Tramlines Festival: One of the UK’s Longest Running Festivals is Back Tomorrow!

Eve Moat on 25 July 2024

Written and Edited by Eve Moat

The Sheffield Festival is back in Hillsborough Park from tomorrow, with a cracking line-up, from up-and-comers to headliners, artists new and older, with some from far and wide, and others hailing from the city itself.

I have many memories of the festival over the years. As I have grown up, the festival has too, as outlined below in my written coming of age story.

“As a kid growing up in Sheffield, I started going to Tramlines Festival at the age of 6. I went with my parents and I remember when Tramlines was in the centre of Sheffield and the main stage was on the small but electric Devonshire Green. We saw Reverend and the Makers on the Friday night and I somehow remember having a light up wristband. Tramlines was incredible when I was younger. I loved the community spirit, the local bands, up-coming artists and the atmosphere of my longest-attended festival. Tramlines has evolved a lot over the years and I like to think of Tramlines’ evolution as a mirror of my evolution as a person, as I’ve grown up with my music tastes changing and different things happening in my life, just like how Tramlines has changed. The Fringe at Tramlines in Sheffield City Centre still reminds me of Tramlines back in 2009 and I love that it lives on. However, Tramlines now in Hillsborough Park is more than anyone could have dreamed it to become: a full evolution. It is almost like all the instalments of Tramlines that I attended as a child were leading up to the year I turned 18 which I associate as a turning point in my life in relation to my music taste.

2021 was the year I turned 18 and was the first year I worked the bar at Tramlines. I chose this year as it was a turning point in my life, musically and lifestyle-wise – the beginning of a new chapter (leaving home, going to university). Also, I loved the music that year, the atmosphere was electric, and I met some amazing people and made great friends. I saw some of my friends there. It also led to me working 3 Tramlines in a row because I loved it so much. It was my first festival I worked at, so it felt like I was growing up. It was a new chapter in my life. I was becoming an adult, gaining self-sufficiency, but whilst doing something I enjoy – seeing live music.

In terms of music, I chose this year because many indie and up-and-coming artists played, making me realise my love of indie music. Artists that included The Fratellis, The Kooks, The Streets, DMAs, Jake Bugg, Pigeon Detectives, Blossoms, Vistas, Bloxx, Baby Queen, Holly Humberstone, the list goes on. Indie music truly shone that year at Tramlines, and my love for the genre grew.

I went to university in 2021 after this Tramlines, and my love for indie music and the scene continued its exponential growth. I co-hosted the Indie and Alternative hour on Leeds Student Radio the same year, and found one of my now closest mates on the show who shares my love for indie music and we became regulars at the O2 Academy Leeds’ Indie Thursdays club night, where I made even more indie-loving friends. Without Tramlines 2021, I may have never found my people at university who loved this music the way I do and I owe a lot to that Tramlines. I’ve seen many of the artists I saw at Tramlines 2021 multiple times now, and without seeing these artists, I wouldn’t have found other indie or up-and-coming artists due to them having them as support acts, supporting them in other ways (such as production) or simply them being similar and me finding them via recommendations, Spotify (discover or suggestions) or by chance. Many of these other artists I have had the pleasure of reviewing and writing about for The Gryphon. These artists include The Japanese House – I started loving their music around the time I really got into The 1975, I already loved their music, but got into more due to my friend I met on the Indie and Alternative show.

Another artist is Alfie Jukes, who I found online due to my love for up-and-coming artists and indie music – I was lucky enough to interview him briefly, as well as photograph his gig and write an article for him about the intimate gig. None of this would have been possible without Tramlines unlocking how much I care about music, especially the grassroots and indie music scenes. Many people think of Tramlines as just an indie music festival, but it also provides a platform for artists of other genres too. The Everly Pregnant Brothers – Sheffield icons – were at Tramlines 2021 and I first saw them on BBC music day 2016. They were told not to swear and didn’t want to leave the Sheffield Peace Gardens, so even when they were taken off air, they continued playing the gig, and the crowd had the best day.

Artists from different genres were what made that year of Tramlines so incredibly unique: artists like Sophie Ellis Bextor, Royal Blood, Pale Waves, Tom Walker, Little Simz – who I played on my own radio show on LSR – brought something new and fresh to the table. They created a new and different atmosphere and brought in a unique crowd, but it worked so well intertwined with the indie artists. This showed me how diverse my music taste is – I’ve always enjoyed music from a wide range of genres, eras and artists, but this reaffirmed my beliefs in that I do like a bit of everything and I would not change that for the world.

One of my friends from school, Bethany Pashley, actually played at Peddler Market in Kelham Island last year as part of the Pattern and Push initiative by Tramlines. This year she is playing on the line-up in Hillsborough Park. This initiative provides a great platform for up-and-coming artists and spoken word poets, and is proven to help artists achieve their dreams. I will be cheering Bethany on this year and many years to come!”

