No Windows still feel like a new prospect, though they’ve been kicking around a few years now. Maybe it’s the school uniform style outfits of the bassist/second guitarist, the band’s fidgety presence or the general sense that they’re still working things out onstage in real time. The core duo of Morgan Morris and Verity Slangen are now augmented by three others to give their sound a bit more heft than their folky origins might suggest. The last couple of songs in particular show a development towards more intricate arrangements utilising synths, solos and a nod toward the experimental.

BC (Brian Christinzio) is similarly backed by a full band tonight, performing their first “proper” show together. That introduction, along with memories of ramshackle performances over the years, might suggest that this is going to be a ‘work-in-progress’ type show (it is Fringe season after all, Christinzio notes dryly), but it turns out that this is arguably the slickest, most professional he’s ever been. Now two years sober (from drugs at least, he still glugs sensibly at a bottle of Buckie), it seems like he’s truly realising the immense potential the BC brethren have always known was there.

‘Kicking Up a Fuss’ is immediately arresting as the band click into quick synchronicity, before moving deftly between each of the last five albums, balancing life-affirming hope (‘I’m Alright in the World’) and pitch-black darkness (‘Where You Taking My Baby?’) behind jaunty keys and bubbling bass.

There’s a solo mid-section that includes ‘I Want To Be in the Mafia’ and ‘Going Out on a Low Note’, the only times when the raw, heart-on-the-sleeve lyricism is matched by a similar bluntness in the arrangements. The room is pindrop quiet which is fortunate to take in zingers like “I’m not positive / But I’m pretty sure / You shouldn’t cry when listening to Faith No More.” Less fortunate is the massive burp from a nearby fan immediately beforehand that is equally audible to everyone.

Christinzio is chatty and in good spirits throughout, making time for a few choice piano stool pumps, singing the praises of his dedicated and open fanbase, and generally exuding the joyful sense of a man really having a good time after some well-documented difficult times. He channels his inner Jerry Lee Lewis for barnstormers like ‘The Last Rotation on Earth’ and ‘I’m Desperate,’ but never loses control. The latter in particular is amazingly precise given its freewheeling nature. It’s a brilliant end to the main set, and then we’re gifted with old favourite ‘Atom Bomb.’ It feels a touch tacked-on – not helped by Christinzio’s admission that he hates encores – but it’s a great song nonetheless and any extra Camplight tonight feels precious.

If this is the start of a new chapter in the BC Camplight story, it feels like it could be the best and brightest one yet.