How are local groups preparing to help people this winter?

Archie Sykes on 29 October 2024

The famous line from Game of Thrones ‘Winter is Coming’ is more and more becoming an appropriate description of how the United Kingdom must prepare every year. Within my lifetime it has become commonplace for every winter to see the headline ‘NHS in Crisis’ and read that the pressures of winter diseases and colder weather will push the service over the brink.

Meanwhile, across the country, people are struggling to cope not just on a seasonal basis, but on a weekly basis. Inflation, affecting both food and energy, is creating new and bigger challenges for everyone. Food prices are now 20% higher than they were in May 2021 meaning people are paying more for the same, whilst wages, and importantly benefits for those struggling the most, have lagged behind these rapid increases in prices.

Recent inflation trends have gone hand in hand with longer trends that have seen growing levels of poverty and even reports by the Resolution Foundation of destitution across the country. This poverty problem has been demonstrated in the rise in parents (now ¼) struggling to put food on the table and an estimated 3 million children struggling to get sufficient food.

Longer-term trends in the levels of poverty mean that despite inflation being brought down and being ‘back to normal’ (as Rishi Sunak claimed during the election) planned rises in the energy price cap are going to be the third nail in the economic coffin that drives more people into crisis.

The multi-faceted nature of the economic pressures on people means that people from all across society are having to seek help from the community. Warm Spaces (and their accompanying Community Shop) run by Hyde Park Methodist Church in Leeds, has people from babies (and their parents) coming, to homeschooling families, and people in their 80s.

With this economic situation developing and no major government intervention being planned (or implemented in previous years), many communities have sought their own solutions to these growing problems and to mitigate the impact of winter. These have manifested themselves in the development of food banks and, in more recent times, warm banks.

Food banks have become an icon of the community filling in where the state has failed. Although for people of my generation, it may seem hard to believe, food banks are a relatively new concept being largely unheard of before 2010. However, since 2010, the food bank has slowly developed into an almost integral part of the British social security system. This growth has not slowed and in the last 5 years, the Trussell Trust (the biggest foodbank provider in the UK) has reported a 94% increase in the number of emergency food parcels they had to deliver. Here in Yorkshire, the increase has been even more rapid with there being an increase of 157% meaning the area has the second fastest-growing food bank sector in the country behind London.

Meanwhile, in more recent years the UK has moved on from just needing food banks and has begun to move into the warm bank sector as well. These new institutions have developed as a community solution to deal with rising energy prices and therefore the increasing problems in keeping homes warm. With the supply of a warm room and often warm drinks and food, these sites have become important for people struggling particularly in winter. Today there are over 3,000 warm banks across the UK according to the World Economic Forum with them being run by councils and community groups alike.

However, warm banks are evolving to do more than simply meet the needs of those who can’t afford to heat their own homes all day. A growing crisis across the UK has been the rise in loneliness particularly among elderly people, but among all generations as well. According to one of the leading charities providing warm banks 7% of the population suffer from chronic loneliness and this has been replicated in the reason for people coming. Warm Welcome have reported that the main reason for people coming to warm banks is because of loneliness.

This is something that the Warm Space has also noticed, Sharon (one of the people helping run the service) described how “As months have gone people have started sitting together” showing how the service is helping people make friends and find a new community. This impact has been so great that the church has rebranded the site a Welcome Space recognising it’s “not just a space for people to be warm, but also for social interaction”.

Warm banks are fast evolving in the new social environment to meet changes in demand. No longer are they hubs just to help keep people warm, these community spaces are now helping tackle other problems in the loneliness epidemic.

Across the UK major economic and now social issues are beginning to be countered by community groups. In areas where state support has failed to keep people properly afloat, it is the charitable work of people within our community which is helping to tackle hunger, cold and loneliness across our communities. And with budgets in government departments being squeezed and large increases in benefits a long way off, it may be fair to say that the UK is now a society dependent on the community.

