communities and children helped by ‘Last Night A DJ Saved My Life’, a charity to which he has close ties. Evelyn encourages others to donate; this detracts nothing from the performance and is more than a little heart-warming.

The show is tight and brilliantly executed, but I am still nagged by the feeling that the set would benefit from using a wider range of live instrumentation. Perhaps NOW’s contemporary Bonobo has spoilt my senses with his orchestral set-up… Nevertheless, Evelyn can rest easy knowing he made a lot of people happy tonight.