Review: Eszter Vida’s Live at Leeds Debut

Lucas Assagba on 8 December 2024

‘You all look so defeated. Is it because you’re seeing me instead of English Teacher?’

Festival clashes are an ever-present evil. How could anyone choose between Beabadoobee and Jorja Smith, or between SZA and James Blake? I don’t doubt that rising star Eszter Vida was a little bit worried when she found out her Live at Leeds debut clashed with the Mercury Prize winning English Teacher, but where most people would crumble, she took it in stride. It’s an honour to call Eszter my friend, and my editor, and I can firmly say that even if my friendship, my career, and my life weren’t on the line, she would still be a highlight of my Live at Leeds experience.

I’ve had the privilege of seeing Eszter live a few times, but this set was her at her very best. Her band noticeably lacked a drummer, and while I expected her to pull through, I thought the set would hit a solid ceiling of momentum. Frankly, I’ve never been more wrong, and I’ve never been happier about it; the energy in the room was palpable as Eszter invited us into her world for a breathtaking thirty minutes. Her opener, ‘Kingdom’, was marvellously addictive, and since watching the set I’ve found myself singing the chorus over and over and over again; ‘What did I see in you?’

I always admire how different Eszter’s sets are to her recorded songs. Producer Evan Martin, who she’s dubbed as a ‘synth god’, joined her onstage, but their collaboration was far from uninteresting. Keeping a performance engaging is deceptively difficult, and while Eszter’s uniquely percussive lyrics were enough to draw me in and keep me there, I still found myself in awe of the sheer range of sounds produced by her band; balancing drum machines, synths, guitars and flutes is no easy feat, but from the way Eszter and her band jump from one soundscape to another, you’d think it was as easy as breathing.

Unreleased tune ‘Is This My Last Night With You? and closer ‘Ethereal’ were my personal highlights. It’s hard to bring energy to a crowd, but even harder to bring a performance from a boil to a steady simmer, and keep an audience captivated as you lay your emotions bare. Eszter seems to have mastered this, as I found my mind drifting around her lyrics like a planet to a star; ‘A basket of eggs smashed on the floor / I don’t want more / Let it all fall.’

Eszter Vida is one to watch. I don’t know where she’s going next, but I do know I’ll be seated in the front row, armed with endless praise and a glowing review. Big things are coming.

Words by Lucas Assagba

‘Your Sun Sign, Your Musician’ – The Gryphon Music Horoscope

Charlotte Trenbath on 8 December 2024

In astrology, the Sun represents the self. In other words, your Sun sign will be an indicator of your core identity, your ego, and your individuality.

Aries [March 21st – April 19^th] – Lady Gaga.

As the first sign in the zodiac, the Aries Sun is best expressed through a trailblazer like Lady Gaga. Ruled by Mars, the planet of war, Aries individuals run on passionate ambition, facing conflict head-on in true ram fashion. With the Sun exalted in the sign of Aries, self-expression is paramount and unwavering in the face of criticism – a fitting characteristic for a genre-blending, meat-dress-wearing pop pioneer such as Gaga.

Taurus [April 20^th – May 20^th] – Cher.

Ruled by the planet Venus, Taurus Sun natives are endowed with a certain regal beauty that feels permanent in its steadied earthiness. It is no wonder, then, that the eternal ‘Goddess of Pop’ is also a Taurus. Cher’s patience, self-assuredness and penchant for material indulgence are prime Taurus characteristics. In her own words: ‘I am so slow to anger, you have no idea. I am such a Taurus. But when I get to a place of real anger… you just don’t want to know about it.’

Gemini [May 21^st – June 21^st] – Kendrick Lamar.

Naturally, an intelligent lyricist such as Kendrick Lamar would have a Gemini Sun. The Mercury-ruled sign is associated with the third house, the House of Communication, blessing Gemini natives with a keen mental agility. Lamar’s formidable storytelling skills and the intricacy with which he explores a variety of topics is synonymous with Gemini’s detail-oriented curiosity and dynamic communicative skills.

Cancer [June 22^nd – July 22^nd] – Lana Del Rey.

Cancerians are indeed the most likely zodiac to write flowing, poetic ballads about love and loss – Lana Del Rey is living proof. Known as the sign of the ‘mother’ [quite literally in Lana’s case] and ruled by the moon, Cancer Sun natives possess a notable intuition and a well of emotional depth. The sign of the Crab craves safety and home comforts, protecting its soft, sensitive core with a thick armoured shell. Lana tends to shield her private life, keeping the details to herself. But the emotional core of her experiences, Cancerian in its receptive tenderness, is laced into her music.

Leo [July 23^rd – August 22^nd] – Charli xcx.

As Leo is already ruled by the Sun, those with this Sun sign placement are blessed with a natural self-confidence and vitality, the kind that inspires lyrics such as ‘I’m everywhere, I’m so Julia.’ Charli seems to be circled in an ever-present spotlight; adoration flocks to the singer as though it were fated. Her bold magnetism and fearless creativity give her a natural Lioness dominance that shines with Leo’s expressive star quality.

