When comparisons to Jimi Hendrix abound for both acts on the lineup you know you're in for a treat, and so it proved to be on this Sunday which was anything but quiet and leisurely.

Our WRC posse walked into Lydia Lutudi's opening set performing a souped-up medley of Bob Marley's 'I shot the sheriff' mixed in with the menace of Sabbath's 'War Pigs' and Hendrix's 'Hey Joe'. This perfectly highlights the kick-ass persona of Lutudi, a potent mix of Pat Benatar's feminist attitude and Tina Turner's dancing volatility. She is ably accompanied by the squealing of Aiden's lead guitar and a rhythm section, apart from anything comprises a drummer resembling a reincarnated John Bonham (in looks and playing style), that never misses a beat. They finish on the song 'Better' with it's Lenny Kravitz-styled leanings sealed a ferocious starter.

Hannah Wicklund's evolution continues apace. Since I last reviewed her for WRC, she has supported the stadium-rockers Greta Van Fleet and even found the time to play Handel Hendrix house in an acoustic set to a privileged few.

Her songwriting has developed an added piquancy reflecting her personal life circumstances and an increasingly worrying global political landscape. Aided by the former drummer out of Kula Shaker, Paul Winter-Hart, she chronicles the inexorable march of capitalism in 'Evil is a Corporation', and finds time to stick up the middle finger to Trump in 'Psychobabble', both taken from her latest album 'War on Women: Calling All Good Men'.

For a finale, Hannah engages the enrapt audience in a sing-a-long harmony of the protest cover of CSNY's 'Ohio', with its chilling present-day relevance, before launching without encore into fan-favourite 'Mama Said'. What follows is an impressive piece of showwomanship, by employing a talk box (see Peter Frampton's 'Show Me the Way'), she moulds the sound of her guitar with her vocal phrasing contorting all sorts of tones and textures from the output and bringing her set to a jaw-dropping close.

Review and photos: Ivan De Mello