daydreamers: A Shining Synth-Pop Single

Gabriel Morrissey-Limb on 7 April 2024

Written by Gabriel Morrissey-Limb, Edited by Millie Cain.

After several weeks of teasing their debut track all over social media, new British Indie-pop band daydreamers have released ‘Call Me Up‘ a track drenched in inspiration from the synth-pop era of The 1975’s 2016 album ‘I Like It When You Sleep For You Are So Beautiful Yet So Unaware Of It‘, however with its catchy hook and lyrics that would catch even the most cynical zoomer’s ears; daydreamers have established themselves as exciting new prospects in the competitive British music scene.

The song is essentially a plea masquerading as a suggestion to a love interest, ‘let me meet you on the dark side of your bedroom’ and the repeated cries of call me up’ echo this sentiment. The song is bathed in the dreamlike indie-pop sound that British music has slowly embraced in the past 10 years.

The track begins with the previously mentioned indie-pop sound diving headfirst into the chorus with impressive vocals provided by lead singer Hugh. The song then details being bored by city living before posing subtle questions of How you keeping? and ‘How’s your weekend’ the feigned interest in small talk is something most people dealing with modern romance can relate to, the idea of the song is helped by the dream-like sound that the band has set itself upon using.

The second verse keeps up the ideas of being tired of modern life and people, comparing other people to the person this song is about simply isn’t possible. The pleading returns here as Hugh sings the suggestion of calling this person whilst their friends are in the bathroom, before sliding back into that catchy hook.

The musical qualities of the band absolutely shine on this track, serving as a very impressive debut, they have a talent for melodies and catchy song writing, Their lyrics are something that gen z can relate to, struggling with modern love and interpersonal relationships and with this track alone they have captured that feeling of love in an uncertain future. If this track is any indication, daydreamers are a band to keep your eye on.

Mother Mother’s “Grief Chapter”: An Ode To The Absurd

Charlotte O'Reilly on 22 March 2024

Written by Charlotte O’Reilly, Edited by Millie Cain

Disheartened by the acceptance of the futility of human existence? Want to find relief in the absurdity of living in this mortal plane? Looking to find solace and company in your Dostoyevsky-esque philosophies; or reject them completely? 

The Canadian indie rock band: Mother Mother, return for their ninth album- “Grief Chapter”.  After 19 years, the band’s transgressive sounds and lyricism still stand strong. I was privileged enough to see them live in February and this eclectic blend of their classic rock sound and fresh pop tone filled Leeds’ 02 Academy with a rather joie de vivre whilst grooving to lyrics pondering our very mortality- as “Nobody Escapes”. 

Nihilism, existentialism and absurdism: “Grief Chapter” rethinks previous themes and rejects them as “The Matrix” denounces “Burning Pile”. The ninth track of their new album depicts a parallel dissatisfaction with life but demonstrates how we can surpass these societal constraints- as opposed to surrendering to them as in “Burning Pile” as time continues to rule us. 

Ultimately, past their core angst which still remains prevalent throughout the album; this is a call for empowerment. Ryan Guldemond swaps his electric guitar for an acoustic as the album finishes with mellow vocals and the denouement is tranquil- perhaps how the end will be for all of us after a brief swell of “madness”: there is peace.

Y U QT in Interview: From Leicester to Leeds Boiler Room

Thomas Anderson on 9 March 2024 

Written by Thomas Anderson
Edited by Eve Moat

Y U QT have fast become one of the most exciting, upcoming producer and DJ duo’s in the underground electronic scene. Hot off a momentous 2023, in which the Leicester natives released two EPs in All Nyte (2023) and Babe?, alongside the explosion of their ‘Y’all Ready for This Dub’ and other Hip-Hop inspired dubs, the pair have rapidly developed a reputation for carefree, high-octane shows and genre-bending smash hits. As a Leicester boy myself, it felt only right to catch up with them ahead of their headlining set, at the first night of Boiler Room’s takeover of Beaver Works in Leeds, to discuss the recent momentum they’ve built, music distribution, their inspirations and what comes next for the Leicester boys.

Hi Darryl and Cooper, I hope all is well – It’s been almost 3 years since Boiler Room came to Leeds and the excitement is through the roof, specifically for your set which everyone on campus seems to be looking forward to! In terms of Leeds in general, how familiar are you with the city, what is your favourite venue to play and do you have any memories that particularly stand out from shows here?

Y U QT: Thanks so much! We’re glad people are ready. We are very happy to be coming! Our Leeds Festival shows have been amazing and funny. We had a full blown wrestle fight at one of them and I think people thought it was genuine haha.

