The popularity of quirky Glasgow rockers The Fratellis was confirmed recently when they won the Best Newcomer gong at last month's Brit Awards, thanks to a public vote.

Alongside the widely acclaimed quality of their music, whose rowdiness belies hidden layers of sophistication, a major factor in the swiftness of their rise to glory is their reputation as one of the best new British live acts around - an impression that was further cemented at last night's riotous show.

Taking the bold decision to open with one of their best-known tracks, Henrietta, The Fratellis were a ball of energy from the start, as were their fans.

Enlisting the help of a three-piece brass section for the song, as they would later go on to do for Old Black 'N Blue Eyes, they created an infectiously joyous atmosphere as they belted it out with uncynical relish.

The stage may have been sparsely decorated with a couple of Scottish flags, but there was nothing sparse about their sound.

Jon Lawler was masterful in his ability to switch between rhythm and lead guitar, while simultaneously performing his duties as lead singer with class and charisma.

Backed up by the complex bass work of Barry Wallace and Gordon McRory's frenetic drumming, the group created a noise so big and rich, it was hard to believe I was listening to a trio.

The next five songs from the quirky rockers were all high-octane foot-stompers, each one greeted like a long-lost relative by the crowd, highlighting the extraordinary impact the group has made in the nine months since the release of their first single, Henrietta, the rabble rousing soundtrack to many a drunken party last summer.

With just enough melodic variety to keep things interesting, there was a good half-hour of this before they played anything below breakneck speed.

With its complex structure and multiple tempo changes, Doginabag offered a little respite from the bouncing, screaming mayhem.

The song also allowed Lawler's voice to come to the fore - an unusual occurrence for The Fratellis since much of the group's appeal lies in their instrumental energy and singalong choruses, many of which (perhaps too many) consist of non-lyrics like "la la la" and "doo doo doo".

As kitsch images of scantily-clad Fifties-style dolly birds flashed up behind them, The Fratellis moved into more melodious territory, carrying the crowd along with them for the uplifting chorus of Whistle For The Choir.

The biggest reaction of the night was reserved for the excellent Chelsea Dagger, whose squealing guitars and tribal beat pushed some fans over the edge, literally, as they crowd-surfed their way over the front barrier, raising their fists in the air like freedom fighters as they were dragged to safety by the long-suffering security men.

Popular enough to have a strong fan base, but still new and hungry enough to play their hearts out on stage, the Fratellis are at the peak of their powers.