Virgo [August 23^rd– September 22^nd] – Beyonce.

Beyonce is no stranger to her astrological Sun sign. In fact, two of her songs have ‘Virgo’ in the title. Grounded, analytical Virgos are notorious for perfectionism; they accept nothing less than flawless, holding themselves to meticulously high standards in all they do. Beyonce is renowned for her work ethic – with the singer being the most-awarded artist in Grammy history – and crafts both her music and her brand with a detailed, rigorous ingenuity.

Libra [September 23^rd – October 23^rd] – Childish Gambino/ Donald Glover.

The multi-talented Donald Glover is known for his range of artistic ventures. From his acting and writing skills to the majestic, atmospheric sounds of his 2016 LP Awaken, My Love!, Glover’s expressive labour carries an unequivocally Libran attention to detail. Symbolised by the scales, these intellectual air sings thrive on balance, so it’s no

Scorpio [October 24^th – November 21^st] – Jeff Buckley

Scorpio is ruled by Pluto, the most intense planet in astrology, associated with transformation and the psychological depths of our subconscious. Sun in Scorpio natives are people of extremes, people who write soul-shattering, life-altering lyrics like those of Lover, You Should’ve Come Over. The cherished late Buckley bore a magnetic, mystical creativity, expressing a Scorpio-adjacent plethora of deep, complex emotions through his music.

Sagittarius [November 22^nd – December 21^st] – Tina Turner.

The late Tina Turner demonstrated the key qualities of Jupiter-ruled Sagittarius – growth, abundance, expansion and higher learning. The rock star had an inspiring level of optimism and perseverance despite the personal hardships she faced, with a bold enthusiasm for life that is so often associated with the Sagittarius sign. Just as Jupiter burns brightly as the largest planet in our solar system, so too did Turner’s stage presence ignite a blazing, fearless energy.

Capricorn [December 22^nd – January 19^th] – Dolly Parton.

Yes, it’s true – Dolly Parton, who wrote an entire song about tirelessly working 9-5, is a Capricorn. The sign of the Goat is renowned for its resilience, with pragmatic Capricorns possessing an unrelenting capability to plough through even the most adverse of circumstances. Capricorn’s ruler is the karmic planet Saturn, which governs tasks, responsibilities, and time. Parton’s decade-long career is testament to Capricorn’s diligent longevity.

Aquarius [January 20^th – February 18^th] – Dr. Dre.

Aquarius are often hailed as the visionaries of the zodiac, brazen and spectacular in their unconventionality. Producer and rapper Dr. Dre embodies the rebellious spirit of Aquarius, as expressed in the 90s rap group N.W.A., with tracks like ‘Fuck tha Police’ protesting police brutality and racial profiling. He is unflagging in his innovation, from his popularisation of the iconic G-funk sound on debut album The Chronic to his launch of the best-selling Beats headphones

Pisces [February 19^th – March 20^th] – Kurt Cobain.

Many famous musicians have Pisces Suns, with the intuitive Water sign having a natural connection to art and music. Kurt Cobain, however, has four Pisces placements in his birth chart, as expressed through the late musician’s deep sensitivity to the world around him. As the last sign of the zodiac, Pisceans are the most empathetic of the 12, absorbing all that came before them with open-armed compassion. Cobain’s lyrics flow with an artistic introspection that mirrors the Piscean quality of pure emotional understanding.

Words by Charlotte Trenbath

Sports Team on their upcoming album: “The first record we’ve made that doesn’t sound like six idiots”

Ruby Smith on 8 December 2024

Ahead of a UK tour this month and the release of their third album Boys These Days in February, Ruby Smith caught up with Sports Team’s Alex Rice (vocals) and Rob Knaggs (lyrics, backing vocals, rhythm guitar) to discuss new music, offending people at their record label, and the hottest curry in Leeds.

Like their music, Alex Rice and Rob Knaggs are equal parts funny, honest, and sincere. They speak to me on a sunny October afternoon after a comical meeting with their label: “Every campaign you have a word with your press and radio people and someone will always suggest you do a gig on the Thames, and that finally happened again today. You have to talk people down from that being an entertaining idea. Rob I think offended someone at our label; he said ‘Ah that sounds like something Circa Waves would do’ and the guy was like ‘I think I worked on that campaign!’”.

It is no surprise that gigs play a significant role in the campaign for the band’s upcoming album. Live performance is a cornerstone of Sport Team’s identity; they are reputed as one of the most exhilarating and raucous acts in the UK. The Mercury-nominated six-piece indie rock group blend punchy guitar riffs and catchy melodies with witty, observational lyrics that offer sharp commentary on the absurdity of everyday life. Their shows are a celebration of the chaos of being young in Britain.