Words by Archie Sykes

Hedi Slimane’s Departure from Celine: a Musical Chairs of Creative Directors

Rose Ssemakula on 29 October 2024

On October 2nd, it was announced that the French photographer-turned-designer Hedi Slimane would leave Celine after almost seven years as Creative Director. This came as no surprise to those in the industry—there had been speculation for months prior to Slimane’s departure.

A Creative Director stepping down is neither new nor unusual, but in recent years, the switch-around has become a game of musical chairs. All within the last year: Sean McGuire took over from Sarah Burton at McQueen, Adrian Appiolaza moved to Moschino, Virginie Viard stepped down from Chanel, Kim Jones left Fendi, Alessandro Michele, from Gucci, is now at Valentino, and now, of course, Hedi Slimane has left Celine. There is a concern that the rate of departures is linkedto the ever-quickening pace of the trend cycle. After all, the purpose of a new Creative Director is to breathe new life and creativity into a brand—crucial for survival and beneficial for marketing. Fashion houses now face greater pressure to entice buyers. They are more than overlords of what is trending, they also operate as a trickle-down economy, as famously explained by Miranda Priestly in The Devil Wears Prada. They report to shareholders and fight against increasing costs, competition, and media coverage—there is no room for mistakes.

As a Creative Director, the job is not only designing seasonal collections but also spearheading the brand’s entire creative vision. It is a role that requires garment-making abilities, a great imagination, and business knowledge. A Creative Director can influence everything from the design of the clothes down to the runway. For instance, Matthieu Blazy of Bottega Veneta recently assigned animal-shaped beanbags to guests at Veneta’s Spring/Summer 2025 show, continuinghis playful vision through the collection, each animal supposedly matching each guest’s “vibe”. Alongside this, a Creative Director must also consider a fashion house’s values and heritage, which sometimes conflicts with their ideas for the brand.

Slimane has a history of making fashion houses his own. While Creative Director of YSL in 2012, he removed the ‘Yves’ from the brand name. Even at Celine, originally styled as Céline, Slimane dropped the accent over the ‘E’ before of his first show. This caused an uproar, with Slimane accused of erasing the brand’s French heritage. Though it may seem fickle, in fashion, the devil is in the details. To understand its significance, imagine someone removing a letter from your name or changing the pronunciation—suddenly, you feel like a new person with a new identity.

Heidi Slimane leaves Celine after seven years as Creative Director/Photo Credits: Dominique Charriau via Gettyimages.com

Creating his own distinct Celine is quite an accomplishment, especially since his predecessor was the industry favorite, Pheobe Philo. Philo was renowned for empowering women in a way that freed them from sexualization. Celine has always catered to women, initially dedicated to luxe sportswear, but Philo modernized the brand with unmatched elegance, pioneering ‘quiet luxury’. Today, brands like The Row, owned by the Olsen twins, emulate this style, while lesser brands like Molly Mae’s Maebe, attempt to replicate it. Philo has always been and continues to be, about timelessness and practicality, designing for women in a way that reflects her values as both a business owner and mother.

Slimane presented a contrast to Philo’s aesthetic at Celine. His designs took a cheekier approach. His ‘working women’ were still professional but younger and more tech-savvy. Slimane showed more feathers and sparkles—less work, more play. Like Philo, Slimane also achieved commercial success; LVMH, Celine’s parent company, reported a record year in sales under Slimane, making clear his departure wasn’t due to a lack of success. Business of Fashion reported that it was ultimately boardroom disagreement that led to his exit, with Slimane demanding “A historically high salary” and “Royalties on all manner of creative outputs”.

Given his vision and needs, it may be time for the French designer to start his brand, following in the footsteps of Phoebe Philo, who has launched her label since Celine. Slimane is not short of talent and is skilled at styling, design, and photography. He also has experience at various fashion houses. But there are suggestions he might move to another French legacy brand, possibly Chanel, which has yet to announce Virginie Viard’s replacement. Karl Lagerfeld, Chanel’s previous Creative Director, is said to have admired Slimane.