To hear more about my own memories of Tramlines and my connection to the music, listen back to BBC 6 Music Goes Back on BBC Sounds: https://www.bbc.co.uk/sounds/play/m00214kl

The Gryphon will be covering the Tramlines weekend, with interviews, articles and updates, so stay tuned!

HIT ME HARD AND SOFT: Billie Eilish Album Review

Thomas Dent on 11 July 2024

Written by Thomas Dent, edited by Millie Cain.

After a three year break, Billie Eilish has returned with her third, and best studio album. HIT
ME HARD AND SOFT finds Eilish in a much more mature and reflective mood than on her hit
and miss second record Happier Than Ever yet many of the same questions are posed by
Eilish on the low-key opening track ‘Skinny’ as she asks ‘Am I acting my age now? Am I
already on the way out? When I step off the stage, I’m a bird in a cage’. This song recalls the
lyrics of 2021s ‘Getting Older’ as she came to terms with her newfound megafame. With this
fame came insecurity and Billie stated in a recent interview that this album ‘is the most me
thing that I’ve ever made’ as well as explaining how this is the first album that has come
from a place of pure self-confidence.

Her assertation is evident on the second track ‘Lunch’ which concerns her complete infatuation,
and the track is a clear expression of Eilish’s sexual identity. On an album containing no released
singles this is the obvious choice. It was my most streamed song in May purely because of
how irresistibly catchy it is. Everything is a hook here, from the bassline to the chorus itself.
Billie has strayed into pure pop banger territory once again, even if this is one of the outliers
on an otherwise quietly reflective album.

The third track ‘Chihiro’ was one of the earliest songs written for the album with Billie
recently sharing a video from 2022 of her singing a near fully formed version. HIT ME HARD
AND SOFT owes a lot to Finneas, Billie’s producer, brother and creative partner. He has
taken his sisters musical ideas and made them complete entities on this album.
The elaborately layered synth lines of ‘Chihiro’ float around in their own ethereal space
while Billie’s barely audible cries fade in and out of contention for the attention of your ear.
The album is Finneas’ best effort as a producer to date and he also shows off his prowess on
the track ‘L’amour De Ma Vie’ which opens with a watery guitar figure and weaves its way
around Billie’s unapologetic lyrics all while Finneas is building an atmosphere with filters and
fluttering synths that climax to show a fully realized shared vision.

That vision was for this to be an ‘album album’, one with no singles that you could
completely immerse yourself in over one sitting. Billie said in an interview that ‘I don’t like
singles from albums. This album is like a family: I don’t want one kid in the room alone’. The
middle tracks on this album certainly live up to that billing – ‘Birds of a Feather’ is a classic
pop song that could’ve been released in any decade and will surely be the radio favourite
from this record.

‘Wildflower’ is a quiet acoustic number that could easily pass you by but with repeated
listens it slowly reveals itself as a wonderfully written piece of music and ‘The Greatest’ is
similar to ‘Happier than Ever’ in how it builds to a satisfying and cathartic conclusion.

The album begins its conclusion with another earworm. ‘The Diner’ opens with a saxophone
motif carried by the most typical ‘Billie Eilish beat’ on the album – this one could fit
comfortably on her debut album and is a conscious attempt to reclaim, in her words, ‘2019
Billie’. The song ends with a sinisterly read phone number that when called plays an
automated recording of Billie – almost like an absent voicemail.

The only song that I am not a fan of from this album is ‘Bittersuite’. As the penultimate track
it serves mainly to leads as a bridge to the closing ‘Blue’ and doesn’t really have anything
melodic of note to interest you like the other tracks do. Luckily this is a minor blip in the
world of HIT ME HARD AND SOFT and ‘Blue’, composed of two old song fragments acts as a
worthy self-referencing closer. A sort of end credits that take on a lullaby type quality to
accompany your journey out of the world of the album and back into yours.

Billie Eilish could be forgiven for thinking she’s already peaked (at the age of twenty two
she’s released three albums, headlined Glastonbury and won two Oscars for her Bond and
Barbie movie themes) yet HIT ME HARD AND SOFT shows that there are many more miles to go
in this sibling partnership. At a crossroads in her career, Eilish has delivered us a modern
classic that has laid the foundations for a decade or more of pop culture domination.

Afraid of Tomorrows: The Mysterines Album Review

Thomas Dent on 11 July 2024

Written by Thomas Dent, edited by Millie Cain.

It is often said that the second album is the hardest album to produce, on Afraid of
Tomorrows the Mysterines throw that notion out of the window and prove to the British
alternative rock scene that they’re the real deal.

Opening track ‘The Last Dance’ sets the tone for the album with its droning violin bow guitar
intro a la Jimmy Page. The song then kicks into gear via a riff that has to rank among my
favourite ever. Vocalist Lia Metcalfe has a way of conjuring up unique yet affecting images
with her lyrics. The opening couplet, ‘the last time that we danced, midnight by the Texaco’,
acts as a greeting to fans after the energetic rawness of debut abum ‘Reeling’. This tune has
been a fan favourite since the band debuted it on their tour supporting Arctic Monkeys in
Spring 2023 and it may well be their best song yet. It finishes with an unexpectedly creepy
section that includes some lo-fi guitar and heavily filtered vocals that give this outro the feel
of a noir horror movie.

