Within seconds of opener Started With A Kiss, it was clear that The Mars Patrol were on a mission to push back the boundaries of taste and to badly go where numerous bands have gone before with some of the most soulless pop-rock songs imaginable.

Fronted by what appeared to be a shrunken slightly wizened KT Tunstall, the five-piece’s performance proved totally devoid of originality. Musically bankrupt, each song was strewn with glaring clichés, uninspired melodies and predictable lyrics while throughout, the delivery felt forced – especially when it came to their desperate attempts to involve what was an apparently underwhelmed crowd.

Watch the Video for The Mars Patrol’s Shake It Up

There’s a good reason why, despite the longevity of his music career, it’s unlikely you’ve ever heard of singer/songwriter Alex Wayt. After 30 minutes tonight it was all too apparent just why he’s slipped under the radar.

Musically-misguided, charisma-deficient and sporting a look best described as Miami Vice, Wayt spoke in cliches and sang his school-boy lyrics with the kind of cheesy veneer that made stifling laughter an ongoing challenge.

Despite the small but vocal crowd’s support, there was no getting past the dated music, cringe-worthy delivery and general dearth of inspiration on display during the course of what was a quite woeful set.

Watch the video for Alex Wayt’s ‘Take Your Time’ Live

There was a moment tonight when The Low Suns looked set to win over the small crowd. Unabashedly aiming for what their manager called “stadium pop”, Bad Kids seemed to have got those facing the stage onside thanks to its hooky euphoric chorus. But as it turned out it was to be a one-off. The audience’s attention soon waned, chatter rose and the crowd thinned.

What probably did the Londoners’ chances of making an impact the most harm, if you discount singer Jack Berkeley’s ‘X Factor’ delivery, was Never Going To Care. A truly dreadful track which, had this been 1988, would have been snapped up as filler for the Working Girl soundtrack.

Watch the video for The Low Suns’ ‘Never Gonna Care’

It’s nine years since The Datsuns burst on the scene thanks to a couple of catchy singles. They’re now back in the UK to test-run some new material and on tonight’s evidence, time – the 1970s to be precise – continues to stand still for the rock-loving New Zealanders.

The usual ingredients were in place from the off – big and largely derivative riffs (most blatantly Alice Cooper’s School’s Out on What I’ve Lost) and a slew of rock clichés including countless noodley guitar solos. But even with all their shortcomings, the honesty of their performance shone through, making tonight’s set an entertaining one if nothing else.

Watch the video for The Datsuns’ ‘Harmonic Generator’

After a surprise appearance from the soulless Kassidy, masquerading as The Billy Kays, it was time for Falkirk six-piece The Ray Summers to close this year’s Summer Nights strand of gigs at Tut’s.

Fusing psychedelic sounds with a funk sensibility, The Ray Summers plough the same furrow as The Bees and at times tonight they did it well, most successfully on Oh No.

However a lack of depth, and a tendency to rely on simple themes all too often let them down especially as the set wore on.

The Ray Summer’s ‘Boots n’ Cats’

In a short space of time tonight, Edinburgh trio Found managed to both baffle and entrance with their experimental pop. Bookending their 30-minute set, Dimples and Johnny I Can’t Walk The Line proved the most difficult listens.

However in between, You’re No Vincent Gallo and recent single Anti Climb Paint did more than enough to suggest Found are a band that will only get better. Full of cinematic splashes of drum and synth samples, and in the case of the latter a beat that had the crowd nodding in unison, they made checking out debut album Factorycraft seem a risk well worth taking.

Found’s ‘Anti Climb Pain’

Max McElligott, AKA Wolf Gang, may be on a high at the imminent release of his debut album Suego Faults but sadly for the Tut’s crowd who bore witness to tonight’s set, there was little to get excited about as McElligott’s 80s-pop-influenced songs came and went in an uninspired blur of repetitiveness.

A lack of any discernible presence from him or his backing band didn’t help matters either, but ultimately it was the lightweight nature of songs like Lions In Cages and Dancing With The Devil that ensured it was a far from memorable night.

Wolf Gang’s ‘Dancing with the Devil

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.

With their second album in the pipeline, St Deluxe took the chance tonight to test out some new material. However it was far from plain sailing, as poor sound, uninspired vocals and a convoluted approach rendered much of their performance distinctly sub-par.

After a promising start, new track After The Fire soon fell apart. Uneasy, stutter-step drums seemed jarringly out of place while the heavily distorted guitars got tangled in a web of noise that overall sounded messy rather than grungy.

The best riff of the night came courtesy of Slip Away. Blasted out, the catchy hook book-ended the song but unfortunately for the most part it seemed like an extended and slightly different version of previous track New Wave Stars.

Another new song, Perfect 10, and again the Glasgow four-piece seemed all over the shop. At times it sounded as though they were playing different songs.

The sound blighted their efforts throughout, but with singer/guitarist Jamie Cameron’s ineffectual vocals adding to the general dirge, it’s hard to imagine things being much different even if ropey sound hadn’t been an issue.

Tokyo Police Club know how to work a crowd, that much was clear from tonight’s performance, however leaving any lasting impression was an altogether different story.

Middle-of-the-road songs dominated proceedings, songs almost totally devoid of a cutting edge while noteworthy hooks were thin on the ground too. Not that it mattered to the couple of hundred fans who, like the band, created plenty of energy throughout what was a rapid-fire set.

A reliance on simple but lacklustre synth hooks, coupled with a frenetic delivery made songs like In A Cave, Big Difference and Box come and go in a blur.

Better came when the Canadian quartet ditched the synth in favour of a more direct, guitar-driven approach. Lifted from latest album Champ, End Of A Spark was by far the band’s best offering but even it only just crept above average.

Despite their enthusiasm and knack for galvanising a crowd with their upbeat indie-pop, overall it was a pedestrian affair and one which failed to deliver.