Smitten: An Album You’ll Fall Head Over Heels For

Joseph Nozedar on 25 September 2024

Joseph Nozedar reviews the Manchester indie-pop band’s 4th album as Smitten captures the hearts of fans with their nostalgic return to an 80s jangle pop sound.

Smitten (2024) is an ambush to the ears, a genre bouncing haze of nostalgia. The album harks back to past lives and past loves in both lyrical content and artistic pastiche. Somewhat nostalgic, yet refreshingly modern, with a lot of things I love sprinkled into the mix. Initially, I wasn’t sure what to make of it, but on my second listen, the infectious, euphoric energy radiating from the record took hold and a smile crept onto my face that stayed for the entirety of the album.

Written between the US and UK over a two-year period, Smitten finds Pale Waves reflecting upon their Northern roots and adolescent memories. Deviating from the rebellious pop punk sound of the 2022 album Unwanted, this new record is a melting pot of past influences. It draws inspiration from the synths of the ’80s, jangle pop of the ’90s, and the pop-rock scene of the mid-2000s.

The album begins with the explosive and hypnotic single, ‘Glasgow’, a track that singer Heather Baron-Gracie has proclaimed her personal favourite from the album, it offers a glimpse of the nostalgic energy and artistic growth present throughout the album.

But Smitten isn’t purely a walk down memory lane. Modern pop hooks on tracks ‘This Is Not a Love Song’, ‘Gravity’ and ‘Kiss Me Again’ showcase the definite influence of contemporary pop. It manages to marry the catchiness of modern pop with intimate and personal lyrics and instrumentals that speak to you.  Smitten does not dip into modern pop’s soulless sheen; songs like ‘Thinking About You’ offer a warm, authentic humanity that feels ingrained in the album’s DNA. 

Image Credit: Kelsi Luck

This emotional depth is encapsulated by lead single ‘Perfume’.  An excellent choice for the band’s first single and a personal favourite. Lead vocalist Heather sings about being totally enamoured with a person: “My mother says that when I want something I never let go / Call me obsessed but I don’t mind just as long as it’s all mine”.  ‘Perfume’ is an infectious 1980/90s-leaning anthem reminiscent of bands like The Cure and The Cranberries. 80’s synths and 90’s jingle jangle guitars pull at the indie heart strings to create a joyous sound bath for the listener.  

Encapsulating a beautiful, fleeting, youthful summer in under four minutes, ‘Last Train Home’, is a homage to the sound of The Sundays and The Cranberries. Heather’s bewitching siren-like vocals transport the listener back to the nineties. It’s indie pop at its finest, showcasing the album’s transportive power and reminding me why I first fell in love with indie music as a teenager. 

While the band has deviated from their earlier sound, there are still shades of their pop-punk prestige and fierce attitude in track ‘Miss America’. This defiant attitude coupled with the honesty of Heather’s openly queer lyrics and the band’s increasing visibility within the LGBTQ+ community, serve to deepen the emotional resonance of the record. When interviewed on the album, Heather stated that Smitten aims to capture the excitement, euphoria, and even confusion that come with early queer relationships. The band integrates their personal experiences into the music in a way that feels empowering for their LGBTQ+ fans.

With Smitten’s melting pot of influences, Pale Waves have crafted a multifaceted sound that can only be considered their own.  Smitten will add further depth to their live setlist and another edge to an already sharp and versatile band. As Heather has said: “These will be the best Pale Waves shows to date. The UK is home for us, so these shows are even more special and we’re so excited to get to play songs from Smitten live.”

James and Razorlight ignite Leeds First Direct Arena

Joseph Nozedar on 3 July 2024

Written by Joe Nozedar, edited by Millie Cain.


A glorious Saturday in Leeds saw the city centre become awash with
hundreds of daisy T-shirt wearing James fans, cramming rooftop bars and
beer gardens whilst eagerly awaiting the band’s performance at First Direct
Arena. Evening approached as I settled into my seat high above the steep
colosseum that is the First Direct Arena where special guests Razorlight were taking the
stage. The floor was half-full. Razorlight immediately stirred the Yorkshire
crowd, diving in with their huge hit “In the Morning” an almost poetic choice for
the dawn of an unforgettable evening.