As for the future of Celine, Michael Rider, previously Creative Director at Polo Ralph Lauren, has been chosen to replace Slimane. It will be interesting where Rider takes Celine’s working women next. For those who dismiss or don’t understand the constant switching of Creative Directors, it is comparable to the movement of football players, or betteryet, managers. Just like fans might wonder if Thomas Tuchel, the new manager after Gareth Southgate’s resignation, can “finally bring it home”, those in fashion watch to see if a Creative Director will excel in a new fashion house. One wonders if it will respect a brand’s heritage while taking it to new heights. Will Rider succeed in following the legacies of Philo and Slimane at Celine? And where will Heidi Slimane go next? 

Halloween in Leeds: Nostalgia Meets Street Style

Christelle Al Abbasi on 28 October 2024

As temperatures drop and October settles in, the anticipation begins—Halloween is just around the corner, offering the perfect opportunity to embrace creative costumes alongside the best of Leeds’ autumnal fashion.

Leeds, renowned for its distinctive street style, finds itself once again at the centre of something much bigger—where fashion converges with cultural nostalgia and personal expression. This Halloween is shaping up to be a moment where the city’s flair for creativity and individuality shines, blending old school classics with fresh, modern twists. From the resurgence of animal prints to the revival of classic film costumes, here’s what’s shaping Leeds’ Halloween style this year—and how to make the most of it.

The Return of Animal Prints

Animal prints are making a bold comeback, a stylish nod to the Y2K era that’s back in full swing. Leopard, zebra, and snake patterns, once the hallmarks of early 2000s fashion, are effortlessly weaving their way into this year’s costumes. But what’s driving this revival? It’s the perfect blend of nostalgia and accessibility—these prints not only channel fashion history but are also incredibly easy and budget-friendly to thrift or shop for.

Across campus, Hyde Park, and Headingly, animal prints are everywhere—from leopard-print Sambas to thrifted tube tops and Free People cardigans. Expect to see leopards, deer, and other animal-inspired costumes, with makeup taking these looks to the next level. A sleek cat-eye, headbands, or subtle animal face paint can refine and elevate the look. The beauty of animal prints is in their versatility; they’re just as relevant for a night out as they are for Halloween, fitting perfectly into a student’s wardrobe year-round.

Animal print make-up and costume ideas/Photos from Pinterest.com

The Return of the Fur

Over the past two years, fur jackets—both real and faux—have reclaimed their place as an autumn wardrobe essential. Whether it’s a nod to the glamor of the 70s or a revival of Y2K fashion, fur has become the ultimate layering piece, offering both warmth and sophistication as the weather cools. When it comes to Halloween, fur jackets add a sense of drama to any costume, transforming a simple outfit into a striking ensemble.

Take Cruella de Vil, for example—a fur jacket is the cornerstone of this iconic look, instantly evoking her unapologetic flair. But Cruella isn’t the only character or era you can channel with fur. Think of the classic Hollywood allure of Marilyn Monroe, draped in fur for a glamorous, old-school starlet vibe. Whether you’re embracing a villain or a screen icon, fur jackets elevate Halloween costumes, adding texture and visual interest to your look.

BDG Maxi Faux Fur Coat from Urban Outfitters/Photo from Urbanoutfitters.com

Cinematic Influence

Cinema has always been a driving force behind Halloween costumes, and last year’s wave of Barbie, Pearl, and Oppenheimer looks proved just how much influence the big screen holds. This year is no different, with films that once again set the tone for autumn style. From cult classics like Beetlejuice and Wicked to darker, moodier releases such as Saltburn, Smile, and The Substance, this season’s movies offer endless inspiration for Halloween costumes that blend film influence with individual style.

