AFTER Kate Rusby's 25th anniversary folk lullabies on Wednesday, comedian Ross Noble's deconstruction of the Old Station building's design on Thursday and Levellers' sold-out rebel revelry on Friday, Pocklington's Platform Festival climaxed on Saturday.

Promoted as ever by Pocklington Arts Centre with street vendors outside, tokens to exchange for craft beers, ever helpful staff in Irish-green T-shirts and yellow-bibbed security staff with a smile at the ready, this festival has found its place on the Yorkshire calendar, drawing a full house to its three stages, or Platforms 1, 2 and 3 to be more precise.

Platform 3, in an open-ended tent, was given over to Access To Music's burgeoning talent, co-ordinated as ever by York's evergreen Charlie Daykin, a true hero of the Yorkshire music scene. Arrive early and you have would encountered Amy May Ellis, the North York Moors singer-songwriter later name-checked by York musician Benjamin Francis Leftwich in his late-afternoon set.

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KT Tunstall in full force gale mode on Platform 1

Co-ordinated by arts centre manager Janet Farmer and assistant manager James Duffy, inside the Old Station the focus alternated between Platform 1 and Yorkshire acts on Platform 2. On the latter, poised York singer-songwriter Rachel Croft, those splendid storytellers Buffalo Skinners and effervescent Beth McCarthy, in a duo with Robbie from These Jaded Streets, all drew a crowd that swelled still more for The Grand Old Uke Of York's boisterous, tweed-suited renditions of Kaiser Chiefs, Steppenwolf and Pulp's Common People. Bramble Napskins closed the Platform for the night.

Over on Platform 1, Bella Union's new country-noir discovery, the Yorkshire/Irish Holly Macve, lacked stage instincts at the piano and took a wrong turn in covering the ubiquitous Crazy.

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York singer-songwriter Benjamin Francis Leftwich on Platform 1. Picture:  Melvyn Marriott

Better by far was the ever-charming Benjamin Francis Leftwich, freshly arrived from a wild, "flying" crowd at Latitude and now distilling his songwriting magic for the quieter calm of Pock. Like Leftwich, Newton Faulkner played solo, huge voice, percussive guitar, persuasive new songs, and cheeky-chappy banter, topped off by his willingness to pose for photo after photo post-set.

Happy Hampshire country sisters Ward Thomas, the 2017 festival's equivalent of The Shires last year, were thrilled to be back in Pock after their rapid rise with their Nashville-tooled songs, and the night ended with an even more enthusiastic set by KT Tunstall, a consummate performer whose best songs nevertheless still belong on her long-distant debut album.

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Saint Sister

If Leftwich had done plenty of travelling, Band Room debutantes Saint Sister had done even more, playing Donegal on Thursday night, then setting off at 4am the next morning to make it across the sea to play the North York Moors' tin shed. They would be moving on to Latitude in Suffolk the next day.

Thank you Morgan MacIntyre, on keyboards, and Gemma Doherty, on electric harp, and your band members Shane Gough, on drums, and Dek Hynes, on bass and synth effects, for making the journey to become the most enchanting discovery at Nigel Burnham's Band Room since Eilen Jewell.

Imagine The xx, but with beguiling female harmonies, on such noir delights as Madrid and Corpses, here complemented by sublime covers of The Divine Comedy's Songs Of Love and Springsteen's Dancing In The Dark. Good news, Morgan and Gemma say they want to return to Low Mill, by which time the Dublin girls will have recorded their debut album in Kerry in August for release some time next year.