Caity Baser, Bellah Mae and Charlotte Plank kick off War Child’s Day Of The Girl

Words: Jamie Muir.Photos: Yas Cowan (@yascowan).

If you're looking for shows that aren't just rare moments to catch exciting artists take on intimate stages but also stand for something more, no organisation has owned that mantle quite like War Child. Over 30 years, they've stood side by side with music to champion and support their life-changing work supporting children affected by war across the globe. With their work possibly never more important than right now, Day Of The Girl is a series of nights focused on celebrating girls and women carving their own paths to success. It's vital work that'll help create safe spaces around the world.

It's a spirit perfectly captured as Caity Baser headlines a storming opening night at London's Lafayette. Already pointing to the big leagues with every single move she makes, her last headline show of the year fizzes with excitement. Queues form around the block, fans bring their own signs and merch, and there's an energy that comes from a phenomenon playing out in front of our eyes. It's a kick-off perfect for a week where superstars in their own right stamp their mark in emphatic fashion. The future is here.

Practically beating with the release of late-night release, Charlotte Plank sets the tone for a week of celebration. Effortlessly fusing every corner of club culture into one, it's a spinning take on pop that revels in turning Lafayette into a glorious rave. Rudimental collab 'Dancing Is Healing', 'L.S.D. (Love So Damaged)' and recent Hybrid Minds team-up 'Lights' are but tastes of the clubland euphoria that comes from a Charlotte Plank set. Yet it's new track 'Red Line' that points towards an even bigger year to come, combining that introspective emotion with sky-high electronic drops that should be soundtracking every night out from here till the end of the world. By pushing against the boundaries of what pop can be and placing it straight onto the dance floor, Charlotte Plank is blazing a trail of her very own.

Immediately grabbing the room and refusing to let go, Bellah Mae carries a pop presence that immediately feels arena-sized. Jumping between electric party-starters like 'Date Your Died' and ripped-raw ballads like 'Feels Like You Died' and 'On Purpose (For My Future Daughter)', Bellah is the powerhouse hit-maker the whole world is destined to discover very shortly indeed. With tales that sound like they've been pulled directly from scrapbooks and diaries, in the course of 20 minutes, Bellah does more to stake her claim for the very top than most acts ever get close to. 'Mr Hypocrite' is a fizzing anthem, and by the time closer 'Boyfriend Of The Year' whips Lafayette into unmistakable joy, you're left with one thing clearly in your mind. Bellah Mae has it, and that takeover is coming sooner than you think.

We're three-quarters of the way into Caity Baser's set, and Caity catches herself. "Honestly, I need to stop talking so much," she grins. Yet it's that undeniable charm seeing so many flock to every move she makes. Part superstar pop show, part night out with your best mate who just happens to be incredible at finding the greatest time possible - Caity Baser at War Child's Day Of The Girl is nothing short of a tour-de-force in modern pop perfection.

Cracking jokes at every turn and jumping between the sugariest of sweet-pop power, it's both infectious and undeniable. With singalongs and every note sung back in full flight, '2020s', 'Average Student' and 'X&Y' are but snapshots of a set that has Caity taking everyone in the room on a journey through her life in a way that makes you feel a part of each step. With tales of terrible boyfriends and awkward romances, tracks like 'Leave Me Alone' and 'DILF' are pop brilliance that shows just how effortless it all is to Caity.

Treated to new cuts such as 'Grow Up' before a whip-quick run of 'Kiss You', 'Why Can't I Have Two (2468)' and 'Pretty Boys' - it completes a night celebrating that raw original fact. Being yourself and celebrating highs and lows are a direct route to the biggest of stages. It's what Day Of The Girl is all about.