The raw energy of Sports Team gigs is captured in the group’s latest single, ‘Condensation’ – a lively track stacked with swaggering riffs and infectious excitement. Alex explains the importance of concerts to the band’s sound: “It is too much pressure to just rely on the music… When we first started playing there was always a sort of terror at not entirely knowing what to do with yourself when you’re on stage and it comes out as that sort of frantic energy you get. When we were getting into music as kids, the gigs were the bits we remembered. Going into London for a night with your mates and seeing these people we thought were heroes actually playing 500 cap rooms in London being like, ‘wow that was the greatest night of my life’. So I think when you see a bit of yourself in the crowd you’re playing to that’s always incredible. And it just feels more tangible as well; a lot of music now can get very about the streams report or radio report and stuff like that and if you do a press interview on Zoom or whatever it is, but it’s the live bit that feels very real.”

In contrast to the pulsating physicality of ‘Condensation’, the previous single is a shimmering, glossy tune that oozes sophistication. ‘I’m in Love (Subaru)’ glistens with the romanticisation of a Subaru Impreza, while a cynical dissatisfaction lurks behind the new car dream. Sonically, the polished and poppy elements mark a turn for the band.

While smouldering saxophone is a new feature, the glamorisation of mundanity is not. Whether singing about the M5, Wetherspoons, or Aldershot Municipal Gardens, Sports Team have always aimed to be the talisman for “Clarkson-core suburbs in middle England”. Alex explains, “We grew up in suburbs in boring towns in England and I think the whole kind of The Strokes style music that we grew up listening to was designed to make that feel like the least cool thing in the world”. Sports Team strive to “give value back to the way a lot of people live”.

Even as their career grows and they play to larger crowds across the world, nothing about the band’s outlook has changed. Their music has, according to Alex, “always come from a place of quite specific experience, and I think that’s where more where music is going now. People want to hear about the specific: they want to hear a specific roundabout reference, they want to hear a specific bar reference. I think those are the songs we love as well – when you create a mythology around the stuff that exists in your very particular life.”

He compares it to country music: “All that’s really doing is taking very prosaic stuff and making it everything. It is saying that tiny thing that happened in your life is important. I think that’s where our music has stayed – mythologising little things.”

Rob has a “vision of some kid sat in their room in America thinking about Aldershot and thinking ‘oh I wish I could visit there one day’. The glamour of that place.”

America to Aldershot is a lengthy pilgrimage, Aldershot to Leeds less so. The band feel very connected to this city: “I really like the Brudenell and we’ve played Live at Leeds loads of times.” Rob enthuses. “Al [Greenwood] our drummer is from there so it’s a city I feel like we know really well and enjoy coming back to”. Lucky for him, Sports Team return to Leeds on the 23rd November to play a sold out show at The Wardrobe.

The last time the band performed in Leeds was memorable not only for the gig but also for the antics beforehand. Rob reminisces: “We got a little bit over excited in some of the pubs and were drinking quite a lot, so we had to eat something to get ourselves ready for the show. So we went to this restaurant and had what was claiming to be the hottest curry in Leeds… The chef came out at the end and shook our hands, crying, unbelievably red, everyone in the restaurant on their feet clapping. It was beautiful.” “Yeah we got a certificate for it!” Alex adds.

Spicy curries are not a habitual pre-gig tendency for the group, but when asked about post-gig rituals Alex confesses the first thing they do after coming off stage is always the same: microanalyse. “Talk every bit down, try and get hold of a desk mix, and analyse mistakes. Our bassist Oli [Dewdney] gets quite adamant, it is funny to say to him something like ‘You missed the third root note in the second track’ and just make it up and he will spend the rest of his week fixating on getting hold of a desk mix to prove that untrue.”

Harsh critique is not only done to mess with mates, but is a genuine part of the band’s rehearsal method. Rob explains “we have a process we like to call a witch hunt. When something is sounding bad you go round in a circle and everyone has to play what they were playing really slowly while everyone else stands there and critiques it, which is quite horrible actually.”

Clearly, Sports Team do not shy away from intense processes to produce results. Their upcoming album, Boys These Days, was created in Norway with producer Matthias Tellez (previous work includes Girl in Red and CMAT). Rob describes how the process differed from their other records: “we’re using the studio more as an instrument in its own right. Rather than doing 50 different guitar pedals to get a certain guitar tone there’s a bit more freedom to play around with different sounds and not necessarily have everything live in the room.” Their earlier music “had this super Pavement-y kind of slacker-y sound… you would go to the studio after 7pm with 2 cases of beer and by the time you’d finished them the song would be done. And it sort of sounds like that – there’s a kind of ramshackle element to it… On our first records we always sort of thought of ourselves as these polymaths, you know like we were the modern day reincarnations of Steely Dan or whatever. I think this is maybe the first record we’ve made that doesn’t sound like six idiots with guitars and drums and stuff in a room.”

On the other hand, “in some senses the process was kind of similar … It’s always just about trying to enjoy yourself. When you go into a studio for a month, you just want to be having fun and surprise yourself”.