Those that were running late or lingering over one last drink were in a state of
blissful ignorance, missing this incredible opening performance. It felt more
like a joint headline show rather than a headliner with an opener— in my eyes
it was a two-for-one sort of billing. This would be Razorlight’s second
performance on West Yorkshire soil this year, having recently headlined the
smaller Leeds 02 Academy where they gave a ruckus performance, proving
they are so much more than a support act. The London boys provided a set fit
for both the sweaty basement clubs of Camden and the class to ignite full
capacity arenas.

Frontman Johnny Borrell declared ‘there’s just four of us, no backing
track…this is pure music.’ GIfted with an impressive classical rock voice, at
points reminiscent of Ozzy Osbourne, with the force of nature that is Andy
Burrows back behind the drum kit, the stellar 4 piece produced an electric set.
Showcasing a softer, more compassionate sound compared to the ragged
punk edge of contemporaries such as The Libertines, Razorlight offer a totally
different energy. They present a lighter, yet equally compelling, set flowing
beautifully with a consistent, hazy punch throughout. Leaning more into
classic rock loaded with a swaggering 1930s prohibition-era sleaze, their back
catalogue of hits which include the infectious ‘Golden Touch’ and ‘Vice’ from
infamous debut album Up All Night (2004), were played to the ever-filling
Leeds arena, which by the time the iconic riff of ‘America’ rang out, was
packed. The band’s rendition of ‘America’ was quite frankly stunning; a hair-
raising, surreal moment pounced upon by the incredibly receptive Leeds
crowd who lit the arena with phone torch fireflies. James clearly has a
competitive streak, literally setting themselves up with an extremely tough act
to follow.


Razorlight’s dynamic set left you wondering if the night had peaked early,
some bands might be intimidated by such a strong opening performance but
having had the pleasure of watching James earlier this year at a smaller
venue in Madrid, I knew of their prowess as a band and it was soon apparent that both acts were brilliant in their own right. The Madchester shape shifting
powerhouse of James have an equally brilliant yet incomparable sound.


For Bradford born lead singer Tim Booth, the performance was a homecoming
of sorts, adding an extra layer of excitement to the evening. The twelve piece
consisting of founding and new members, including violinist Saul Davies,
trumpeter Andy Diagram and backing vocalists from the Manchester Voices
Inspirational Choir. The band’s dynamic rhythm section, with David Baynton-
Power joined by Debbie Knox-Hewson on drums. This combined power and
drive elevated the songs, adding an extra layer of intensity to the
performance.


The first part of the set featured a strong emphasis on the new album, very
well received by the audience. It was evident the crowd were already familiar
with many of the lyrics, singing along enthusiastically. Highlights included the
live debut of new track ‘Butterfly’ with hundreds of butterflies swarming the
screens behind the stage and of course, Tim Booth’s now iconic liquidly fluid
dancing. The first “huge” song to be played was a personal favourite, ‘Getting
Away With It (All Messed Up)’ setting the arena into raptures, just before it
descended into a Hacienda style rave club with the classic opening strains
‘Come Home’ ringing around the arena. There wasn’t a single person left
seated as the crowed ebbed and swayed. This was followed by the equally
anthemic ‘Sometimes’ which kept the club feel and marked the end of the set.
The encore featured perhaps the bands biggest hit ‘Sit Down’ but was
interrupted before the final chorus due to a medical emergency in the crowd.
The audience responded with commendable composure, and the venue’s
efficient handling of the situation allowed for a swift continuation of the
concert. The venue kindly allotted the band extra time in which the crowd’s
empathetic restraints were instantly rewarded by the raptures that followed the
rattling opening chords of fan favourite ‘Laid’.


Booth, stated earlier this year to Channel 4 that him and his band are “Not
nineties musicians but belong now”. Longevity is a luxury not many bands
experience, but this was not the performance of a band of has-beens – a barn
storming night of brilliant new music. James’ new album Yummy (2024),
topped charts becoming their only No 1 album after 42 years in the industry
with their last no 1 single coming in in 1988. Tim Booth has spoken out openly
against ageism in the music industry and when you can make stage diving
look effortlessly cool at the age of 64, he definitely is the man to raise the
issue. He went on to show his disdain for what he called “the once great Radio
One”, the radio station that had promoted Queen, the Beatles and pioneered
Britpop but will no longer play artists over the age of thirty (even when they
are producing new and popular music).