After an absolutely massive 2023 for Y U QT, with the explosion of ‘Y’all Ready for Dis’, ‘Let it Go’, your ‘Sprinter Dub’ and the release of your EP BABE? (2023), which all culminated in your ALL NYTE LONG tour, how much did you enjoy the year, are there any big lessons you learnt from it and what have your goals been for this new year, both in music and outside of it?

Y U QT: We actually did look back the other day and that ALL NYTE tour feels like it was about 3 years ago not 12 months haha. Last year was amazing! We achieved so much it’s flown by.

In terms of Lessons learnt: don’t buy a Samsonite laptop pull along case – it will bend your laptop. Download stuff on Netflix before the train and have as much of a good time as possible and don’t worry too much. 

Our goals for this year: Be mates. Put out loads of music and put on parties.

In terms of your EP BABE? – it was definitely less ‘heavy’ and more melodic than some of your previous Speed Garage-Bassline releases – was this a conscious decision and a specific creative direction when producing the record, or would you attribute this genre-bending flexibility and versatility in your sound to be more of an integral characteristic of the Y U QT project, long term?

Y U QT: Yeah! We feel like there’s a sound and we want to continue it and have flares of inspiration and not have too many boundaries. That being said it has to make you dance and make you want to have it in your set.

As someone who is from Lutterworth, it feels incredible to have you representing our little community. Is there anything about the local countryside and Lutterworth village area specifically, or Leicester as a whole, that influenced you to create the genre-bending music that you do?

Y U QT: Yeah 100%! we don’t think there’s one specific sound that’s stuck in Leicester as we’ve grown up so there’s been so many genres to take influence from which is a blessing. Being smack bang in the middle of the country we’ve been really lucky to have such broad influences that aren’t necessarily specific to one area or city. North, South it doesn’t matter. 

Your energy together behind the decks is electric and definitely infectious. At all of your sets (notably your recent DJ Mag set), not only you, but all of the crowd seem to have a big smile on their faces and are dancing loads – there has been a lot of discourse on social media and in the EDM community about the influence of Tik Tok and the usage of phones, social media ‘killing of the dancefloor’ – do you think over the last few years that the joyous, kind of carefree and fun-driven attitude that you two have during your sets, has gone missing across the board in the scene?

Y U QT: We don’t really notice too many people on their phones at our shows. Sometimes for tracks they want to film. And everyone has their style. Nothing wrong with any way as long as it’s good! If we can create a care free environment at all our shows and that transcends to the audience, then we’re always happy. 

One thing that sets Y U QT apart from other producers and DJ’s is their free-to-join WhatsApp channel, which gives exclusive access to members, such as the early access to the ‘Y’all Ready for Dis’ 12” Vinyl drop and the free downloading of their Dubs via. Dropbox. 

What was your thinking in opening access up to your personal dubs and how important to do you think it is to use social media as DJ’s and producers in the modern day, especially with the popularity and ability of sites like Tik Tok to blow people up overnight – does this itself ever influence your production of songs?

Y U QT: We just want people to enjoy them self and be happy and if we can be the thing that makes that happen why not. We just see music as something to make people dance and feel good so if people want the dubs, have them, spread the joy. Ermmmmm, does tik tok influence what music we make? I’m gonna say no. Not in a negative way, just it’s not yet. It definitely influences finding new stuff because there’s loads on there and it’s great! 

What artists have inspired you in the past in terms of influencing your sound and what artists are you specifically enjoying listening to at the moment?

Y U QT: El B, MJ Cole, Kettama, Pangaea, Soul Mass Transit System, Mike Millrain, Sunship.

I’ve read loads about how the pair of you are inspired by Hip Hop, specifically in your Dub’s – if you could choose any Hip Hop song in the world to create your ultimate Dub for, what would it be and why?

Y U QT: It would most likely be a Gangstarr track. We used to be obsessed when we were kids, showing each other tracks we’d found on the bus every day. Maybe ‘Full Clip’. It’s one of our favourite tracks, from one of our favourite parts on an old DC shoes video from around that time. 

Fans heard the release of ‘All Nyte’ in January 2023, as well as ‘BABE?’ nearer the end of the year, are there any plans for upcoming projects that we can expect from you soon, and if so, what sound or direction have you decided to go for?

Y U QT: We’ve got plenty of new music lined up for this year that we can’t wait to get out there. We’ve definitely taken a more club focussed approach with these new ones. 