As a result the album is “quite an insane mix of things”. Rob reveals that the songs range from “country western” to “very ACDC rock” to a tune in which “Riceys voice goes quite ethereal, it kind of sounds like Daughter”. Genre is dead. Sports Team are very much alive.

Words by Ruby Smith

The Marías concert: Fairies are real and I saw one with my own two eyes.

Aria Aristotelous on 8 December 2024

Stepping out of a dream, María Zardoya took the stage in a haze of soft lights, her presence as captivating as the stories woven into their lyrics. The lovechild of María Zardoya and Josh Conway, accompanied by their two bandmates, took over the stage at O2 Ritz Manchester, where they transported us to a place of pure romance, with lyrics speaking straight to the heart.

From “I don’t want to get lost inside the colour under my tongue” to “I live under your eyelids, I’ll always be yours,” the 16-year-old in me who first listened to these words, staring out the window and holding back tears, had been dying to cross them off my bucket list.

As the band stepped on stage, I stood in awe. A silhouette appeared, unaware of what I was about to experience. With wet hair and asymmetric clothing, as if she’d just dragged herself out of a pond – appropriate, given the album’s name is Submarine – Zardoya held us spellbound, every word a new wave to ride. With lights pulsing to the beat, the opener, ‘Hamptons’, set a mesmerising, almost psychedelic tone for the night. The crowd was urged to let loose, jumping and shaking off the worries of the day. When Zardoya tells you to do something, you listen – so we all jumped.

As time went by, one look around proved that no one in the crowd could stop dancing. The band did an exceptional job of pleasing both old and new fans, playing songs from their EPs all the way to their debut album—tracks like ‘Only in my Dreams’, ‘Cariño’, ‘Heavy’, and ‘Hush’. The band admitted that after their debut album, they weren’t sure if they’d release another. Thank God they did!

Zardoya’s stage presence felt angelic, and her chemistry with bandmate (and former partner) Josh Conway is one for the books. The way she moved across the stage felt like an apparition. It was as if the audience had stumbled into a dream, mesmerised by these fairy-like creatures singing you to sleep. Apart from their own songs, the band also played a cover of ‘Lovefool’. Although unexpected, their execution made the song their own with Zardoya’s soothing and ethereal vocals wrapping the song in a new layer of intimacy.

The concert’s most intimate moment arrived as ‘Sienna’ started playing. Zardoya, now seated and holding her head, drew us into a private reflection. Seeing her perform the song live felt like a glimpse into something personal, almost sacred. The song is, indeed, one that is close to the singer’s heart. It discusses a once-cherished dream of having a child with her partner – a dream that gradually dwindled as the relationship came to an end. The whimsical soundscape of the song gave the listeners the opportunity to interpret the music as they wished, with the weight of longing, of love lost, dreams unfulfilled – these feelings reverberating around the room. In that moment, ‘Sienna’ became more than a song; it was a story of intimacy and heartache accompanied by such vulnerability that the audience was left bewitched. For the ones in the crowd that were familiar with the song’s backstory, this was no ordinary performance—Zardoya was sharing a piece of herself with us, opening up and letting us see her not just as a performer, but as a woman with her own dreams and heartbreaks.

Leaving the concert, I felt as though I’d fallen in love. The air of the train home was thick with romance, unspoken words and the lingering urge to reach out to people from past lives. I suppose that’s what love does to you—it stirs forgotten feelings and leaves you wanting more. Upon exiting the venue, struck by the reality of the outside world, the magic of the concert shall stay with me for a while as a refreshing reminder of how raw and enchanting this live performance was. It was a lingering experience, the echoes of the night still quietly humming in the back of my mind.

Words by Aria Aristotelous

Talk Of The Town: Silverfish

Joseph Macaulay on 8 December 2024

In the midst of a ‘mini-tour’ and university deadlines, Silverfish sat down with Joseph Macaulay to discuss the Leeds music scene, their identity as a band, and world-wide domination.

At the end of last month, I had the opportunity to see Silverfish in a sweaty and intimate affair at Leeds’s Oporto. For a band with only a handful of released tracks, I was struck immediately by how fully formed they sounded. Through their half hour long set, they showcased a diverse cast of songs that sold me on their sound. I met up with them to find out more.

Comprised of Tom Gannon (vocals), George Bolger (drums), Oliver Mullan (Lead Guitar) and Ben Norton (Bass, Synth), the four-piece formed at The University of Leeds in 2021. Following a gig at the University Union, the band found their feet playing in Leeds, as well as nights in London, Manchester and Liverpool, and an appearance at Y Not Festival. In October, they released their third single ‘Serpentine’.

We talked first about them starting out at the university. ‘BandSoc definitely helped in the initial stages’, says Bolger, but following their first appearances, they’ve had to make their own luck. They tell me of the surprise they have encountered in telling people they are a Uni of Leeds band; typically, the University’s more academic focus means that the majority of bands come from Leeds Beckett or the Leeds Conservatoire. ‘They have huge gigs at the union, but there’s not a scheme with the University to get university bands supporting’, points out Gannon. Such a relationship would seem prudent in developing a band who are undoubtedly a product of Leeds University.

