This was a sensation Newcastle Herald's music writers experienced in 2019. From watching an emerging act in an intimate pub gig to singing classics along with thousands of fans at arena shows, we were there.

It's not often Newcastle has the pleasure of hosting an international band at the peak of their powers. Sure, many great acts pass through on their steady ascension or when nostalgia is bank-rolling their child's college fees, but Welsh indie-rockers Catfish & The Bottlemen were neither.

This was a red-hot and tight act, three albums into their career firing on all cylinders in a Splendour In The Grass sideshow.

The audience leapt from the Civic Theatre seats in the opening song, Long Shot, and there they remained as the four-piece ripped through all the hits like 7, Kathleen, Cocoon and 2all.

Catfish frontman Ryan "Van" McCann is a proper rock'n'roll star. He constantly roamed the stage with his guitar and engaged the audience with genuine charisma.

We wrote: "McCann has outgrown some of his early-career awkwardness to become a true rock showman in the vein by The Strokes' Julian Casablancas or The Arctic Monkeys' Alex Turner. The swooning young women in the balcony seats could attest to that."

Catfish can sound frustratingly safe on record, but live, they were explosive.

REVIEW & GALLERY: Catfish & The Bottlemen provide once-in-a-lifetime opportunity.

Back in March Stella Donnelly dropped one of the best Australian albums of 2019 in Beware Of The Dogs. It was hilarious, melodic, intelligent, and in parts, utterly scathing. That's exactly what Donnelly delivered in her first Newcastle show.

It was the final night of the 27-year-old from Fremantle's extensive national tour and the party atmosphere permeated the performance.

Donnelly might have only released one EP and album, but she's a road-tested performer who has earned her chops from years of working the often deflating cover band scene in Perth.

The first half of the show was Donnelly alone, or with a single guitarist, before she amped up the party vibes with her energetic band.

Donnelly engaged the Cambridge audience through a combination of wit and political nous as she discussed issues such as abortion and sexual assault. The most heart-breaking moment came when she delivered the #MeToo anthem Boys Will Be Boys.

"Donnelly performed her signature song alone and with utter conviction," we wrote. "It created a mass singalong and brought several women in the front row to tears."

REVIEW & GALLERY: Stella Donnelly at home on night of sheer delight

READ MORE: Stella Donnelly cutting through the muck with success

Undoubtedly this was the most hotly-anticipated concert of the year. The 20,000 tickets for the Red Hot Chili Peppers' Hunter Valley debut were snapped up in under an hour. Local radio stations were playing almost exclusively Chili Peppers songs in the lead up. It was an event.

That sort of response guarantees occasion and the American rock legends stepped up effortlessly.

RHCP catered for all crowds. Mainstream fans were treated with numerous singalong classics like Can't Stop, The Zephyr Song, Californication and Higher Ground during the 18-song set, while muso types were wowed by Flea's bass guitar virtuosity throughout various jams.

In fact, Flea was the band's real focal point. Frontman Anthony Kiedis was subdued by his standards, allowing the more flamboyant Flea to shine in the limelight.

There were a couple of subdued moments mid-set when RHCP focused on their last album, The Getaway, unfortunately at the expense of some older hits. But nobody left the wine country disappointed as a cavalcade of classics - Under The Bridge, By The Way and Give It Away - closed the night.

We wrote, "they're definitely not in need of giving it away yet. The Chilies remain a potent and red-hot live act."

REVIEW & GALLERY: Red Hot Chili Peppers heat up the Hunter Valley

There was definite pressure on Grinspoon leading into their Chemical Hearts tour. The alternative four-piece had never performed in a venue as big Broadmeadow's "tin shed" in Newcastle, even in their 2000s prime.

And without any new material in almost a decade, the band were merely hanging off past glories. But that's exactly what the fans wanted.

More than 20 years into their career Grinspoon are a far more polished live outfit in 2019 than they ever were in 1999.

We wrote: "Even at 42, [Phil] Jamieson remains arguably Australia's coolest rock frontman as he bounced around the stage with abandon.

"And unlike his hit-and-miss formative years, he was note perfect from the balladry of Better Off Alone to the pure grunge aggression of Post Enebriated Anxiety."

Pat Davern's meaty guitar riffs boomed around the Entertainment Centre on Secrets and Black Friday, energising the mostly middle-aged crowd and sending them into a moshing frenzy.

Yes it was nostalgic, but if Grinspoon can maintain their intensity at this level there's many miles left yet in Phil and the boys.

REVIEW & GALLERY: Grinspoon send Chemical Hearts racing

While bands like Grinspoon were revitalising past glories, Waax were living in the moment when they played their second Cambridge Hotel show of the year.

Earlier that day the Brisbane punk band had unleashed their long-awaited debut album Big Grief, an explosive and powerful collection of angsty punk rock produced by Bernard Fanning and Nick Launay.

