Returning to Tut’s as headliners after previously visiting the city as part of the NME’s Radar tour, London five-piece Chapel Club are the latest in a seemingly never-ending supply of bands taking their cue from the world of 80s indie.

With their recently-released debut drawing mixed reviews, the band had something to prove tonight to those unfamiliar with Chapel Club. On this showing however they did little more than hammer another nail in the coffin of retro-fitted 80s indie.

Unremarkable songs, heavily influenced both vocally and in style by Echo and the Bunnymen, and a total lack of presence rendered the band’s hour-long set utterly forgettable as one lacklustre wannabe indie anthem followed another.

Surfacing made for a promising opener, brooding and building on waves of shoe-gazing guitar but all too soon the Londoner’s formula became blatantly clear. Songs rambled on, lacked edge and in the case of lowlight Widow, introduced with the words “we’re going to slow it down for eight minutes”, verged on the laughable.

All in all it was an average set from an average band who seemed determined to make as little effort as possible.

Although “knackered” after finishing off the last tour with Travis, it wasn’t long before the band’s frontman Fran Healy set about writing and recording his debut solo album. Entitled Wreckorder, tonight the charismatic singer played the album in its entirety along with a handful of Travis numbers suggested by the Celtic Connections crowd.

With the help of his three-piece backing band and string quartet, Healy put in a entertaining shift thanks to some well-crafted songs and a pleasing stage demeanour.

After a couple of promising openers, Shadow Boxing raised the bar, the song’s dark meandering melody making the slow-burner an early highlight, as was Sing Me To Sleep which benefited greatly from the addition of local singer/songwriter Vivien Scotson (chosen by Healy’s mum via Facebook).

The Travis or “busking” section of the show as Healy put it, didn’t get off to the best start with a faltering rendition of Turn, the singer struggling to convince on the song’s high notes. However he did fare better on Sing, the Travis hit drawing a sustained chorus of approval from the crowd.