Classic film characters like The Bride from Kill Bill, Patrick Bateman, and the Joker remain Halloween favourites year after year. What keeps them fresh is their adaptability through street style. Rather than full replicas, it’s about reimagining them with statement pieces. For Beetlejuice, all you need is a black and-white striped top paired with modern tailoring. For the Joker, it’s bold makeup and green hair, paired with a statement jacket or thrifted suit. High boots or cowboy boots could even be made into the look of an Indiana Jones moment—these iconic looks are easily recognised but can be subtly elevated through everyday fashion.

Couples and Group Costumes

No Halloween is complete without the tradition of couples and group costumes, and this year is no exception. These looks are a staple of university life, offering a fun, cohesive way to celebrate as a flat or group of friends. From playful ideas like Dirty Martini and Espresso Martini to pop culture nods like Barbie and Ken, there’s plenty of room for creativity.

Expect to see groups dressing up as characters from iconic films and TV shows. Imagine Ratatouille for food lovers or Wanda and Cosmo for something light-hearted. Other popular ideas include Little Red Riding Hood and the Big Bad Wolf, Queen of Hearts and the White Rabbit, and even timeless pairs like Beauty and the Beast. For those who love a laugh, costumes like Kiss, Marry, Kill or Magic Mike can bring out the humour, while group themes like Peaky Blinders, Alvin and the Chipmunks, or Avatar ensure everyone gets in on the fun.

These costumes aren’t just fun; they’re a chance to showcase the creativity and camaraderie that come with uni culture. Whether you’re coordinating as a couple or going all out as a group, these looks ensure that Halloween remains one of the most exciting nights of the year for Leeds students.

Photos from Pinterest.com

Wunderhorse Live In Leeds: Raucous Rain & Sweaty Singalongs

Millie Cain on 28 October 2024

I feel like I’ve been waiting for a band like Wunderhorse for quite some time. That’s not to say we’re short of new, and very talented outfits rising through the ranks of the indie rock genre – in fact the opposite. Among a sea of similarity Jacob Slater reared his head (albeit with 2 fingers down his throat) and has steadily chipped away at the stereotypes easily associated with such bands. 

For, after all, what are Wunderhorse giving us that hasn’t already been done? Indie sleaze is dead and buried, despite how hard some bands may be gagging for its second coming. Post Punk has hit great heights and let’s face it; everyone’s favourite band Fontaines DC are mainstream artists now. Where is the crack to slip through? What fissure can bands root their fingertips into and grasp the light of a new opportunity? Perhaps the Victorian doctors were right and Slater’s restbite taking in the Devon coastal air imbued him with life after his notorious run with Dead Pretties and now Wunderhorse are giving us a live sound that beats out the streaming services by a country mile. 

Leeds was the first city to sell out this tour – even surpassing the band’s London home show. Not surprising, the Leeds music scene is a relentless one and its fans are never ones to let a good gig slide by. Just before the support walked out, the queue was rammed down the side of Leeds Beckett Union – and a game of ‘spot the mullet’ kept us entertained (imagine an opposite Where’s Wally? situation). Fans all down the line bonded over a shared issue – forgotten physical tickets. A once unimaginable situation and a nightmarish one at that. Thankfully, the Beckett box office were working overtime and got everyone packed in drinking very flat, overpriced Amstel and buying up the particularly nice merch that isnt dissimilar to the legions of quality band tees I’ve taxed from my dad’s wardrobe. 

Chatter filled the audience awaiting Wunderhorse’s arrival onto stage, it felt like a gig of a decade ago, notably one without blue screen light illuminating faces during conversations. The hum in the air was slowly building as an eccentric playlist prolonged the wait, until the white sheet fell, Wunderhorse’s moniker rose and I couldn’t hear myself think over the roar of the crowd as Staples, Woodin, Fowler and Slater stomped onto stage and straight into titular album track ‘Midas’. 

