How do you mark the final moments of the closing show of a “long, incredible year?”

Skip around the balcony of a concert hall on a lap of honour and crowd surf back to the stage mid-way through the set closer, obviously.

Ben Thatcher, in regulation snap cap and black T-shirt, jumped up from behind his drums and stormed round the circle's wooden ledge while Mike Kerr continued to grind Out Of The Black’s crunchy hook and explain what a number one album and Mercury Music Prize meant for the duo from Worthing and Chichester.

The crowd carried Thatcher back to his kit and he joined Kerr for a bulldozer-size outro which drilled the track’s muscular motif home.

He chucked his seat across the stage, kicked over his cymbals and Kerr threw his bass on the kick drum.

This final act of the year lifted this celebratory show to another level.

Not that it needed it. There is no fat on the record and there was no waste in an hour-long feast of lean riffs and snaking hooks, as Kerr's hefty effects board turned his bass into the sound of three guitars.

It's easy to pick out influences - Nirvana, Silverchair, Led Zepellin, Queens Of The Stone Age - but Royal Blood have managed to form their own sound.

The only question which remains is how Kerr does it.