Already this album has the feel of a band that is more comfortable within itself and the
Mysterines are not afraid to vary their sound on Afraid of Tomorrows, which is perhaps the
only criticism of debut ‘Reeling’ which felt too one dimensional at times. Fourth and fifth
tracks ‘Tired Animal’ and ‘Jesse You’re a Superstar’ incorporate George Favager’s bass guitar
as the lead instrument in the vein of bands such as Suede and Joy Division. This allows the
group to experiment with some different textures than they have previously, and it frees up
Callum Thompson’s role as guitarist allowing him to build tension and add harmonic
complexity, as he does during the chorus of ‘Jesse You’re a Superstar’ which is built around
the longing sigh of Lia’s melody, one of the most effortlessly flowing melodies I’ve heard in a
long time.

The two main singles ‘Stray’ and ‘Sink Ya Teeth’ are both carried along via grungy riffs that
feel so familiar yet strangely fresh. The former song manages to ride the wave of its
blockbuster chorus for a healthy amount of time until the monotonous tension is broken by
a fantastic bridge section which is propelled by some chunky guitars and ‘Sink Ya Teeth’
picks up this momentum later in the album with its stuttering digital hi-hats and ultra-catchy
chorus. Lia’s vocals on both these tracks are something to behold, her voice possesses a lot
of raw power but has become far more refined and capable melodically in the 2 years since
‘Reeling’. These two tunes will surely become live staples for many years to come.

The lonely centrepieces of this record, sixth track ‘Hawkmoon’ and tenth track ‘Inside a
Matchbox’ show how far the band has come with regards to the quality of their songwriting.
The former track begins with Lia singing over a solitary acoustic guitar and builds to a
stunning conclusion which includes some emotion shattering strings and a fabulous use of
the drum kit. ‘Inside a Matchbox’ on the other hand is quiet, yet passionate. A track that is
equal parts Nick Drake and PJ Harvey. It includes another stunning vocal melody which is
backed up by the cutting acoustic guitar. The simplistic electric drum pattern on this track
gives the piece a sense of space and allows the melodies to breathe freely and makes this
track the hidden jewel of the record.

On Afraid of Tomorrows, the Mysterines have shown why they’re quickly advancing through
the ranks of regard in Britain. They’re good songwriters, have a clear vision and have
created their own unique sound that pays homage to their past influences but is unmistakeably their own. The album isn’t perfect by any means – to me the production is inconsistent in its style and sometimes lacks power meaning a couple of tracks come across subdued compared to when they’re showcased live, but the performances contained on these tracks are nothing short of sublime and shine a light on the talent of this group. This record gives the band so many routes to pursue on LP number three and I can see them bettering their effort on Afraid of Tomorrows by a long way. The Mysterines aren’t going anywhere soon and their stock is continually growing.

Tom Grennan amplifies the ‘Sounds of the City.’

Poppi Andelin on 11 July 2024

Written by Poppi Andelin, edited by Millie Cain.

Saturday 6th July, a monumental evening. Tom Grennan electrified Millennium Square as the headlining act of Sounds of the City. Despite the later gate openings to accommodate the nail-biting match of the The Three Lions, thousands of fans gathered for the event. The gig was uniquely infused with the patriotic spirit of the nation’s football fortunes, setting the scene for an electrifying and memorable performance.

As the opening act, Victor Ray created anticipation for an incredible evening. The singer and song-writer, raised in Newcastle, humorously recalled how he started his music career busking in London and how pigeons were his main audience. With this performance, he demonstrated how it is difficult for people from where he grew up to find opportunities like this one, marking a monumental moment for his musical career. Hits like ‘Comfortable,’ ‘Stay For a While,’ and ‘It Only Cost Everything’ were a few among his discography that Ray performed; captivating the audience from the very beginning. I had never seen Ray perform live, nor had I listened to his music before, so it was exciting to witness this indie-pop extravaganza.

As more pints were pulled and many more people piled into the square, it wasn’t long until the headlining act stepped up. The Bedford-based singer instantly ignited the stage as he walked out to the iconic England song, “Three Lions,” creating an atmosphere of unity and cheer across the square. Expressing his long-anticipated excitement for the gig, Tom Grennan humorously remarked how “We finally won a penalty shootout!” The celebration of England’s penalty shoot-out victory over Switzerland was seamlessly integrated into his setlist, with tracks like “How Does it Feel” sparking waves of enjoyment amongst the crowd.

Despite not playing any of the new tunes he teased for upcoming release, Grennan’s classic sing-along anthems echoed back to him from the thousands of voices in the crowd. He opened his show with the track “If Only,” from his 2021 album Evering Road (2021), setting an upbeat tone for a buoyant performance. Following the opening songs were three shortened tracks from Grennan’s debut album Lighting Matches (2018). ‘Sober’, ‘Royal Highness’, and ‘Barbed Wire’ were seamlessly blended in a mix-up effect, connecting three of my personal favourites in a carefully crafted, rhythmic medley.