As their name evokes images of the Leeds student living that brought them together, so too does their sound reflect the city. The multifaceted music scene of Leeds has proven to be the ideal environment for nurturing them. As Mullan describes it: ‘There’s so much good stuff from the conservatoire, so many good jazz musicians, it’s not just one genre. Hopefully, there never is a Leeds sound because then people would feel constricted to that’.

It’s clear that the band themselves do not feel constricted to any rigid sound. At the gig, each song was distinct, leaving attempts to liken them to anyone else an exercise in futility. Yet in these twists and turns, there remained a cohesive signature: the Silverfish sound is definitely alive!

‘There’s not a set mould for Leeds’, says Bolger, and conversation turns to the role of Leeds as a music hub. ‘It’s an underdog scene… it gets very overlooked because there’s cities like London or Manchester where it seems there’s more going on’, adds Mullan. English Teacher are inevitably mentioned as flag-bearers, but it’s bands like Silverfish that really help carve out a deeper established scene. It’s their live performances that they enjoy most, they say, and where they can begin to make a name for themselves as a band.

Referencing Charlie XCX (very media savvy lads), Norton mentions how the pop icon believes that ‘one song can have so many iterations’ and that playing live gives them the opportunity to experiment with their songs. This was evident at the gig, where they produced extended breakdowns and live embellishments worthy of a much more mature outfit. He describes how the band try to ‘hit a spot where [their music] is accessible to a wide audience, we’re not playing jazz, not yet… We’re slowly adding elements that make it sound a little bit more interesting.’ An intermittent use of synth – played by Norton simultaneously with his bass – added this complexity and gave depth to their performance. ‘The textures [of the synth] … stimulate more interesting songwriting’, he says. Indeed, every song has something interesting from the drums to the guitar hooks and vocals. They won’t settle for average.

Looking to the future, the lads want to keep gigging. Off the back of a year-long hiatus, they’ve hit the ground running with a string of dates forming a ‘mini-tour’. Next year, they intend on putting out their first EP, and from the songs they have played to the public it’s clear they have the momentum and songwriting ability to do so. After finishing uni, the question that all young bands face must be answered: ‘are we moving to London?’ Time will tell, but for now they are enjoying playing and writing. As Gannon jokes about ‘world-wide domination’, I can’t help but feel that in Leeds at the very least they will leave their mark. One thing’s for certain – Silverfish have come crawling emphatically out of the woodwork.

Words by Joseph Macaulay

Michael Kiwanuka at Brudenell: Small Changes Brings Soul To The Social Club

Francesca Lynes on 8 December 2024

To experience live the heavenly sounds of Michael Kiwanuka in the intimate gig space at the Brudenell Social Club was nothing short of a privilege. As we awaited for Kiwanuka to step onto the stage, the anticipatory chatter around me grew. But there was a shift in atmosphere once the set began; the hushed, focussed faces in the crowd around me confirming that I was not alone in understanding just how joyously momentous the evening was.

As I arrived at what Kiwanuka would later call this ‘legendary venue’, I could see the queue snaking from the door almost to the security gate. In the November cold, I pulled my jacket tighter and my hat lower – unaware of the rich warmth of the gig that would follow the chilly wait.

Inside, mid-century table lamps, an old television, and a homely worn rug, all bathed in the blue stagelights contributed to the intimate, almost cosy atmosphere and added to the crowd’s building anticipation. For the first of the two sold-out shows of the evening, the crowd huddled in as first the band, then Michael Kiwanuka, walked onto the stage. Smiling throughout, Kiwanuka glanced to his band for reassurance before uniting them in the start of ‘Lowdown (part i)’, my personal favourite from the new album, Small Changes (2024).

Kiwanuka’s unique voice matched and occasionally exceeded his recorded versions, as the best live music can, but the standout figures from the set were the two female backing vocalists, Emily Holligan and Simone Daley-Richards. Filling the space with harmonies that voluminise an impressive discography, the three voices layered together culminated in an altogether spiritual musical experience. At one point, I closed my eyes to hear the richness of soul and sound in the finger-plucking intro to ‘Light’ (from 2019’s Mercury Prize winning album Kiwanuka) and allowed myself to be surrounded by the glorious gospel-esque harmonies. The magnitude of the sound produced was underplayed by the down-to-earth stage setting, the low-key on-stage communication and the familiar atmosphere built by Kiwanuka. The crowd are equally enamoured, phones only taken out of pockets by a small few who wished to save just a few moments of the performance on video.