On stage Waax were even more thrilling. Central to that excitement was frontwoman Maz DeVita, who stalked the stage like a caged tiger.

We wrote: "DeVita isn't the cleanest vocalist, but that's not the point, She's about unbridled energy. A thrilling combination of Courtney Love, Alanis Morissette and Karen O.

"DeVita's arms were constantly outstretched to the crowd like she was delivering a punk rock sermon to the audience and the crowd reached back."

Despite some songs having been released that morning, the 500-strong crowd lapped it up. This was music at its most visceral.

READ MORE: Waax rise out of Big Grief to deliver raucous debut

REVIEW & GALLERY: Waax don't miss a beat in explosive album launch

The buzz surrounding Amyl & The Sniffers unquestionably helped the Melbourne punk band sell out their Newcastle debut, but it was pure energy that guaranteed that those squashed into the old church hall left believing the hype.

Young indie hipsters mingled with middle-aged punk rockers in one of the year's more eclectic crowds. And boy did they witness a show.

The Sniffers are an old-fashioned pub rock band with a dirtier sound than their sharpie mullets. While the punk guitar, bass and drums created an unrelenting surge, the real star was pint-sized frontwoman Amy Taylor.

We wrote: "She's a rabid chihuahua on stage; eyes ablaze, mouth sneering and her bleached blonde sharpie mullet thrashing about. It's impossible not to watch her."

Monsoon Rock and Shake Ya were impressive, but the highlight was the AC/DC-inspired Some Mutts (Can't Be Muzzled) which ended with support band Coffin hoisting the Sniffers on their shoulders before they climbed a stack of speakers and dived into the audience.

REVIEW & GALLERY: Amyl & The Sniffers reek punk attitude

The sequel is usually never as good as the original, but that notion was destroyed by the second edition of Newcastle's Scene & Heard Festival.

Held a day after the youth-orientated This That, Scene & Heard was a completely different beast. While This That was the brash younger sibling who seemed more obsessed with Instagram-ready festival attire, Scene & Heard was all about music.

The 2018 debut focused on the late '90s alternative scene, whereas the second edition attracted a classic line-up straight out of the mid-2000s.

There were misses, along withe the ample hits. US psych-rock legends The Dandy Warhols endured initial sound issues, and once they were rectified, lacked any enthusiasm as punters were treated to a self-indulgent set of obscure tracks.

The Dandys were a complete contrast to Fremantle pop-rockers Eskimo Joe, who brought the crowd to life with a hit-laden set.

But the highlight was the headline act Wolfmother. Despite frontman Andrew Stockdale mostly trading on past glories from his debut album, Wolfmother were electrifying as dusk set on Wickham Park.

We wrote: "With that Wolfmother entered the stage with a crunching set of Led Zeppelin and Black Sabbath-inspired riffs. These were songs written for festival stages."

REVIEW & GALLERY: Scene & Heard delivers a real musical experience

The first time Blue Mountains-bred singer-songwriter Julia Jacklin performed in Newcastle back in 2016 she appeared almost timid on stage. The songs were there, but she was still learning the craft of projecting her fragile brand of indie-folk to an audience.

Jacklin returned to the bigger Cambridge Hotel stage on the tour for her second album Crushing a completely different performer. There was genuine confidence there as she tugged at the heartstrings of her audience with stirring renditions of Body, Pool Party and I Don't Know How To Keep Loving You.

Her band were solid, but the star attraction was Jacklin. We wrote: "Jacklin's classically-trained voice was the dominant instrument on stage. It must be heard live to be truly appreciated.

"It's fragile and powerful and dripping with a melancholic charm, that the likes of Joni Mitchell once employed."

Crushing was one of best Australian albums released in 2019 and Jacklin gave a performance befitting of the record.

REVIEW & GALLERY: Julia Jacklin crushes the Cambridge with emotion

The Proclaimers were arguably the year's great surprise packets. Often the Scottish duo are dismissed in Australia as a two-trick pony.

Everyone knows I'm Gonna Be (500 Miles) and I'm On My Way, but brothers Craig and Charlie Reid have proven over a 30-plus-years career to be talented folk-rock songwriters, able to entertain and challenge their audience with forthright political views and working-class stories.

On stage they were a well-oiled machine. Craig sung the main vocal in his soup-thick Scottish brogue, while Charlie played guitar furiously and harmonised with his brother.

We wrote: "The Reid brothers were always the most unlikely rock stars. In their late '80s prime they looked like two Buddy Holly-lookalikes and today they rock the style of middle-aged office clerks. But boy, can they sing."

The Civic Theatre crowd, which included smatterings of Scots, were fairly sedate for the majority of the show until I'm Gonna Be (500 Miles) brought them to life.