As the performance went on and the sky darkened, rain began to fall just as Grennan launched into ‘Head Up.’ Undeterred, the crowd donned coats and raised hoods, singing in unison: “you keep my head above the water.” A rather fitting song to be played against the weather, but a drop of rain certainly did not dampen any spirits in Millennium Square.

The night was a perfect mix of upbeat tunes and slower adagio. Thousands of phone torches swayed in unison as Millennium Square was illuminated for the performance of ‘Here.’ Shortly after, Grennan sang a sweet duet with Angel, one of his gifted supporting vocalists. As they sang ‘Let’s Go Home Together,’ with the backing singers of thousands in the crowd, Grennan’s iconic tunes definitely filled the city.

Many other of his performed hits included ‘Found What I’ve Been Looking For,’ ‘All Goes Wrong,’ and ‘By Your Side.’ The stage was illuminated with fire effects and strobe lighting, which wonderfully reflected the overall electrifying mood of the evening. His smash song ‘Little Bit of Love’ brought the show to a close as Grennan thanked the audience and showed gratitude to one of the best audiences he had ever performed for.

It was a pleasure to witness Tom Grennan’s performance, which ranged from a flurry of enthusiasm, sparked by the excitement of England’s football triumph, to a show full of love and solidarity among thousands of spectators. From the first time seeing Tom Grennan perform, it was nothing short of spectacular; and it is exciting to see how the alternative, indie musician develops as his musical career grows.

‘I am Loyle Carner, take these words and go forward’: Live at The Piece Hall

Millie Cain on 10 July 2024

Written and edited by Millie Cain.

The legions of Salomon stomper-wearing students descended into Halifax after battling the downpouring summer weather and classic Northern rail strikes. After a slightly sweaty, but cheap journey, The Piece Hall loomed ahead as we climbed the cobbled streets to its grand square. Children of Zeus led the way as a bold support act, ironically backdropped by dark clouds and the hot air of an incoming storm, pushed the already packed crowd and had heads bobbing along from the get go. Hands were raised, pints too, but not a drop of the £7 lager was spilt.

The crowd swayed along, an aroma of weed snaked through the masses, and The Piece Hall’s floor must’ve been squeaky clean after the thousands of pairs of too-long baggy jeans were dragged across the stones. The church spire on the left of the stage made it feel almost a religious experience, and as Loyle Carner finally descended onto the stage, after technical weather difficulties, we were certainly enlightened.

Bouncing straight into ‘Hate’, Carner joked apologetically about the wait, but the crowd’s patience paid off as he sounded excellent, and the atmosphere was electric. The rush of the coming storm and the bouncing hands in the air led into ‘Plastic’, before Carner took his first moment to breathe after hitting the stage. The orange waves of light washed over the crowd for the more chill, almost leaning into a jazz number ‘Ain’t Nothing Changed’. Carner towards the end of the song leaned down into the crowd, taking a moment to hug and chat to a fan, telling the rest of the audience to applaud his fans at the front too ‘I was always front row of everyone I loved, like you man!’ and Carner joked with him about knowing every single word of his songs. It’s truly refreshing to see an artist connecting with his fans, instead of trying to be aloof and cool. Carner is honest, vulnerable and it’s clear to see that respect is paid back tenfold by the crowd.

Image Credit: Cuffe and Taylor and The Piece Hall.

For ‘Desoleil’ Carner began speaking through his lyrics, it felt raw, but hopeful, and the piano underlay added a real soft layer of depth. With the audience singing along with the vocals in the back, despite the volume it still felt so peaceful. ‘Trust me, trust me’ Carner begs his crowd, ‘listen’ he sings, ironically, as if we aren’t already hanging onto his every word. He also took some time to make noise for his band, showing appreciation for them as part of his performance, and bowing down to the crowd, arms aloft in such a display of gratefulness that it made this sold-out gig feel so much more intimate, despite the 6,000 fans around me.

A crowd favourite ‘Angel’ hit, to bring a more lighthearted tone, the bright lights of the stage bounced off the walls of the hall and the church behind it, as Carner preached on his alter, he had everyone clapping as one, as he, and we all appreciated what a ‘beautiful place’ this was to experience his music. Straight off this high he seamlessly transitioned into ‘Damselfly’. He laughed and joked along with the crowd ‘Oh you guys know this one?’ as the audience chanted along with him, undeterred as the first drops of rain began to fall.