Kiwanuka is singular: his traditional style timelessly melds into carefully thought-through experimentalism. Despite this excellence, a sense of familiar warmth remains integral to the set: the backing singers gently tapping tambourines, Kiwanuka’s voice layered over perfectly. Many artists choose not to speak in between songs which can be effective but Kiwanuka spoke with the crowd briefly but genuinely. When Kiwanuka compliments his time visiting Leeds, a man in the crowd playfully shouts ‘Where’ve you been?’ to which Kiwanuka laughs and the audience laughs along, entirely settled into the comfort of the evening. In the times where it is just Kiwanuka’s voice carrying us through the melody, I occasionally noticed the band members watching him with a look of admiration that mirrored the faces in the crowd.

Amid the noise of post-punk and Brat-pop dominating current music trends (I still have space for these both!), Kiwanuka’s exploration of music is in some way as warm and comforting as his homely set, but with a truly transcendentally uplifting sonic atmosphere that is a genuine treat. Listening back to Michael Kiwanuka’s discography after the concert I am reminded of the exceptional qualities in his music, yet I find myself yearning for the all-consuming ambience of the live experience. There really is nothing like it.

Words by Francesca Lynes.

Deftones: Down With The Kids

Thomas Taylor Shenton on 8 December 2024

Thomas Taylor-Shenton explores Deftones’ legacy ahead of their huge Crystal Palace show next summer.

Earlier this month, alternative metal mainstays Deftones announced a their one-off headline show at Crystal Palace, London in June 2025. This announcement had the band’s British fans equally as confused and as excited, as, despite hints at a new album, it’s been four years since the release of their last album, Ohms(2020), and there have been no rumours of a UK tour. Not only that, LA pop-rockers Weezer are supporting, along with the London hardcore group, High Vis.

I know for certain this shock announcement had my die-hard Dad bouncing off the walls with elation (probably putting his knee out in the process), but it also had me pondering over what the band’s actual demographic is these days. There’s no denying that TikTok has been a big influence in the relatively recent Deftones resurgence, with teens lip syncing to tunes like My Own Summer and Cherry Waves or posting thirst traps of Chino Moreno. To someone unfamiliar with Deftones, it could be assumed that they are a relatively young band, due to the combination of timeless music, and sheer amount of new, younger generation fans. How wrong they’d be.

Deftones released their first album, Adrenaline in 1995, and have since put out 8 more studio albums, including Around the Fur and White Pony. I reckon if you spend no more than five minutes on campus you’d spot at least one Around the Fur tee. I was recently discussing the band’s rising popularity within my generation with my Dad (who I think is desperately trying to gate keep them, although he won’t admit it), and at first it came as a surprise to him how loved they are by people my age. They never really broke the mainstream in terms of album charts, until their third album White Pony hit number 3 in the states in 2000, and have been releasing music for nearly thirty years, but the truth is they are more popular than ever before. I genuinely think Deftones are one of those bands that are just cool, and wearing their merch would appear to just make you cool, not all dissimilar to wearing those Nirvana smiley face tees that provoke accustory “name three songs” conversations.

On a personal level, I’ve always felt a connection to Deftones. I first heard Koi No Yokan when I was 7 years old and fell in love instantly, always asking for it to be played in my Dad’s car. The album really is music fit perfectly for a 7 year old, none of that kids bop nonsense. Because of this, it makes myself, even me, at 19 year old, feel strange about their rise imbued to TikTok fame, so one can only imagine how confused a fan from a similar generation to my Dad, who have been following the band since their formation, would be.

However, as disingenuous the influence of social media on a band’s popularity can sometimes seem, I believe the role it has played on the resurgence of Deftones is a blessing in disguise and loyal fans can only be excited about their favourite band gaining somewhat of a spotlight in the world of modern music, and can only be optimistic about what the band are yet to produce in the future.

Come the 29th June, it will be very interesting to see the mixture of generations that making up the crowd in London, but the volume of younger people is certain to be refreshing to those older generation fans in attendance, and there’s no doubt that everyone lucky enough to experience the show, whether they’ve been a fan for life or area TikTok newbie, will be full of Adrenaline.

Words by Thomas Taylor-Shenton.

How Kasabian Captured Co-Op Arena: Live Review

Thomas Taylor Shenton on 8 December 2024

SERGIO, SERGIO. Those who doubt Pizzorno’s ability as a frontman are either blinded by nostalgia or simply haven’t seen him perform live. Thankfully, I was lucky enough to catch Kasabian at the Co-op Live Arena in Manchester on November 16th, the final night of their 2024 Happenings tour, supported by The Streets.

Upon arrival, scenes were reminiscent of an 80s football match, with casuals’ treads and threads as far as the eye could see-, I’m talking Stoney, Burberry, the lot. Chants of the frontman’s name rang around the concourse as excitement built up, until Serge entered the stage alone, to a wave of worshipping arms, like the Leicestershire Jesus.

The band opened with Call, the second single from their 2024 record Happenings, and the night was underway. Serge and co instantly had the entire floor moving with the alternative dance tune, followed by indie icon Club Foot, which had my FIFA nerd brain feeling very happy. The energy of the room was absolutely beaming as they continued to play banger after banger., Wwhether it was in an the form of wholesomeness as people rose onto their mates shoulders for You’re In Love With A Psycho, or simply pure elation in mosh pit after mosh pit.