Even though you may say that guitar driven music and bands are no longer in
fashion, 2024 has seen a renaissance in guitar-heavy music with many bands
snatching the number one spot but having limited airtime. While it may be
some time before the habits of certain radio stations change, the new material
of constantly innovative bands like James must not go unnoticed.

Navigating Record Store Day 2024 in Leeds: What You Need to Know:

Joseph Nozedar on 17 April 2024

Written by Joseph Nozedar, Edited by Millie Cain.

Back in 2007, a group of record store owners in the US gathered to celebrate the distinctive role that independent record stores play in their local communities. This event celebrated the vibrant culture and unique space that independent record stores provide, bringing together stores to honour and promote their service and status within local communities. This would mark the beginning of the global music event that we now know as Record Store Day.

The inaugural Record Store Day was established on April 19th, 2008. A concept which would grow quickly and organically into an international phenomenon, celebrating the individuality of each store and its customers. It has since become an annual event, uniting fans, artists, and independent record stores worldwide. Record Store Day is about more than selling records, with new releases dropped specifically and distributed to stores participating in the event. The stores themselves become venues, with festival like atmospheres. Thousands of record stores now participate in Record Store Day worldwide, including over 270 independent stores in the UK. 

 As Record Store Day 2024 approaches, anticipation builds around the City for another unforgettable day of musical discovery, performances and camaraderie.  Record Store Day in Leeds is always a day of celebration, with the independent record stores at the beating heart of the city’s rich music scene coming alive with exclusive releases, DJ sets and in-store performances.  It will be a day which turns back the clock, reigniting the adventure of going down to your local store for a special or exclusive vinyl, the anticipation of the purchase, who will be there, and what is going on.  

This year sees West Yorkshire locals spoilt for choice with three of Leeds independent stores taking part.  Beloved landmarks for music enthusiasts such as Jumbo Records, Crash Records and Vinyl Whistle will be participating, establishments which offer a curated selection of vinyl and CDs spanning genres from indie rock to jazz and electronic music.  Each store has their own itineraries for RSD so it would be worth checking out what is happening and when on their socials & websites, linked at the bottom of this page.

Located at 35, The Headrow, Crash Records has been a part of the Leeds music scene for 30 years.  Pay as you feel on the door, for in store performances, and first come first served for over-the-counter purchases for exclusive titles available on the day. 

Vinyl Whistle located on 12, Otley Road, Headingly, will be stocking exclusive titles on the day and early queuers will be offered free Leodis coffee.  The bar will be opening at 10am.  You’ll find DJ sets all day, 8am-11pm, including evening headliners saluting all that is great about the Leeds music scene.  

Along with sets from alt-rock quartet Artio, Bob Brazill and English Teacher to celebrate the release of their debut album ‘This Could Be Texas’ (2024) as well as their RSD release ‘Live at The Brudenell’ (2024). 

They’re also doing ‘Bring A Tin’ to support Rainbow Junction, a community café at the heart of LS6, using their increased footfall to help support a great local cause.  So, if you’re heading down make sure to bring a tin of food to help support a great local cause.

Leeds’s Jumbo records, located at at 1 – 3 Merrion Centre, is a cornerstone of the city’s music scene, and it’s no surprise that they’re participating in Record Store Day. I had the pleasure of interviewing Matt, who works at Jumbo, to discuss what we can expect from the forthcoming RSD and the significance of the day itself.

Hi Matt, how long have you been working at Jumbo Records? 

Over 23 years now…

How early will people be queuing on RSD? 

Some people are real eager beavers so often when I’m closing the shop at 6pm-ish there’ll be a few people already queuing, but most early birds come around 5am-ish and then people just tend to join the queue at much more reasonable times…

What are your favourite releases off the record store day exclusive list and why?

