The Boys Take GQ (and the world)

Written by Hemma Daddral 
Edited by Eve Moat

“Our therapist referred to us as girls, and she noticed us simultaneously shrinking. And she said, ‘oh, what would you like to be referred to as?’ And we all said boys,” explains Lucy Dacus of the supergroup Boygenius, leading their speech at GQ’s Men of the Year Awards. Initially formed in 2018, the group consists of Phoebe Bridgers, Lucy Dacus, and Julien Baker – their release of the record this year propelled them further into stardom. Since, “the Boys” have embarked on a hugely successful tour and have been honoured by GQ as one of their esteemed cover stars. Let’s dive into a brief history of the band and celebrate the well-deserved accolade that they have consequently received. 

GQ’s Men of the Year Awards was filled with stars in this year’s line-up, from Jeremy Allen White to Andrew Scott to Ncuti Gatwa, and Boygenius being another who were honoured. The LGBTQ+ identifying rock band first came together by accident, with their labels signing them up to a triple-headliner tour and an EP soon followed, entitled Boygenius – EP. The three members all had huge hits under their belt, with Bridgers in particular amassing her own cult-like fan base. ‘Motion Sickness’, ‘Scott Street’, and ‘Funeral’ all became mainstream tracks for Bridgers and was even further boosted into the folk-rock scene with her 2020 album Punisher, which received wide critical acclaim. Dacus penned the breakup anthem of all breakup anthems ‘Night Shift’, a seven minute long epic which has stood the test of time. Baker’s 2017 Turn Out the Lights EP also touched fans alike, dealing with themes of relationships, isolation, and mental health issues across ambient guitar soundscapes. 

Though Boygenius – EP certainly put the Boys in the spotlight, it was nothing compared to the reception of the record. Shows went from thousands to tens of thousands, and songs such as ‘Cool About It’ and ‘Not Strong Enough’ created internet frenzy and enlisted a whole new audience. Let’s be real, we’ve all heard “once I took your medication to know what it’s like” a million times behind a million TikTok videos on our For You pages. Guitar strums and soft melodies sweep across the record with the three taking turns to stun vocally and instrumentally. The subsequent tour, as forementioned, has seen these songs take massive stages – most notably played to 25,000 people at Gunnersbury Park this summer. Despite the intimacy of the record, the throuple spare no specialities that could be experienced at their smaller shows they were previously accustomed to. Now, the crowd share the intimacies that are detailed in the songs, creating a bond with the artists that they see perform before them. That is one of the many beauties of boygenius: the relatability of the lyrics and personalities of the stars are at the very heart of their craft which makes their fanbase all that more loyal. 

To go back to their night being honoured by GQ, the Boys dedicated their speech to the trans community, urging everyone in the room to protect those around them who identify with the community. Dacus continued to explain the collective gratitude they felt for being respected by GQ’s awards ceremony. “We recognise that we’re being celebrated here for showing up masculine, and we’re really lucky to be able to come see you as we are in a light-hearted and playful way. This is so easy for us, and it hasn’t been easy for so many people over history. I just want to shout out all of our trans friends and family and people before us who are taking more risks than we’re taking. Not everyone gets applause for wearing a tie.”

The group have been on an upward trajectory for the entire year, closing 2023 with this honour under their belts and a sophomore album that has received praise from fans, peers and critics the world over. 

The Orielles Can’t Keep Their Fans in a Tableau

Written by Arlo Taylor Osmond
Edited by Eve Moat

After 6 weeks on the road, The Orielles came home to Yorkshire for a cosy, intimate show at Brudenell Social Club that concluded their UK and EU tour. The experimental, genre-bending sounds of the Halifax trio evoked stank faces and swaying heads across the crowd for a blissful hour, delivering a mixture of psychedelic pop, post-disco punk and all their other sounds that elude categorisation.