Having such a large catalogue of hits, including tunes like L.S.F, Stevie and Bless This Acid House, spirits were sky high throughout the whole night. Every hit song by Kasabian seems perfectly written for live performance, and that was proven by the crowd’s reception to each one.

The band honestly did a fantastic job at mastering the setlist, as tunes seemed to flow into each other seamlessly, with intros, outros and interludes seeming effortless. At one point, Serge even had time to sneakily make his way over to a platform in the middle of the crowd, rising up above everyone with torches in hand, dancing like your Dad at the end of a disco. I can confidently say I have never seen a frontman have such a personal connection with a crowd before, which allowed him to have complete control over them, whether he’d ask them to get low, or go mental.

There was a genuine heartfelt connection between the band and the crowd, unlike any I’ve seen before, as Kasabian have some of the most passionate fans in the world, who showed their love and appreciation a hundred fold. The band’s diversity and adaptability when it comes to genre – ranging from heavy guitar solos to techno beats – allowed for a real party atmosphere and original feel, as the crowd were given breaks from moshing to tunes like Underdog, and could get groovy to the bands dance tunes.

As the night was approaching its end, and the band re-entered for their encore, Serge thanked everyone in attendance, for it was their final show of the tour. Closing with Fire, which was received by the best live crowd I have ever seen for any live performance of a song. The entirety of the arena, whether on the floor or in the seats, was absolutely bouncing as each chorus hit. The crowds’ voices were still ringing in my ears even as I got home.

Kasabian could not have capped off their Happenings tour in a better way, and really proved to everyone why they are widely regarded as one of the best live bands in the world.

Words by Thomas Taylor Shenton.

Been Stellar: Scream from Brudenell, LDS

Daniel Brown on 8 December 2024

Late as per. I march furiously down Hyde Park Road on my path to Brudenell Social Club, my footsteps mimicking the beat of the pulsating rainfall. Cars stream by, spewing water back at me
in protest of my appropriation of their drive. There’s something artistic about the damp
November night. Not artistic like the techno-jazz fusion project some guy at a pretentious
cocktail bar told you he’s conducting out of his student home basement, artistic like the
contemporary cacophony of a bustling New York City street. Like the New York City streets that
have inspired the alt-rock troupe Been Stellar. Convoluted analogies aside, there’s a beauty to be
seen in trudging through the maze that is Hyde Park, undeterred by rainfall, motivated by a
craving for live music. A craving for music that has been ever-growing since my recent
overindulgence at Live at Leeds in the City, a craving that had left my heart empty and my ears
bereft, a craving that Been Stellar were ready to satisfy.

That was the night’s objective, New York’s latest passion project Been Stellar. No- not the bloke
from Zoolander, although likeness to the name has been recognized by the band themselves,
Been Stellar are an alt-rock/indie/dream-pop/shoegazey/god why are there so many damn
genres??? five-piece band fighting out of New York City. Touring their debut album Scream
from New York, NY released this June, the five-piece have touched ground in the UK and after
being given the chance to see them live I snapped my editor’s hand off. Been Stellar by name
Been Stellar by nature, as my listening experience of them thus far has been well… Stellar, but
could they do it on a cold, rainy night in Leeds?

Trading New York for Yorkshire, the Manhattan musicians stood tall on the hallowed Brudenell
community room stage, the famed golden ribbons as their backdrop. The crowd filled the room,
initially far from rowdy, standing stagnant and proud with their pints of iridescent fluid. Their
stale demeanour would eventually fall, but Stellar had their work cut out for them. The band’s
entrance was subdued, reserved, quietly confident. They needed no party tricks nor guises to
make their point. They simply launched into their tightly crafted set, knowing they had
something special.

This tightness gave a crisp live edge to their brilliant music, accentuating the terrific roughness
of their sound, dragging in the static crowd for early songs ‘Passing judgement’ and the title
track of their debut Scream from New York, NY. There is a wonderful dread Been Stellar’s
music creates. There’s this giddy anxiety that arises in the pit of your stomach from Slocum’s
harsh lead vocals crashing against the gritty racket the entire band creates. You hang on to every
word, every note, every growl down the microphone. The raw and rowdy melodies build and
build, trepidatious yet intoxicating, and then; nil. The respite brings clarity and the grip is
relinquished, leaving you grief-stricken over the tunes that once were, mimicking the snarky
past-tense nature of the band’s name all too well.

‘Manhattan Youth’ provided a lovely levity, a welcome exception to this rule. After the barrage of
the opening songs, the bouncier and more vibrant track was the final nail in shattering the
audience’s stoic facade, freeing them to bask in the sound. Guards were lowered and Been
Stellar had the crowd in the palm of their hand, without the need to muddy the set with
speeches between songs as so many bands do. Whilst I do typically enjoy the musical fourth wall break that is artists waffling to the crowd, I didn’t miss it with Been Stellar, leaving their
presence shrouded in their music only added to their tight, precise and premium sounding set.