Luckily, it seemed the whole crowd had their Arcteryx raincoats on, so both hoods and people alike rose over heads and balanced on shoulders. The song extended to allow for the chillest, angelic shred on guitar, that seemed effortlessly groovy and had everyone swaying into ‘Yesterday’. Carner throughout was so engaging, even as he faced difficulties with his microphone not working and the delayed set times, he performed with such positivity and pushed through with an incredible calibre that must be respected. ‘You should be up here with me!’ He complimented his die-hard fans, and he chatted about his experience touring with his son. After being with him for the first few weeks,his son had gone home 2 days before, and Carner was transparent with how much he missed exploring and performing with him, and he took this moment to play ‘Homerton’ for him. The drums were brilliant on this track, and Carner’s tone made it feel like a conversation as he let us in on his relationship with his family and his son, knitting the crowd together in appreciation for him and his openness on stage.

‘This is my favourite song I’ve ever written, but I’m scared to play because I’m kind of a shy person sometimes. Where I’m from there’s an idea of what a man is. I’m soft, and fuck the toxic masculinity bullshit please!’ Carner discussed before playing ‘Nobody Knows (Ladas Road’, a song he announced was also for his newly born daughter. ‘I was young when I had kids, it’s cool! My son is getting to the age where he can talk to me, it’s great, but it’s hard when I’m working, we shout scream laugh and cry, he come back he says I’m sorry I was frustrated, sad , angry but it’s so beautiful that my son at 3 and a half years old can articulate his emotions as a man’ as he thanked his own mother for doing that for him. Carner consistently shows he has more compassion than we’ve seen from a music artist in a long time. From his CALM campaigns and art exhibitions to ‘Chilli Con Carner’ his cooking program for ADHD children, he certainly is making an effort to bring more kindness into the world.

Breaking into ‘Still’, the crowd was sailing, the spotlights moved slowly over the outreached hands and Carner was left speechless admitting ‘Words fail me, which is rare, this is one of the best shows we’ve played in a really long time’ and the honour was ours. For the ending of the show he pulled in his dancier numbers, the heavily instrumental and groovy ‘Speed of Plight’, with punchy lyrics and a well-awaited final ‘Ottolenghi’, which had everyone singing along.

Loyle Carner ended his set in the drizzly rain with a poem. A new one, the crowd begged, and he obliged, even with his nerves. Dedicating it to his mother and brother, and the safety he found within his family, as well as the difficulties that come with it. The crowd was awed into silence and his words will stay with me for a long time.

‘My name is Loyle Carner, take these words and go forward’.

Image Credit: Cuffe and Taylor and The Piece Hall.

Barry Adamson at the Brudenell: A Cinematic Night of Intimate Moments and Epic Swing

Joseph Nozedar on 4 July 2024

Written by Joseph Nozedar, edited by Millie Cain.

Barry Adamson is an artist unknown to many, but like in most walks of life, straying away
from the mainstream is where you find hidden gems. For those unaware of Barry Adamson,
he is a multifaceted artist—musician, composer, writer, photographer, and filmmaker.
Raised in Manchester’s Moss Side, he swiftly mastered the bass to join Howard Devoto’s
newly formed post-punk band, Magazine, one of the city’s most influential and artistic
groups of their time. Since his first musical venture with Magazine, Barry has performed
with multiple bands including Nick Cave and the Bad Seeds.

Yet after spending time playing a supporting role for many bands, Adamson has shown that
he possesses the star power to headline, releasing nine studio albums of his own. These
albums focus on incorporating his love of music with his love of film. Most of these albums
are either film scores or have a film score concept behind them, including the 1992 Mercury
Music Prize-nominated Soul Murder, and 1996’s ‘Oedipus Schmoedipus’, featuring
collaborations with Jarvis Cocker, Nick Cave, and Billy McKenzie of The Associates. He has
also written, directed, and scored multiple short films, including ‘Scala!!!’ (2023), ‘Astrakan’
(2022), ‘The Lie’ (2014). As a Film Studies student, this gig was one that I was especially
excited for.

Being a film director Adamson is inept at world-building and the world of Barry Adamson
the one he creates and shares with his audience is one that the Brudenell crowd was more
than happy to enter, temporarily losing themselves in its weird and wonderfulness. It is a
world filled with trembling James Bond chords and finger-clicking swing, heart-aching blues,
and fiendish swaggering. Approaching showtime excitement grew in the small room toward
the entrance of the Brudenell, which always offers a personal intimate setting, with its small
stage, mirror ball, and the luxury of having a separate bar and toilets, it’s a fitting venue for
such a theatrical performance.

Opening his set with the new release would be blues, a moody, atmospheric tune that acted
as the opening credits for the night. Adamson, drummer Kaja Magsam, and bassist Ian Ross
formed a tight-knit three-piece ensemble, able to pull off what could have been huge
orchestral arranged scores with ease. Next came new material, the new album’s title track

‘Cut to Black’, and fan favourite ‘The Beaten Side Of Town’. It became a subjective
soundtrack, a different film playing out in the heads of each member of the Brudenell
crowd.