The Yorkshire band have been gaining greater recognition from avant-garde fans worldwide since the release of their third full-length album, Tableau, in October 2022. They’ve achieved a great deal since their first gig at Brudenell on 28th October 2017, and they enter with an ease and a confidence that is aware of that. Sidonie B Hand-Halford settles into her drumkit as her sister, Esmé Dee Hand-Halford, picks up her bass guitar. The pair are followed by their fellow band member Henry Carlyle Wade, who immediately demonstrates his talent as a guitarist with some deep, moody strums as we’re immersed into the gloomy atmosphere of ‘To Offer, To Erase’. 

Halfway through the tune, Sidonie B’s drumsticks take centre stage in a complex crashing of high hats and bass drums. However, her expertise are displayed better in the fast pace of ‘The Room’, next up on the set list. During this tune, I was enthralled by the interesting dynamic between Henry and Esme. Henry’s electric, energetic jamming in this dance track is satisfyingly balanced by the slick nonchalance of Esme’s playing. They have two different styles that each, in their own way, serve a function for the band and appealed to different members of the crowd. 

Although the music of The Orielles is admiringly versatile, one consistency is their love for a tempo change in the middle of a song. This technique reaches new heights when seen live, carrying the audience to different emotions so quickly and with so much authority. Their performance of ‘Beam/s’ was a brilliant example of this. Audience members are raised from melancholic and dreamy shoegaze to a lively, upbeat grungy sound, before being lassoed right back to the former. This time, there are cinematic sounds of a violin that accompany Esme’s velvety vocals.

‘Television’ played with my emotions in the same way. Midway through the song, Sidonie B puts her heart and soul into a cathartic, chaotic crescendo on the drums that is heightened by a powerfully intense looping of Esme’s chorus. The band members suddenly change pace and style, without any visible difficulty, and seamlessly plunge the audience into a slow, uplifting environment of indie pop. Each masterful switch executed by The Orielles is accompanied by screams from the audience, who clearly enjoy being kept on their feet.

While it doesn’t appear to be their main priority, the band’s talent for weaving stories with words as well as instruments was shown in the moving, stripped down performance of ‘Stones’. Anchored by an acoustic guitar, it’s a confusing yet beguiling story that reflects the sisters’ alternative status as filmmakers (La Vita Olistica, 2020). 

After hearing most of Tableau, the crowd recognises an old favourite from its first few guitar notes. Shrieks ensue for ‘Sugar Tastes Like Salt’, their fourth ever release. At the song’s break, cheeky grins appear on the band members’ faces as people start to move fast, limbs flying with the funk of the bass. Hearing this tune after hearing Tableau is eye-opening though. Upon close listening, one can hear twinkles of innovation and even hints at a dissatisfaction with traditional song structure. Having hosted The Orielles multiple times since 2017, Brudenell has seen these twinkles develop into mature, brave, sophisticated ideas. It’s a pleasure to experience part of that journey.

The performance makes me wonder how such a talented, ambitious band can be so free from pretension. After a viciously creative performance of songs that make you question the very existence of genres, Henry concludes the show by saying “Thanks a lot chickens”, followed by a homely “Yorkshire” chant with the audience. 

“We should do this more often” says Henry, with a charming grin on his face.

Tableau by The Orielles is available on all streaming platforms.

15 Years of 808s and Heartbreak: A Love Letter

Written by Hemma Daddral
Edited by Eve Moat

Kanye may be controversial or maybe even “cancelled”, but Hemma Daddral shows how he was perceived 15 years ago and how the art can definitely be separated from the artist.

I might be slightly biased, as a Kanye fan since earliest childhood memory, but I can never get bored of this album. ‘Love Lockdown’ was one of the first songs on my iPod Shuffle and little did I know that I would be just as enamoured with it to this day. The album is timeless, and always in my rotation one way or another – which may be a slight red flag I admit. But despite the woeful subject matter, 808s & Heartbreak is undeniably important to Kanye’s entire discography, his growth as a multi-faceted artist, and the trajectory of his career. One of my favourite albums of all time, by one of my favourite artists of all time, let’s look back at a brief history of its creation and celebrate its genius. 