There's not many more joyous musical experiences than sitting with several thousand people belting out "da da da". Sure The Proclaimers were a tad corny, but they were a sweet guilty pleasure.

REVIEW & GALLERY: The Proclaimers offer fans ample mileage

When Ahlia Williams waltzed onto Dashville Skyline's verandah stage dressed in white footy shorts and singlet, black boots and red lipstick she was already making a statement.

But her attire felt almost conservative to the ferocity of her music. The Nords Wharf 21-year-old was absolutely captivating as her minimalist punk guitar sound-tracked her tales of sexual violence, revenge, lust and gender politics.

It might have been an alternative country music festival, but Williams was anything but. This was pure unhinged rock'n'roll.

We wrote: "It was a sound more New York than Nashville. More Patti Smith than Dolly Parton.

"At times Williams smiled and shook her hips, and at others, she raged and gesticulated at the crowd as her voice rose from a spoken-word whisper to a throat-tearing shriek."

Williams released her first two singles - I'm Your Man and Sally - in 2019, but this performance proved that the Lake Macquarie firecracker will have plenty of spark when she finally delivers her debut EP or album, hopefully in 2020.

READ MORE: Ahlia Williams stoking fire through music

Justin Townes Earle, Lizotte's, September 3: I love imperfect characters and JTE is the biggest one I know. His Saint of Lost Causes show reflected a genius singer songwriter who wears his bloody blemishes on his sleeve.

John Prine, State Theatre, Sydney, March 9: Rumours of Prine's demise due to poor health were squashed by a treasured set celebrating his Tree of Forgiveness album. A legend who feels like an old friend.

Alejandro Escovedo, Lizotte's, March 5: Accompanied by Tim Rogers, the two created a helluva buzz playing Escovedo's underground punk classics.

Ryan McMullan, Lizotte's, August 12: A lesson in love songs. Caught at total ease in the sanctuary of this intimate theatre, the unfettered and surprisingly unheralded McMullan delivered an honest show that once again demonstrated the strength and emotion of a rising star.

Nicholas Connors, Dashville Skyline, October 5: Refreshing, edgy rock'n'roll pushed to the limits musically and lyrically. Guest appearance by Ahlia Williams pushed it nearly off the top of the creative scale.

Catfish And The Bottlemen, Civic Theatre, July 23: It's rare you'll find an entire audience up and dancing in a seated venue, but Catfish's anthemic indie rock tunes pulled everybody into a frenzy, aware that it was definitely history in the making.

West Thebarton, Cambridge Hotel, January 27: The Adelaide seven-piece have ventured to Newcastle a few times recently and the warm summer's day played perfectly against their distinctly Australian pub rock sound, and the audiences lapped it up.

Ruby Fields, Newcastle Hotel, May 22-23: Fields is the average joe's rock star. She's funny, relatable, and can write a damn good song. Audiences packed in like sardines to sweat and crowd-surf their way into her cult of jangly guitar and breezy pop melodies.

Radio Birdman, Cambridge Hotel, June 21: It's nice to see these old souls still know how to rock. The seminal Aussie punk band strutted their stuff to an audience of Gen Xers rekindling their youth.

Yungblud, Bar On The Hill, February 15: The young British mastermind made waves throughout the venue, and it was possibly one of the loudest shows I've ever been to. His blend of rock, electronica and bratty, almost spoken word rap, could be an indicator of where pop music is travelling.

Surf Trash, Newcastle Hotel, May 31: Seeing the excitement of all the teenage girls in the front row recalled the early glory days of Silverchair. Underage audiences rarely get to see their favourite bands, so this show was really special for the Newcastle scene.

Red Hot Chili Peppers, Hope Estate, February 23: Everything about this show was big, the size of the audience, the stage, the lights and especially the performance of this legendary band. It was an honour to be the only authorised photographer in the pit.

Grow Your Own Festival, Tuncurry, January 12: A great location and an amazing line-up of Australian bands. Jack River never disappoints, but the highlight was when Isabella Manfredi, singer from The Preatures, climbed over the barrier into the audience.

Ackeron Street Records Launch Party, Warehouse 11, September 21: This well organised warehouse party celebrated the launch of Ackeron Street Records and showcased a diverse selection of talented young bands from Newcastle like The Fighting Fish and The Hamilton Alpine Club.

Stella Donnelly, Cambridge Hotel, October 20: Donnelly's performance was captivating and her sharp wit and banter between songs was very entertaining.

Ruby Fields, 48 Watt Street, May 3 & Woodes, Cambridge Hotel, August 16: It was a tie between Fields and Woodes, aka Elle Graham. These two young Australian artists are polar opposites. Fields' show and songs were chaotic, sweaty and had a slightly grimy edge, whereas Woodes' sound is lush and cinematic.

READ MORE: Take a look back at the hottest shows of 2018