Set highlights included Adamson silencing the band and switching from electric to
acoustic guitar, announcing that since this is an intimate gig, he’d “do what people do at
intimate gatherings”, before leading the audience in a bluesy singalong of Marc Bolan’s (T.
Rex) ‘Sundown County / Hot Love’. The encore was a particular highlight of mine as
Adamson ignited the venue with a thumping rendition of the epic ‘Jazz Devil’. References to
Beelzebub, Hotel Hades, amidst spy thriller guitar chords and thunderous horns all on top of
a thumping bass line, offering an old-school Sinatra-style swing fit for the piano lounges of
the underworld.

It was a velvety, intimate evening, like stepping off the Hyde Park streets into a fragmented
Tarantino film with its non-linear narrative, seamlessly shifting between scenes and genres.
The performance was a melting pot of Post-punk, Jazz, Noir, and Swing. Each seamlessly,
stitched together by Adamson’s entertaining monologues and impressive wit, comparable
to fellow Mancunian legend John Cooper Clarke. The one thing I was not expecting from
Adamson, was his down-to-earth personality. He does not take himself too seriously, a vital
thing for any creative attempting to put on the ambitious genre-blending, richly artistic
show that Adamson is. An artistic show could potentially verge on becoming pretentious or
even sleazy, but Adamson’s refreshingly grounded personality ensured that this was not the
case.

It was also a much-needed change to hear an album played live that is a pure artistic vision,
unpressured by the demands of an industry, something which I think is increasingly rare in
the modern music landscape. While the show was only a small one, the new album won’t be
smashing any records for sales. It was an innovative, cinematic, and thoroughly enjoyable
evening that offered the kind of escapism that only great Hollywood films do.

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.

Nubiyan Twist bring new their album ‘Find Your Flame’ to Project House

Jessica O'Brien on 3 July 2024

Written by Jess O’Brien, edited by Millie Cain.

Nine-piece band from Leeds, Nubiyan Twist, launched their fourth album, Find Your
Flame, at Project House on Friday 24th May, as part of the Leeds Jazz Festival 2024.
After having seen their outstanding performance in Sheffield with their previous
album, Freedom Fables (2021), I couldn’t wait to see what they had in store for their
next show.

Nubiyan Twist throw afro-funk, jazz, hip-hop, dancehall and reggae sounds into their
eclectic mix in the new album, featuring the likes of Nile Rodgers and Corto Alto. The
album is introduced with an important message about wasting time with constant
worry, stress, and work. It then moves into a disco sounding tune featuring Nile
Rodgers. The album consists of impressive alto sax solos, uplifting afro-beats and
beautiful harmonies backing all the songs. The album also spans many languages,
including Patois from Aziza Jaye in ‘So Mi Stay’ and Bambara from Mamani Keita in
‘Slow Breath’. K.O.G also brings his Ghanaian sound to the album with another
collaboration on my personal favourite, ‘Pray For Me Part 2’.

The show opened with an up and coming band, Heritage, from Leeds, who
stormed the stage with so much energy, I can’t wait to hear more of them in the
future. By the time Nubiyan Twist came onto the stage, the venue was completely filled and wrestling with anticipation. They can certainly pull a crowd of all ages, with gigs in Leeds often attracting either a younger or older crowd, but on Friday they proved that their genre-bending music is
for everyone.

The lead vocalist, Aziza Jaye, brought so much fun and intimacy to the
performance, engaging with and enlivening the crowd. There was a clear theme of
gratitude for women throughout the concert, especially during ‘Woman’, as
well as the experience of bringing new life into the world with ‘Carry Me’. The lead
guitarist, Tom Excell, took a moment midway through the gig to outline the message
of his lyrics and the inspiration he took from having his first son two years ago. Not
only did they perform their newest songs, but they also performed some of their most
loved songs from previous years, they have especially rekindled my love for their last
album with their unforgettable performance of ‘If I Know’ (feat. K.O.G).
It’s no surprise that Nubiyan Twist filled the venue in their hometown, and with such
fun, upbeat music, I think their music would be a lot of fun at a festival rather than in an
overcrowded gig space. However, I still left the gig not only with a fresh perspective
of their new album, but also with a newfound enjoyment for their uplifting sound.

It was great to hear the main message that they wanted the audience to take away
was that despite some real challenges for some of the band members over the last
few years, Find Your Flame is about taking that negativity and using music to turn
the bad into good. They have found their flame, and now they are passing the torch
for us all to do the same.

Nubiyan Twist will be touring the UK until the end of August. Don’t miss your
chance to see them this summer!

Music Venue Trust VS Coop Live Arena: are grassroots music venues too poorly run to deserve industry funding?

Eszter Vida on 3 July 2024

Written by Eszter Vida, edited by Millie Cain.

2023 was reported as the biggest year ever for live music. The year was also
marked by increased rent prices, the cost-of-living crisis and venue closures, leading
to 125 of them closing for good and a statistical decrease in the opening of newer
ones. But, for companies like Live Nation at least, the music industry continues to be
a profitable market when viewed from a corporate angle; one that doesn’t face the
same threat of issues as our beloved grassroots venues that have historically put the
same amount of work, if not more, towards the future of British music and culture.