West was fresh off the career defining run of The College Dropout, Late Registration, and Graduation. Critical acclaim and numerous accolades were finally being given to the artist after years of being shunned as a producer to the stars of Def Jam. In 2007, he was arguably the biggest rapper in the world. The album that intended to follow the trilogy was to be entitled Good Ass Job, but a series of misfortunes led to the creation of the very album we are commemorating today. 2007 saw the tragic passing of Donda West, Kanye’s mother, and the end of his 18-month long engagement with Alexis Phifer. West was at the height of his career but more alone than ever. Thus, 808s & Heartbreak takes a completely different turn from the energetic, witty West that we had become accustomed to. Instead, we are given 12 songs, driven by 808 heavy beats, and you guessed it, heart-breaking lyrics. With a widely divisive reception upon release, fans and critics alike were introduced to a whole new side of Kanye, rid of the ego, glamour, and vanity that he was generally known for.

Dark, electronic instrumentation, melancholic soundscapes, and a hell of a lot of autotune fills the entirety of 808s. Autotune was perceived as a crutch for mainstream pop stars and was generally dismissed as a cheat code. Kanye, though not renowned for his vocal abilities, utilised the vocoder effect to parallel the inner distortion and despair that he was experiencing personally. And the payoff is extraordinary – we hear a detached, tortured artist we cannot fully comprehend spilling out with vulnerability and unafraid to show the world. Kanye uses this creative tool later in his career famously in ‘Runaway’, as the listener experiences how he is perceived by the public, incoherent and muffled. From the moment we are introduced to ‘Say You Will’, it is clear that we have departed from the joys of Graduation’s ‘Good Morning’, or Late Registration’s ‘Touch the Sky’. The beat is dense, and the lyrics are just as heavy, as West attempts to provide us with a glimpse of his mental state at the time. An autotuned Kanye West is in turn longing for answers and clarity amidst the juxtaposition of a modern mechanical beeping and the sweeping background of a choir. The introductory track is vast and there’s even a whole 3 minutes in the outro to navigate your own melancholy as West does in the opening two. 

As you progress through 808s, you are met with star-studded features, as Kid Cudi ‘Welcome [s you] to Heartbreak’, and Lil Wayne menacingly dares to ‘See You In [his] Nightmares’.  Despite the heaviness of tracks such as ‘Coldest Winter’, the album resulted in two of Kanye’s most mainstream tracks in his career. ‘Heartless’ still navigates the tortures of a break-up, but we can somehow dance along to it and belt “how could you be so heartless” without overthinking the context too much. Similarly, ‘Love Lockdown’ is still just as infectious to this day, as the 808 heart-mimicking beat is instantly recognisable. Though the reoccurring themes of despair and darkness cloud over the album, we are given glimmers of the Kanye we know and love. “It’s amazing, I’m the reason everybody fired up this evening” perfectly captures the larger than life, braggadocio he has presented to the world. ‘Amazing’, is one of my S-tier Kanye songs – it encapsulates who he is at his core and uses the strength of the pounding 808s to enforce this. On the topic of my S-tier, ‘Street Lights’ is another standout track, and is at the top of my gloom and doom playlist.  

You don’t need me to tell you that 808s & Heartbreak influenced a generation of musicians – it’s a rhetoric that has been stated time and time again. But that doesn’t discount its relevancy and poignancy, and the evidence looms in the works of the top charting rappers and singers of today. From Drake’s ‘Take Care’ to Travis Scott’s entire 808 heavy soundscape, many of the mainstream rappers today accredit their sound to this album. Isolation and vulnerability were rarely found in mainstream rap music, but Kanye West trailblazed with 808s & Heartbreak – the influence being monumental upon release and still now 15 years later.

The Snuts are Deep Diving

Written by Millie Cain
Edited by Eve Moat

Smashing back into the indie rock scene, The Snuts return with new EP Deep Diving on 27th November 2023, after teasing the new release on Discord. The EP is the predecessor for their widely anticipated third album Millennials, which will be released on 23rd February 2024, from the band’s own label, Happy People Records. Lead singer Jack Cochrane describes it as “a raw exploration of our mortality, the ticking clock of our lives, and the consequences of being caught in the maze of one’s own mind.”  

