The hoards of mini Hayleys that frequent all areas of Brixton Academy on the second night of their sold out London jaunt are quite unnerving.

With many accompanied with mother or father in tow, clutching still-wrapped merchandise as they fumble for tickets next to their embarrassed offspring with ‘Riot!’ carefully stencilled upon their cheeks, it’s impossible not to spot the icon for many young women in attendance tonight.

But this was not just a night for the touring Tennessee group, as their supporting acts give mums, daughters and other fans plenty to shout – and scream – about.

Kids In Glass Houses were given a heroes reception by the already near-filled and excitable crowd, with their brand of power pop from the heart of Wales providing a damn good reason for many in the audience to give the fixings in the ceiling an early workout.

The adulation continues to spiral out of control as New Found Glory bound onstage. Energy levels are given a swift kick up the rear, and sizable numbers on the ground floor go aptly nuts. Partisan crowd, this is not.

They pack in a twelve-song set, including My Friends Over You and All Downhill From Here, as well as covers of the Goo Goo Dolls’ Iris and Kiss Me, originally by Sixpence None The Richer. 

Whilst pogoing around the stage like bemused kangaroos, the Californian-based pop-punkers grab the chance to pull Hayley Williams and Josh Farro on stage for cameo stints during It Ain’t Me Babe and Hit or Miss, which merely adds to the fun-time atmosphere.

The greeting that then meets Paramore’s arrival on stage seems as loud as a fleet of Concordes taking off, with the deafening scream that bleeds into For A Pessimist, I’m Pretty Optimistic completely drowning out Williams’ singing.

After looking past the whirlwind of timed headbanging and near-staged poses that greets the entirety of the set, the main problem of the night – and indeed New Found Glory’s – rears its ugly head for a final bow.

Brixton’s sound can sometimes fail spectacularly, and tonight is no exception. NFG sound like they are playing in the gents toilets with only Jordan Pundik’s microphone working, and Paramore are left sounding like the Hayley Williams show, as once again it’s only her that can be made out through the miserable PA.

Even between songs though, the only words that can be made out regularly are “awesome”, “Paramore” and “London” – the latter two greeted with over-zealous joy. The frustration doesn’t quite end there; with a keyboard being rolled on and off stage at two separate intervals for a solitary song, before being rolled off again.

It’s a clear atmosphere breaker, and it takes a cover of Jimmy Eat World’s Sweetness to rev things back up again.

It’s not all doom and gloom though, as the sound finally recovers somewhat, with Pressure, complete with guitar acrobatics from bassist Jeremy Davis and Josh re-focussing attention, and My Heart becoming a evangelical masterpiece, with religion and the natural world merging as one on the projection-screen behind.

Finishing on Misery Business, causing nearly 5,000 fans to jump around like the floor below has been turned into an electrified power grid, the hall unites in an ear-shattering outpouring of teenage joy with sacrosanct delivery.

It can’t fail to bring a smile to the face in the least, as dads clutching posters whisper along and mums throw limp-wristed devil horns wayward alongside fans of all ages that are going positively apeshit.

But a word to the wise should be in order here, as Paramore could do with taking a leaf out of NFG’s extensive touring book - using familiar lines on a regular basis will only work for so long before the fickle masses move on to someone flashier.