As much as I adore my Marshalls, and am so rarely seen without them, I would’ve cast them aside in an instant to capture the quality and tight sound of the band live. What Spotify could never grant me is the crackling in the air from the riffs and the hoarse intimacy of Slater’s voice cutting through the crowd. I had the luck to chat to drummer Staples this summer, and after learning that his favourite way to play was a. barefoot and b. noisy as all hell, he certainly delivered. There were moments we were stilled to silence, a crowd of gazing eyes and grinning smiles – we were enchanted by ‘Butterflies’ and nodding in unison to ‘Emily’. Stark to me was the word-perfect singalongs, perhaps they had a secret karaoke machine onstage I was not privy to, or perhaps we’d all just really rinsed the album on repeat but the crowd was the 5th member of Wunderhorse this evening. From reminiscing on long lost loves to the time wasted chasing them, ‘Cathedrals’ was a standout and a very exciting moment to hear live. With ‘Rain’ serving as a reminder of their capabilities as a rock outfit, however the air quite literally being thick with the moisture of sweat. With a set punctuated by Slater’s chatting about the songs, and with a bit of back and forth with the crowd, almost climbing into it himself during fan favourite ‘Purple’. There’s a reason he’s so successful no matter where he goes, he’s a captivating front man, always busy and engaging and had all eyes trained on him at once. But under this pressure and the blinding lights he does not buckle. With a band at his back that match his talent and return it twicefold he has no reason to fear his potential but only to push forth. 

‘Superman’ had the whole room holding its breath at once. A longer number that felt like it lasted an age and demonstrated the different levels that Wunderhorse can reach. They hold a sincerity that is rarely found within bands of this genre and it only works in their favour to be more vulnerable.  Following an encore, they returned to play ‘Teal’, accompanied by a bizarre slow motion mosh pit that quickly ceased to exist and instead the crowd locked arms to match Slater word for word. Finally closing on ‘July’ it felt like no time had passed at all, and Wunderhorse for me, solidified their importance and their growing cult-following will ensure this will only continue and into bigger spaces. 

Words by Millie Cain.

Why I sacrificed a goat for Charli XCX on Thursday: The BRAT Remix Review

Kyle Galloway on 27 October 2024

Sometimes I’m not sure how much I know about myself. In our age the self is punctured again and again by identity politics, late-stage capitalism, the cradle-to-casket conveyor belt we ride. Some nights I snap out of a haze and find myself staring into the steam-gauzed frame of my bathroom mirror. What am I looking for? I don’t know. Maybe a remix album. Because if there is one thing that is pinballing around in my ears as I’m stood, tears streaming down my face, looking for a reflection in the mist, it is this: I am a slut for a remix.

It’s true. At midnight on Thursday, 10th of October, Charli XCX’s long-considered-mythical, feverishly anticipated Brat and it’s completely different but also still brat dropped on streaming platforms, constituting the latest in a chain of acid green dominoes that have been falling since early June. Boasting an array of left-field features including Ariana Grande, Julian Casablancas, and Bladee, the 9 long months between the original BRAT drop and the remix album seem to have settled a receptive sweet spot online, with equal parts cynicism and diva worship infecting everything from Headrow House to presidential campaigns. 

Power lies in a remix. And let me clarify, by remix I do not mean Cardi B’s verse on Despechá (foul) nor Ice Spice’s… noises …on Karma (wheelie bin on fire). Power lies in the risk of an artist taking their own record, shattering it on the ground and reassembling it with chewing gum and reverbed air horns. If I’m listening to a remix album, I’m expecting more than a rap verse. I want record-scratching, screaming, disharmony, jangliness, broken glass, animal noises, clashing melodies, hype tracks refigured as piano ballads and piano ballads as nu jungle. In all honesty, part of me gave into fear, holed up in my house for days with my door barricaded and my windows boarded up to avoid the leaks that any outdoor time might risk me hearing. But how silly I was! Rejoice! Brat and it’s completely different but also still brat is really weird. My heart sings. 