Written and recorded on the road, between shows and in a makeshift studio in the Scottish Highlands, it has the band’s own punchy, fact-paced set up, but brings a fresh, vivacious sound with ‘Dreams’, a positive love anthem, and titular track ‘Deep Diving’ is built to play live, and facing the terrifying passing of time, Cochrane cast his own old man to play him in the music video. The EP closes with a re-release of their summer anthem ‘Gloria’ from June 2023, accompanied with an acoustic version. The Snuts are back to their recognisable social commentary with the anti-capitalist standout of the EP, ‘NPC’ that rallies against the soulless vacuum of everyday life.  

The band have never shied away from shouting about what they find is important, from their cry to rally release of single ‘Burn The Empire’ to their recent album announcement. They explained that “it’s super hard to be transparent as a band online in 2023…or even just as a human, and although our sound and the songs will always evolve and change, it’s been mad important to us that we stay true to the reasons we ever wanted to do this sh*t in the first place.” They’ve always been a band of the people, and recently sent out exclusive CDs to 250 of their discord fans, with my friend Matt receiving first release for tracks 4 and 9 and is “in on the secret first”. They even signed off the bold, heartfelt note “Love, THE SNUTS”.  

The Snuts are heading out for their UK headline tour and US headline tour in March, and headlining Liverpool’s Sound City Festival in May 2024. The album is launching with 2 nights at the iconic Barrowlands on 27th and 28th February next year.

The album is available for pre-order on their official website.  

The Utopiates End 2023 with New Single “Love Pill” 

Written by Millie Cain
Edited by Eve Moat

Branching into a more electronic, indie pop sound, The Utopiates released their new single “Love Pill” on the 16th November 2023, following their blinder of a debut album released earlier this year, “The Sun Also Rises”, available on all streaming platforms. Leeds born lead singer Dan Popplewell, described the influence for the new single: “I think I did a good enough job of trying to sum up exactly how my girl makes me feel. We’ve had some pretty hedonistic times together and it’s basically about that and the love between us in those moments! I’m so happy with the production and what all the lad’s brought to it too. We really think this track showcases another side to us without losing that Utopiates’ party vibe we like to lean towards.” 

The band have a real groovy tone, and have set a real precedent for feel good, snappy lyrics and infectious beats, they’ve got a real different sound to a lot of other bands at the moment. My favourite track from the debut album “Ups and Downs” features 90s esque piano, and building tempo, with electronic mixing and tight drumbeats. Their signature fast-paced rhythms made for a perfect summer debut album, and we can look forward to how they branch out in 2024, following the release of this new single to really top off a huge year for the band. 

Recording locally at The Nave in Leeds, they also played at Belgrave Music Hall on 2nd December. Now, after a sold-out summer tour, they’re back in the studio for their second album after being signed to V2 last year. They may have only formed in 2021, but they’ve had very promising statements of “band to watch” by promotors, such as This Feeling, who have a historically excellent track record of finding the best up and coming bands.  

Indie Excellence: Live at Leeds In The Park Announce 2024 Line-up

Written by Will Cooper
Edited by Eve Moat

As temperatures drop and the nights draw in, festival season feels a million miles away; dreams of warm, sun-soaked days of drinking and good music may seem far-fetched. But fear not – the countdown to summer can officially begin, as festival line-ups begin to be teased and revealed. Live at Leeds In The Park made their first announcement ahead of the event’s return to Temple Newsam in May next year. 

2024 will see the festival held for the 14th time, with the ‘In the Park’ iteration returning for a third year, in addition to its longstanding inner-city counterpart. Wunderhorse, The Last Dinner Party, and Shame took over the city centre in October’s Live at Leeds In The City, drawing in big crowds across Leeds’ best small venues – a high bar has been set for the summer event. 

Having forged a reputation as one of the best value-for-money day festivals, a strong lineup was inevitable. Sticking with a distinctly-indie theme, The Kooks were announced as headliners. Despite releasing a new album last year, the Brighton-based band will be sure to deliver a set full of noughties indie goodness, with iconic tunes ‘Naïve’ and ‘She Moves in Her Own Way’ guaranteed to get the crowd grooving. 