In the metaphorical toolbox of artists, there is arguably no handier tool than understanding how
to craft a set list and knowing the lull would arrive not long after the halfway point, the
American quintet course corrected and pulled out a stretch of more dream-pop infused
numbers. Personal favourites of mine ‘Pumpkin’ and ‘Takedown’ were standouts, receiving a
very Northern, “they really are cracking these mon” from my journalistic partner in crime (my
sister who fancied a cheeky Monday night Brude trip). Welcome to England my friends.

Having caged the beast long enough, the five-piece unleashed their heavier sound to ring around
the rafters as they closed their show. ‘I Have the Answer’ drew what was a definitively Stellar live
performance to a close (semantic satiation has fully gotten a hold of stellar now my apologies). I
re-emerged onto the dreary Hyde Park streets, heart filled, ears ringing and musical cravings
perfectly satisfied. Been Stellar, you are thanked for your service! And reader, you are
encouraged to listen to the New York phenoms as soon as bloody possible.

Words by Dan Brown.

Best Friends & Big Hopes: Beabadoobee Live In Leeds

Millie Cain on 8 December 2024

Blank white tapestry sheets hang loosely, fluttering in the wake of a packed 02 academy. Beabadoobee needs no sign, no moniker to represent herself, hundreds have been queuing all day in the grey drizzle for just a glimpse of her. For when Beabadoobee graced the stage, the hush of respect that befell the whole room was unlike anything I’d experienced in quite some time.

She loves you. You can feel it even as she gazes across a crowd of thousands. Or you think so anyway. Since you’d definitely be best friends of course! You have so much in common after all, don’t you? And she’s funny, and sweet, just like you, my slightly unstable reader. Beabadoobee’s crowd of best friends revered her, that’s undoubtable, but perhaps we can open up a parasocial relationship conversation off the back of this.

After some poetically written lonely years of touring for Beatrice Laus, it appears she’s found a love for live performance & is lighting up venues up and down the UK. Beabadoobee is the grassroots acoustic sweetheart, in only a couple of years playing Key Club to now packing out 02 Academy. As much as I’d like to say she’s outgrowing these venues, after all, she’s now got over 20M monthly Spotify listeners and the queue for the show was building all day long, I’m glad Bea hasn’t yet hit the arenas. She’s certainly got the sound and fanbase to do so. But, her breathy vocals and slight, lilting tone is one that feels like it could blow away with the gentlest hush, and one that is so well suited to an intimate venue. As an audience we gazed, captivated, on her slower tracks ‘Ever Seen’ and ‘Post’ I could feel myself grounded to stillness, under the guise of an irrational fear that we may scare her off. Like a mirage or a doe in the woods, Beabadoobee has a presence that can only be described as ethereal or fae-like. Despite her slightly shy nature on stage, she commands the gravitas and control of space with ease that every screaming frontman literally begs for.

For this tour and despite her tranquility, Beabadoobee has captured a cool poise. She’s shaken her nerves, obviously reflective of This Is How Tomorrow Moves, her new album released this year, and she is taking strides in both herself and her career. Tangling her sound further into an eclectic mix of bossa nova, shoe gaze, and now fuzzy rock, Bea is feeding into more genres than I can hope to define. Standout track from this 3rd album ‘Real Man’ is a true marvel live. This is my formal apology to my housemates, boyfriend & workmates who have had to listen to me humming the pre-chorus endlessly on a loop for days on end. It seems it hasn’t wormed its way into just my head, as the crowd bobbed along & nearly drowned out the band for a mid-set dancealong.

Beabadoobee has created a whole entire new niche of irresistible indie-pop. I hate to justify him ever, but Matty Healy’s best musical decision lies in signing Beatrice * surname to Dirty Hit at just 17. Now 24, Beabadoobee is facing the loneliness that comes with fame, and everyone who owns an acoustic guitar thinks that they know her in a completely unique way than anyone else who has ever listened to her ever. Happy to report, however, that Bea’s exploration into her own agency has resulted in a truly beautiful 3rd album. Dare I say her best work to date? Actually, yes I happily do. It’s fun, it’s light and genuinely refreshing to hear & she performed it with so much soul and happiness she quite literally glowed.

As the white sheet finally fell during lead single ‘Beaches’ minds were lost, consciousness altered & maybe I’m a tad dramatic but in my defence, it was really cool. Revealing a wall of lingering plants, tangled and breathing along to the music, Beabadoobee had the stage, and us all in the palm of her hand. Unsurprised & welcomed. She was giddy with excitement, gushing about her tour & her relief to return home the next day. A sight to behold, and once she floated off stage for the encore, her fans knit themselves together, tightly and happily sighing as she returned back to the stage for ‘Coming Home’. Aptly finishing on ‘See You Soon’, its clear that Beabadoobee will absolutely be back, and accelerating at her rate alongside her truly unique talent, stardom awaits for her.

Words by Millie Cain.