Personally, the kind of RSD releases that float my boat tend to be one’s where artist have taken the time to collaborate on special releases for the day OR a really great compilation or re-issue comes out with loads of extra tracks or alternative versions. This year there are some really special things to pretty much suit all tastes with some strong pop releases with a split 7” from Olivia Rodrigo and Noah Kahan, some superb hip-hop joints such as the De La Soul Live 1996 LP and the Fetty Wapp LP, there are some stone cold classics such as Fleetwood Mac – Rumours coming out on a VERY cool looking picture disc, K-Pop from Ateez with some excusive tracks unavailable anywhere else. You want Psychedelia or Reggae? There’ll be Killer comps such as Pale Shades Of Grey: Heavy Psychedelic Ballads & Dirges 1969-1976 and 300% Dynamite or superb crossovers such as the Paramore/Talking Heads single. Too many highlights to mention really!

What kinds of things are going on at Jumbo on Record Store Day? What makes it stand out to other stores in Leeds? 

From the very (early) RSD’s in the UK we tried to celebrate the day more as a get together so we tend to put local bands on we love (This year Forming, Bug Teeth and Van Houten), sell beers, give away fun stuff and party! 

Is RSD accessible for the average person? Or do they have to be a record fanatic? 

It’s accessible for sure because the beauty of it is that the releases tend to cover so many different styles that there’s something for every type of music fan…Yeah there might be a super obscure compilation of long lost funky Brazilian joints compiled by a Japanese turntablist (Soul Jazz’s awesome Brazil 45 Boxset Vol. 5) but there’s also Celeste doing a cover of Love Will Tear Us Apart). The whole point of RSD is to get people to see what great independent record stores do and offer.

What benefits does record store day have for the independent record store?

I suppose in a world where tax avoiding online giants and homogenous chain stores tend to dominate it’s the chance for indies like us to shout above the humdrum and say ‘Hey, look what we’re offering’…It’s a way to plug people back into the great musical eco-system and show them that independent shops like ours are a place to discover music far from the algorithmic haze. It’s a place to meet like-minded music freaks, a place to hang out and enjoy. Also, you know that every pound spent in an indie goes towards keeping the shop and staff doing what they passionately love doing (and we’ve been doing it since 1971 can you believe?!?!)”


Matt’s above response, summed the beauty of record day up perfectly for me. It’s a day that more than just buying and selling records, it’s a celebration of a community hub, and a vibrant independent record store culture that in Leeds we are so lucky to have. It’s offers a much-needed way to break away from the instantaneous world of music streaming and algorithms and back to the pure joy of discovering music in its physical form, surrounded by fellow music lovers and enthusiasts. I, for one, am greatly looking forward to Saturday. I’ll be getting up early and joining a queue for what promises to be a great occasion.

Crash Records // Jumbo // Vinyl Whistle

Kaiser Chiefs Return Home: A Night of Nostalgia and New Beginnings

Joseph Nozedar on 8 March 2024

Written by Joseph Nozedar, Edited by Millie Cain

Being a Leeds band with an incredibly devoted following and a string of legendary gigs, (including an immense performance at Leeds United’s Elland Road in 2008, a monumental moment for the band with several members being Leeds supporters) Kaiser Chiefs have become some of Leeds favourite sons. They join the ranks of The Wedding Present, alt-J and Gang of Four to name but a few of the alternative rock bands birthed from the rich West Yorkshire independent music scene. 

But of all the Leeds bands, perhaps none have graced the sticky floors of indie discos and Hyde Park house parties more than the Kaiser Chiefs. The post Britpop five piece originally known as Parva, quickly found favour on the local gig circuit. However, it was after rebranding themselves as Kaiser Chiefs that the Leeds lads found mainstream success. The band’s Mercury nominated debut, Employment (2005), sold over 2 million copies and its number 1 follow up, Yours Truly, Angry Mob (2007), went twice-platinum in the UK alone. The band has since achieved 3 Brit Awards, selling over 8 million albums, not surprising with their irresistible sound and relentless energy. 

With the release of their eighth studio album titled, Easy Eighth Album (2024), a monumental achievement for any band, and their subsequent UK tour all but sold out, it was announced by Crash Records that the band looked to test the waters with an intimate album launch show. Taking place at one of Leeds’s newest music venues, Project House, it seemed like a no brainer to be there.

Upon arrival, I encountered a bustling atmosphere surrounding the sold-out Project House on Armley Road. Fans formed a serpentine queue, stretching with a winding grace around the venue and entwining the surrounding industrial estate. Joining the back of the meandering line my anticipation began to build as the queue was quickly and efficiently whittled into the venue. 