Following in the same vein, local cult heroes The Cribs will be returning to Temple Newsam, having supported The Music’s reunion gig there in June last year. Declan McKenna helps to balance the old and new, with the emerging indie-pop star expected to play the festival off the back of his upcoming third studio album What Happened to the Beach? 

Future Islands, the American synthpop four-piece, will also have a new album to celebrate – People Who Aren’t There Anymore is set for release in the new year. Festival-favourite Melanie C will be on hand to deliver a typically energetic performance, with plenty of Spice Girls songs thrown in to keep the crowd singing along. 

Any appetite for summery indie-rock will easily be satisfied. Mystery Jets, Vistas, and The Academic are well-renowned for their live performances, filled with plenty of catchy choruses and fast-paced guitar riffs.

The event will also showcase an array of up-and-coming talent from all corners of the UK. After supporting Inhaler on their EU tour, Nieve Ella and her soft indie-pop sound will be a must-see – she could be deserving of a more prominent spot on the lineup by May.

If guitars aren’t your thing, the spoken word hip-hop of Antony Szmierek could draw you in – go and see if the comparisons to The Streets are deserved.  With many more acts to be announced, the scene is set at Temple Newsam for an unmissable one-day musical celebration.

Live at Leeds in the Park will take place on Saturday 25th May 2024. If this line-up has tempted you, tickets are on sale now on liveatleeds.com for just under £70.

Tiny Things by Tiny Habits

Written by Lucas Assagba
Edited by Eve Moat

Maya Rae, Cinya Khan and Judah Mayowa are Tiny Habits, a Boston folk-pop trio known for their lush harmonies. They’ve been active since 2022, garnering praise from the likes of Phoebe Bridgers and Elton John for their cozy covers on the stairwell of their dorm. In April, they released their debut EP, Tiny Things and I gave it a listen as part of my Autumn rotation. 

The title track serves as a picture-perfect introduction into the world of Tiny Habits. Vibrant and optimistic, yet still as chilled and velvety as ever, the song opens with a signature three-part harmony. The bridge of this song is a highlight of the project, setting the scene for what’s to come.  

Track two is the anti-Tiny Things in a sense: while still encompassed by the group’s signature warm sound, ‘Delay’ revolves around the immediate aftermath of a relationship, drawing parallels between itself and the cosiness of Tiny Things. “Standin’ in your kitchen / Counting all the tiles on your floor / While you do the dishes,” and its own lethargic dread “I was fine doing dishes / with my headphones on” perfectly addresses this.

‘One More’ features some of the most creative production on the record, courtesy of Philip Etherington (Laufey, Lizzy McAlpine). While the lyrics are simpler and not as central as in the other tracks, they’re still as hard hitting as ever: “I’ll keep this space for whoever comes my way / but I just wish it could’ve been you.” ‘One More’ sees the trio at their most synchronised, effortlessly harmonising as if they were one.  

Track four is my personal favourite because while every other track was produced by Etherington, Benjamin Millman takes the reins on ‘Hemenway’, a heart-wrenching tale of emotional distance peppered with odes to Boston. The trio longs to “Go back” in the chorus, which serves as a confession to a lost love, but in the process “On Hemenway, I let you down.” 

The trio goes back to their roots with a cover of Fleetwood Mac’s ‘Landslide’ on track five, with Stevie Nicks’ poignant lyrics aligning with Tiny Habits’ original songs perfectly, with the trio capturing her fear of “changing / ‘cause I’ve built my life around you.” Even though they didn’t write the song, they make it their own, and it finds its home within the EP’s journey. 

‘Some Things (I’ve Learned)’ is a refreshing change of form, and serves as a satisfying conclusion to the record. Judah, Cinya and Maya join the song one at a time (similar to Boygenius’ ‘Cool About It’), creating an atmosphere of acceptance and catharsis on what might be the EP’s most intimate track: “If I’m gonna repair anything / Then it sure as hell should be myself.”