From the first new track, “Club classics” with Spanish enemy of the people Bb trickz, the listener gets a sense of the space Charli is creating with this remix album. The track takes more from “365” than “Club classics”, painstakingly stacking sounds one-by-one until you’re smacked with the crescendo of a speed-increased, echoing verse which functions more as an accessory to the pace and rhythm than a Madonna-style “look! I am global!” token Spanish-language feature. But this is an album of dichotomies: in violent contract, “I might say something stupid featuring the 1975 and jon hopkins” takes shape as a subtle piano ballad that builds into a glitching, atmospheric thumper, an ode to loneliness that evolves the original record’s diary-style lyricism into layered, vulnerable curation. Matty Healy’s ‘I eat alone like a fly’ is pitted against Caroline Polachek’s ‘free bleeding in the autumn rain’ on a newly verdant and spooky “Everything is romantic”, against Casablancas’ ‘one for the abandonment’ on a risky, vocoder-heavy retune of “Mean girls”, and so on. The record unravels before you in a performance so erratically and perfectly brat that it’s difficult not to roll your eyes.

One thing which stands out in the remix record is the uncompromising and sometimes uncomfortable union of offensively experimental production choices and heartbreaking, cutting existentialism. In this sense, as far as I’m concerned, the remix record has only doubled down on the BRAT modus operandi. The self-abasement, the dirtiness, the anxiety, the intertextualism, the facade of languor distorting a sourdough starter of squirrelling creative restlessness, everything is amplified in a way where the testing the boundaries of ‘good taste’ that the original record represented is mutated into line-crossing, spasmodic creative freedom. 

It’s easy not to have faith in this type of music. The BRAT methodology, being the composition of sparse sonic elements strung thinly together like a scavenged tarp over a rainforest shelter, does not inspire a wealth of passion when its recalibration is announced. But listening to BAICDBSB, the sense of satisfaction I felt was sublime; my expectations were met and exceeded. Charli has taken the spaces between those sonic elements, cut, pasted, and dressed them up, and unloaded a record that, true to form, says exactly what it is. Completely different but still brat. The self-awareness is what makes it.

And truthfully, the backlash we immediately saw bubbling up in reception to this record is what defines it, too. BRAT was always about being uncomfortable, uncompromising, artificial. The lyrics face-value and the production scratchy and aching. A Bon Iver remake languishing in the face of time passing against a choral background and a brief, eardrum-raking reincarnation of what was once the album’s cinematic, voyaging closer “365” was the only way Charli could keep her claws in the wriggling, mercurial, sardonic caricature she’s carved for herself in the pop landscape. This remix album was never made for the fans, nor the public – it was made to elicit groans and criticism, to underwhelm, to offend. Charli XCX’s celebrity profile is one that cannot be sustained without the enfant terrible approach that manifests her. A nicotine-fuelled, rag-wearing, ephemeral djinn smirking from your peripheral in the corner of the club as you jerk to the music, to satisfy would be to desecrate what she represents. To dissatisfy, for her, is to please. 

If I could write a letter of thanks to this woman for this record, I would. I would fill an envelope with the blood of a sacrifical goat, and in the blood would be a Club Shy condom, and in the Club Shy condom would be a copy of Sartre’s Nausea I stole from my dead great aunt’s Bolton terrace, and on the contents page of Nausea would be a splodge of McDonald’s sweet chilli dip, and when you wiped away the dip there would be a shooting star and when Charli wished upon the star the entire world would dissolve into spacy metallic clanging and bisected guitar strings and whatever the fuck Henry Adams was writing about in The Dynamo and the Virgin (1900) and we would all learn what it means to love again. 

BAICDBASB is beauty. BAICDBASB is grace. And if one of you bastard trust fund baby DJs in Hyde Park don’t bump this at a house party this winter I will accidentally pour a pint over your Hercules Inpulse 300 and I will drunk shit in your ensuite. Take heed.

Words by Kyle Galloway.