This escape for corporations may have been true until a very recent controversy.
Despite being scheduled to open on this past April 23, the new Manchester Coop
Live arena has faced organisational difficulties, resulting in many show cancellations
and disappointed Peter Kay fans. So, what better way to proceed by allowing the
now-resigned executive director Gary Roden to jump on a BBC interview to question
the competency of venues and whether some deserve the financial support to stay
alive from a grassroots music charity?

Music Venue Trust is an organisation that I met back in January at a conference in Brudenell Social Club and even signed their artist pledge, promising to give back a percentage of ticket profits to grassroots
venues in case of future arena gigs. While the sentiment was there for small musicians, who could only dream of playing at that level, it’s more their proposition of
a £1 ticket levy on arena shows which has gathered a lot of public criticism, with
Roden declaring the logic that rising bills are affecting some venues more because
they are more ‘poorly run’ in comparison. While this could be one reason, it fails to
highlight a larger problem. Therefore, it’s important to recognise that the problem
isn’t as straight forward as his comments may be interpreted.

Comments such as Roden’s fail to recognise how out-of-touch the music industry
can become when they don’t reinvest their profits into the right places. As reported
by NME, Coop Live is ‘set to become the UK’s largest indoor arena when it opens,
with a capacity of 23,500.’ A concert of this capacity may take a lot of investment for
a newly opened (or still unopened beyond its promised date as I’m writing this)
venue but as everything becomes more and more concentrated at the top of the
music pyramid, there is no healthy ecosystem where small venues, who give so
much to recognising new talent, can also receive something back, other than an
eviction notice on their front doors. Many have also highlighted that we are battling
against the greed of pre-existing added ticket fees, from order processing fees to
service charges, which may not seem relevant in the age of e-ticketing. What MVT
are trying to propose is to question where these added fees go and clearer
transparency for artists/fans involved.

Our own losses of Sheaf St and The Tetley marked a tragic end of an era for
communities that flocked to these spots to experience purposeful art and culture.
When thinking about prominent venues that are deeply engrained into Leeds culture,
the first ones that come to my mind would probably be Brudenell Social Club and
Hyde Park Book Club. Both located in Hyde Park, these places have also become
central hubs for students, in group socialising, pool nights and attending gigs
together. The Brudenell, running since 1913, has become a staple Leeds venue
where artists of all genres aspire to perform and check off their career bucket lists because of its preserved history. Meanwhile, Hyde Park Book Club have proclaimed
their desire to foster a community spirit themselves, catering it around local people
having the space to create with a café, hangout spot and venue all tied to one name
in a quintessential corner of Leeds.

It’s not just about organised live music for these spaces; however, they hold literature festivals, yoga, art club, comedy shows, well- loved weekly jazz nights, all while supporting an everchanging local population of creatives. Conjoined with venue and practise space Eiger Studios, it’s one of many
like the Wardrobe, highlighted annually during the Live at Leeds in the City festival.

It’s not all doom and gloom for us in Leeds though. Here, we are fortunate to have
such a strong student network; for other venues in quieter locations, this factor of
microscopic impact doesn’t stop them from closing. Without these third spaces, we
lose a part of our culture to which we are all contributing to, especially when they
close in less widely known music scenes like ‘Moles’ in Bath. The more we don’t
prioritise our local venues, the less space there is for emerging artists within our own
ecosystem, leaving less opportunity for anywhere outside of London. The music
capital itself has even lost venues, so as we narrow down possible geographical
barriers, now more than ever are we seeing the real financial inequality in a
prospering industry. There are already numerous barriers beyond the inaccessible
distances that can daunt musicians when it comes to networking, such as industry
gatekeeping and constantly changing trends that artists must manage for themselves
without a team or huge label backing. Losing more of these art spaces limit the
possibility of even finding a platform and building a collective space shared by artistic
individuals.

Subjectively speaking, it’s quite bold of a company, named after the purpose of
supporting and working together cooperatively, to criticise independently run music
venues like a lot of ours and make degrading comments when they are already
faced with challenges of government neglect in a very corporate-minded landscape,
despite the cultural significance of music. For music to sound as good as it was ‘back
in the good old days’, it’s up to the public to be the consumers they were
predisposed by social media to be and support new bands into becoming the classic,
legacy acts we reminisce about over their golden days today.

For more information, follow this link to the Music Venue Trust’s annual report:
https://www.musicvenuetrust.com/2024/01/music-venue-trust-launch-annual-report-

Album Review: Maggie Rogers’ Don’t Forget Me (2023)

Kate Moxon on 3 July 2024

Written by Kate Moxon, edited by Millie Cain.

I first discovered Maggie Rogers in the January of 2019 when her song ‘Alaska’
made it into my Spotify algorithm’s rotation. From the first listen, I fell completely
head over heels for the way Maggie crafts her music and her artistry. After this, I
scoured the internet for the available low quality YouTube videos of her performing
on tour and high quality videos of performances on a variety of late night talk shows.