It was my first time at the venue, and I was impressed by the clean, minimalist design and excellent facilities, including a great stage, bar, and toilets. A sea of Leeds shirts underscored the strong bond between the city and the band. Amidst the white Leeds United apparel, a few fans stood out in tangerine Kaiser Chiefs Football Club shirts. The club, one of Africa’s biggest teams, subtly nodded to the band’s origin story and the inspiration behind their name.

As the loyal masses gathered, their dedication to the band was unmistakable, it created an elbows-out, territorial atmosphere that spoke volumes about the deep-rooted connection between the Kaiser Chiefs and their hometown. After a few pints of the aptly named house larger I took my place amongst the faithful and stood in collective anticipation. Slightly later than expected the lights dimmed and the opening riff of Dire Straits’ ‘Money for Nothing’ rang out through the PA. 

As it came to a crescendo, the band, led by the ever-charismatic Ricky Wilson, entered the stage and wasted no time jumping straight into their new synthpop tune ‘How To Dance’, the first single from album eight. With Daft Punk influence and catchy pop hook, it immediately warmed up the crowd. Next up was the raucous track “Every Day” from their debut album, just one of the hits that those lucky enough to bag a ticket were treated to. 

The set continued with a stream of new tunes, starting with the somewhat forgettable “Beautiful Girl” and the elegant pop ballad “Burning in Flames“, featuring rising strings that captivated the audience. However, the standout was “The Job Centre Shuffle“, my personal favourite among the new tracks. With politically charged lyrics and a groovy bass line from bassist Simon Rix, it skilfully bridged the gap between the band’s early albums and their current musical exploration. This genre-bending anthem instantly resonated with the crowd, becoming a hit in the moment.

Overall, the new songs went down well, yet amid the new material, there lingered a sense of detachment from frontman Ricky Wilson. Quoted earlier this year expressing his priorities as a parent: “I’m not 20 years old anymore and, it sounds bad, but it’s not my main priority because I’ve got kids.” With a couple of the new songs missing their mark with the crowd and Wilson’s occasional reliance on lyric sheets and candid admission that he hadn’t fully mastered the new lyrics, it underscored the challenges faced by a band navigating the evolving landscape of the music industry.

Yet, as the night unfolded, the timeless hits like their infamous UK number one “Ruby” demonstrated that Wilson’s emotive delivery and passion for the classics has never wavered. The crowd revelled in nostalgia, swaying, and bouncing to the familiar tunes. “Never Miss a Beat”, “I Predict a Riot”… before a brilliantly elongated… rendition of “Oh My God” that sent the crowd home with a lasting impression of an unforgettable intimate performance that defined the Kaiser Chiefs’ journey over the past two decades.

As an ardent indie listener and a devoted fan of the Kaiser Chiefs older albums, the evolution of their sound on the latest release brings about a touch of melancholy. Yet amidst their eighth album and nearly twenty years in the industry, it’s entirely reasonable for a band like the Kaisers to seek a breath of fresh air. Collaborations with legendary hitmaker Nile Rodgers and producer Amir Amor have undoubtedly injected new life into their musical journey. In an era dominated by streaming services, shuffled playlists, and a TikTok culture that favours catchy hooks over complete album experiences, the Kaiser Chiefs are bravely navigating the changing currents of the music industry. As they continue to defy the conventional boundaries of age in rock, they stand as a reminder that growth, both personal and artistic, is an integral part of a band’s longevity.

The newest tracks, while perhaps not an instant match for the cherished tunes of yesteryear, hold much promise. With a bit more time to delve into the intricacies of these evolving compositions, there is a chance for the album to metamorphose into a resounding success.
Following the gig -a great evening extended beyond the confines of the stage, with an enjoyable afterparty that solidified the sense of community shared among the fans. DJ’s mixing 7-inch vinyl singles, an abundance of house lager, all enjoyed amongst the friendly staff at Project House ensured that the celebration continued late into the night. A brilliant selection of tunes, including hits from the Kaisers, created the perfect conclusion to a memorable night, leaving everyone immersed in the spirit of Leeds and the enduring legacy of Kaiser Chiefs.