CRASH celebrate 1 Year of The Next Big Thing

Eszter Vida on 27 October 2024

Bored of the monotony of today’s big names in music, leaving you looking for the next big thing? Well, look no further than what’s on your doorstep. The team at Crash Records have been way ahead of you in spotlighting the best emerging talent, every week across their platforms and offering them free/donation based gigs in store. What was once a place of just buying black PVC has now turned into an eventful artistic showcase, squeezing drum kits, congas and tripping over wires in the clutter of musical memorabilia. 

A 1st birthday calls for a party, so how should we celebrate? Evacuate the shop floor and put on a sold-out show. The 1 year anniversary gig at Oporto not only commemorates the running of this honourable title bestowed on almost 100 artists, but has a rich line-up composed from their roster of Next Big Thingers. Names like Coal Mob, Private Reg and Eva Kiss all brought their individuality, with some pounding their tunes into your ears while they selfishly wore massive ear muffs, while others chose to bring more of an unplugged, intimate vibe. Some were swinging off the Oporto’s mirrorball… not quite, but we were almost pouring into the rest of the bar from the quaint gig room. Surely, this is a statement on our close-knit music scene.

Speaking to the creator Matthew himself, he stresses for both local artists and avid music fans to get involved. ‘It’s really important to support local talent. This opportunity brings them into a community of really supportive artists who help each other out. Without community all these people wouldn’t be here’ as he refers to the sell-out gig. Follow Crash and get involved!

Words by Eszter Vida

The Warehouse Project’s Repercussion: A Joie De Vrie of Jungle

Millie Cain on 27 October 2024

You’re spinning. Slowly and sort of to the beat to the vaguely distant pounding that emanates deep within the cavernous walls. Depot Mayfield. Bodies bathed in burnt orange lights press against your hot skin and then push away into the masses. There is not even a blur of faces; as you can only see your own gazing reflection in their shining wraparound sunglasses – similar to the ones your dad wore when he tried out cycling a few years ago. You love them, they love you, hold their hands, hold their hair back. Shine alongside them and swallow all that is around you, before the dark tendrils of The Warehouse Project sink into your soul. 

Not a bad fate actually, if you have an ear for good music at all you won’t be able to deny the insane levels of talent that grace the Depot’s halls. Whilst I am being a tad melodramatic (yes the toilets are shit but they won’t actually eat you), it is, in the best way, absolutely a place you will get lost. No matter if you have a ‘great sense of direction’ or whatever the chronically in the loop crowd always says. You can’t fight it – just enjoy it, drown in the lights and the genuinely friendly, albeit sweaty, crowds and listen. For Repercussion, the night was dominated by Jungle, a giant band amongst dance music tycoons – beautiful in their art form, and unexpectedly even better live than they sound through my crackling Marshalls. Don’t believe me? Tough. You probably won’t if you weren’t there. Which begs the real question – why weren’t you? 

The Warehouse Project seems to exist as a cosmos that is altogether separate from the North’s infamous clubbing nightlife, and its avid music scene. Potentially a purgatory that feels exclusive to reach – with names like Berlioz, Honey Dijon and Bonobo, it seems almost too good to be true. It also exists to give everyone else a sense of FOMO – expertly engineered to agitate your reflex to believe that every TikTok is actually factual – at an age where critical thinking appears to be almost mythical. It’s elusive, yet everywhere. Growing up from catching the last x43 home from Piccadilly Gardens so I could catch just one more song in 42s – two-stepping blindly in a venue I would say rivals London’s revered raves. Who needs to when WHP is gnawing on our doorstep? Romanticise it all you like – at the end of the day it’s class music that you breathlessly try to hold a tune to (and we all know Tom McFarland’s dulcet tones are not ones that can be replicated). 

With a spotlight on excellent female artists, led by Honey Djion and Jayda G –  I was glad Repercussion ran from day into night. To catch Mancunian neo-soul duo Children of Zeus, and Manchester/Berlin-based experimentalists Space Afrika. With 7 stages there was still always something to see, another corridor to get lost into, and another stage to discover yet another ray of talent amongst a sky of such.