Whatever your standpoint on support bands upstaging the headliner, one of the biggest set ruiners for support bands playing arena shows comes down to one thing - whether they have the presence to fill that huge gaping stage. So when the three core members of Street Drum Corps kick off by gathering in one small corner at the front of the stage, each with a small drum, to bang out simple rhythms, you could be forgiven for thinking someone's first UK jaunt might be their last. Or at least it would be if presence wasn't about more than the size of your tom toms. Even before Bobby Alt starts strutting across stage like a cabaret performer taking off rockstar cliche (and that's meant as a compliment), the band's talent for that most fundamental unit, the seductive rhythm of pop, has the crowd. Leaving us free to enjoy the wastebin drum percussion, theatrical stage manner and even some of the cheesiest lyrics ever written, without sarcastic prejudice. Street Drum Corps' secret comes down to a focus on the basics, a combination of great tribal rhythm, bouncing melody and - here we go - a passion for what they do. Yes, it does sound like a worn old line, but it's easy to forget that at the bottom of all that validity and artistry crap, all music is entertainment - and boy, do these guys know how to entertain. Having said that, ultimately being forced to shoehorn everything into 30 minutes made the set feel a little plastic and song-bound. Maybe next time around we can get a proper rock'n'roll circus.

Which neatly brings us to 30 Seconds To Mars, nearly 12 years after their inception still facing suspicion about their own validity. However, their strength instead lies in numbers. From the moment the curtain drops dramatically at cue in opener 'Escape', it's clear the band are planning to make this show as participatory as their latest album, starting with their own. The banter is easy, but the spectacle is key. Previous live collaborators Street Drum Corps turn out to be the perfect support, adding percussion, moving flashlights during 'Vox Populi', or throwing balloons. Surprisingly, tonight hosts one of the first few live outings of Shannon Leto's 'L490', the least live friendly track on This Is War, played by the not-entirely comfortable drummer. However, it's still his younger brother who is undoubtedly the focus. While, in direct contrast to the pixie-like look of recent promo shots, Jared Leto now looks like he'd be more at home in early 80's Camden, it hasn't put pay to his charm or affect on the ladies. However, it's credit to them that, while a little quiet and pale, RM didn't realise Leto was ill until he mentioned it. He'll still climb all over the seated crowd at the back of the arena later on for 'The Kill', despite the wild hands pulling him all over as he struggles to get back to the centre stage. It's not until the mic problems during 'The Fantasy' that his patience wanes a little, and even then the relaxed Leto turns it into a joke about censorship of swearing. The cynical may point to Leto's acting training as the source - certainly, it's undeniable - or to the fact that all this crowd participation saves a strained voice. But that doesn't stop this from being one of the most intimate arena shows RM has ever been to. Even those front row fans who didn't manage to join the group of contest winners for the choir during closer 'Kings & Queens' can't have felt any less part of it.

There may have been sound problems; this may only really be their biggest ever headline show here until their Bournemouth show; and from where we're sitting the black curtain didn't hide that much, but in the end, it doesn't really matter. It's as real as you believe it to be. After all, that's entertainment, folks.

Rating: 4/5 by Ruth Midget

Further links

30 Seconds To Mars (thirtysecondstomars.com)

Official site of Jared Leto's band

Street Drum Corps on Myspace

Official page of the heavily percussive group with a penchant for found instruments