As a group who rose to prominence through their renditions of other people’s songs, little had been seen of Tiny Habits’ songwriting talents. However, Tiny Things does a wonderful job of showcasing them as a lyrical powerhouse, while still allowing their heavenly vocals to take centre stage. 

Julie Byrne and her Support Acts Burn Down Brude with their Melodies

Written by Kate Wassell
Edited by Eve Moat

It’s been six years since Julie Byrne last played at Leeds’ beloved Brudenell Social Club, and on Thursday 16th November the venue welcomed her back with warm arms and eager ears. Kicking off their first gig of the tour, the esteemed American folk artist was joined by British experimental pop singer Mui Zyu – the two of them alluring a quietly appreciative and contemplative crowd, with warm smatterings of applause between tracks. 

Image Credit: Kate Wassell

Support act Eva Liu works under the stage name of Mui Zyu, her Cantonese name – a nod to her diasporic identity that is an integral part of her music and most recent project, Rotten Bun for an Eggless Century. Zyu’s sound flits between tender and distorted; together she and her collaborator Lucci create a cosmic sonic landscape, merging and layering beats, synths and electric guitar. Zyu’s lyrics often explore this unwinding and rewinding of a cultural identity: she tells the audience that much of the new album arose from this “trying and failing” to make sense of both her British and Hong Kong culture together. 

Image Credit: Kate Wassell

She also notes how grateful she is to be there supporting Julie Byrne: “I’ve had the new album [The Greater Wings] on repeat, as I’m sure you all have too”. Soon enough Julie Byrne graces the stage (she really does embody the word graceful) with a calming and steady presence alongside her two bandmates. Violinist Jake Flavy beautifully offsets her baritone vocals with heartbreaking, lingering string. Julie, meanwhile, might have the most perfect live voices I’ve ever heard; it’s pretty close to flawless. 

Julie has a sense of sincerity, and also something definitely spiritual about her, which elevates her live performance to an almost religious atmosphere. There is a sanctity surrounding her; her hands are never still, moving along with the music when she isn’t holding her guitar, as if she is always feeling the music move through her body. When you listen her lyrics, it’s clear she is somebody grounded by the natural world, guided by nature rather than shadowed by it. 

About halfway through the set Byrne plays the opening track of her 2023 album of the same name, ‘The Greater Wings’. It is the highlight of the night for me, the track is haunting and transcendental, and they play it without a fault. The songwriter later explains the origination of the title: it comes from the small sphenoid bone, she tells us, that sits just behind our temples. The shape of it is like a butterfly, or “some otherworldly moth” as Byrne puts it, with two smaller wings and two greater wings. She doesn’t elaborate further except to express her finding this fact beautiful, but it seems as if the lyrics of the track are at least in part a homage to her late collaborator, partner and best friend, Eric Littman. “To carry you up”, she sings, “on greater wings”, is to keep him in her memory, to lift him up beyond it. 

The wings, to me, also seem to symbolise Julie’s constant wandering: she is somebody who has never had that permanent sense of home through her life. The pandemic put a halt on movement, but Byrne kept composing; in fact, she began working on The Greater Wings in 2018 and began recording it in 2020. It adds up that she would be the kind of artist to take her time with an album release – to reflect and build it up over time.

The last time Julie was in Leeds she was touring the 2017 album Not Even Happiness. While she still plays homage to a few of her favoured old tracks throughout the evening, her new songs stand out in her live performance. There’s a new clarity and complexity to her most recent songwriting. She follows ‘The Greater Wings’ with a new track ‘22’, from an EP set to be released the following day after her Brudenell performance, in a trio release with Taryn Blake Miller and Emily Fontana, which along with three new songs includes a cover of Jackson Browne’s ‘These Days’. It’s a short but beautiful hint at the new release, with Byrne’s voice being so soft and captivating. 

My only wish was that Julie’s set had lasted a little longer: it was short but sweet. Julie Byrne has the kind of radiance to her smile and her being that makes her a real pleasure to watch perform. I’d recommend anyone to catch one of her live shows, not just for her gorgeous melodies and lyricism but for her enchanting presence.