Some may be more familiar with her from a viral video of a masterclass with Pharrell
Williams whilst she was a student at New York University’s Tisch School of the Arts.
Williams gives her no notes on ‘Alaska’ and even compares her to the Wu-Tang Clan
because of her inability to be put in a box. More recently she has been appearing at
numerous of Zach Bryan’s tour shows to perform their song ‘Dawns’. A few weeks
ago, she shared the stage with Bruce Springsteen at Bryan’s Brooklyn show during
his encore of ‘Revival’.

Don’t Forget Me (2024) is co-written by Maggie and Ian Fitchuk, who has
consistently worked closely with country pop powerhouse Kacey Musgraves – as well
as having a writing credit on Beyoncé’s COWBOY CARTER (2024). The essence of
country seeps into each song of Rogers’ record especially ‘Never Going Home’ and
the title track ‘Don’t Forget Me’.

I found that this album excels at the storytelling element, which is obviously closely
associated with country and classic folk music. I would say that ‘Don’t Forget Me’
has elements of both Rogers’ previous albums, as well as her archival work released
during lockdown – with the softer acoustic guitar which becomes more prevalent as
the album progresses.

The album begins with the musical equivalent of a breath of fresh air, in the form of
‘It Was Coming All Along’. The seemingly breezy song depicts the inevitability of
growing up and a yearning to hang on to your youth forever, yet knowing this is futile.
In the first verse she sings:
‘And everywhere I look around /
It seems like we’re always saying goodbye,’
which is eerily relatable to most students when they initially move to university, and
again when the eventually say goodbye to the cities they called home for multiple
years. We all know that it was coming all along, but many refuse to accept this fact.

The next song ‘Drunk’ is a powerful and angry pop-influenced song which is about a
forbidden love, such as rekindling with an ex. In the pre-chorus Rogers sings:
‘And I see stars that never, ever, ever looked this bright to me
Feeling on your skin never felt this right to me,’
She knows it is wrong, but it also feels so right in the moment which is the hardest
part of letting go.

The following track is her second single for the album – ‘So Sick of Dreaming’. This
edition allows her to fully embrace her country-pop style, which is undoubtedly when
the artist is at her strongest musically. The bridge includes a spoken word interlude
where she retells her being stood up for her date to go to see The Knicks (they lost).
Her being fed up with dating players and losers is especially relatable especially in
the dating app age which never fails to provide disappointment.

‘The Kill’ is a song about incompatibility. Both parties are going in for the kill; both are
said to have laid out shoes from their previous relationships which were impossible
to fill. Musically, the song is very pop focused, but again contains elements of
country with the dominance of the acoustic guitars. Next is ‘If Now Was Then’, a
song about a past relationship and the things that Maggie would do to rectify the
situation if she got the chance. She wishes that both parties could take back the hurt
they caused, which is inevitably impossible – she’s stuck on this boy from her past to
the backing of a country-pop hybrid.

‘I Still Do’ is the first taste of a slower tempo. She sings:
‘Love is not the final straw
But it’s always a reason to risk it all’
Her emphasis on love is a theme which continues through the album. To Maggie,
love really is the reason for most of her actions and thoughts. The tempo reverts to upbeat style of ‘The Kill’ the on the next track ‘On & On & On’. She is still stuck on this past relationship, thinking about what could’ve happened. This song is a form of revenge.
‘And it goes on and on and on
When you hear this song
And it plays on and on and on,’
is her writing this song to taunt this boy. She wants him to hear this song and
remember how badly he treated her. In the outro she sings
‘Yeah, you better run,’
whilst laughing in a slightly threatening manner which added to the revengeful
message of the track.

‘Never Going Home’ keeps to a similar tempo and reflects the transition between
relationships.
‘There’s old music playing, I can hear my friend saying
“You know it’s time to go, go, go, go, go,”’
is reflective of her friends pushing her out of her comfort zone. In the bridge, Maggie
attempts to rebound and sings:
‘We get to talking, but those lips aren’t your lips
We lean together, those hips aren’t your hips’
but has the common experience of looking for your ex in someone else.

The penultimate track, ‘All The Same’, is hauntingly sad song about the monotony of the
aftermath of a breakup.
‘Give me the chance to wake up in a full romance
Just knowing that you chose to stay,’
is heart wrenching lyrically but coupled with the minimalistic backing, is made even
more sad. The final track, the titular track, ‘Don’t Forget Me’ was the first single released and,
again, is devastating. The song describes Maggie’s opinion on her friends’ lives and
how they are getting married and growing up. This is something which terrifies
Maggie however she feels left behind and still craves a relationship. Her friend,
‘Molly’, follows her loves to parties. Rogers sings
‘She seems happy, oh, but that’s not love to me’.

The album, as a whole, plays on Maggie’s strength in songwriting and overall
artistry. It perfects the country-pop hybrid genre, which is reminiscent of successes
such as Kacey Musgraves’ Grammy-winning album ‘Golden Hour’.