The Leicester boys seem as motivated as ever to continue their relentless releasing of fresh music and expanding their sound. The momentum they’ve built in recent years has been wonderful to witness and the best friend’s focus on curating jovial, intimate shows, where fans can let loose, relax and vibe, is a breath of fresh air in a scene that is becoming so corporatised and caught up in getting a video for the ‘gram.

Make sure to listen to, buy and stream their recent EP Babe (2023) and the rest of the duo’s jam packed discography:

Bandcamp: https://yuqt.bandcamp.com/

Instagram: @y_u_qt

Soul Mass Transit System in Interview: The Legend Returns Home

Thomas Anderson on 9 March 2024 

Written by Thomas Anderson
Edited by Eve Moat

The city of Leeds has long been a northern powerhouse in the underground music scene, but specifically stands as a hub for electronic dance music fans. Home to iconic venues such as The Warehouse, Mint Warehouse and the local favourite Beaver Works, as well as underground basement clubs Wire and Distrikt, the city leaves no genre of music unturned. Over recent years however, a bass-heavy revolution seems to have hijacked speakers throughout the student-populated neighbourhoods of Hyde Park, Headingley and beyond, as the UK Garage, Jungle, Drum and Bass, and Breakbeat scenes seem to have gripped the city, in an insurgence spearheaded by the native garage legend, Soul Mass Transit System. Previously sporting different alias’s, SMTS has been releasing music under this name since 2020 and has quickly made an imprint on the underground electronic music scene. From earning a nomination for ‘Breakthrough Producer’ at DJ Mag’s 2022 Best of British awards, to releasing records on large labels such as Ministry of Sound, ec2a and Gimme A Break Records, SMTS has been riding high over the last few years, curating an impressive collection of tracks that guarantee to get the crowd moving.

Most recently, the talented producer and DJ headlined the first night of Boiler Room’s long awaited return to his home town and Tom Anderson caught up with him via e-mail to talk all things SMTS.

First of all, how does it feel to be back in Leeds, specifically headlining such a big event in your home town, at such an iconic venue in Beaver Works?

SMTS: Yeah buzzing for this one, really solid line up as well, with a bunch of close friends playing so I’m very hyped! Yeah, Beaver Works is wicked, actually played my first ever gig there back when I was 16, so it’s a nice full circle moment!

You must have some unreal memories of nights in your home town, are there any specific sets, shows or DJ’s that you have great memories of in Leeds? Are there any venues that use to be favourites for you that may have closed down?

SMTS: I’ve had some v special moments in Leeds, would say top 3 would be: Theo Parrish all night long in Wire, dropping Radiohead – Everything In Its Right Place; First Cosmic Slop @ Hope House all those years ago and probably the last Love Muscle Pride, since it’s quite rare that I’m about for it. The Garage/Waxwerks closed a few years back at this point, but that was a solid spot.

The Garage/Waxwerks was a multi-functional venue, opening in 2012, that acted as a creative hub, record shop and small music venue. It quickly gained a reputation for being one of the best small venues in the UK, winning DJ Mag’s prestigious Best of British ‘Best Small Club’ award, the same year it opened. The venue lasted only 18 months however, as the landlord abruptly refused to extend the tenancy, closing the beloved creative locale with immediate effect and without any prior public warning. The iconic Leeds venue is still remembered fondly today. Stories like this, coupled with the recent closure of local independent venues such as Sheaf Street, should act as reminders of how fragile but vital grassroots venues are to underground music scene across the country and connecting music lovers with art.

The last few years have been absolutely massive for UKG but let’s take it back, when did you get into Garage music and what do you think made you gravitate towards it over other genres of electronic dance music?

SMTS: I think I was first into it back in days of kids bluetooth-ing bad rips of Dexplicit – ‘Bullacake’ and ‘Heartbroken’. I was more a metal/emo kid back then, but something about those early bassline bits just really stuck, probably the raw energy that most of the tracks just had, it was like nothing I’d heard.

I used to do bits more on the techno/house side, which I was getting bored with, so I started making a few garage bits just before and over lockdown and was just sucked into it. I Hadn’t been that excited about making tunes in a few years so kinda glad it’s stuck at this point.

The Simpsons. What’s up with that? Your brand and social media, including your profile pictures and art promo’s for edits, seem heavily inspired by the iconic television show – is it just a cool aesthetic thing, a way to keep anonymity or is it something that for instance has inspired you throughout your life? Where did it stem from?

SMTS: Haha yeah just a big fan of it really, got most of my alias names from fairly obscure references from it, kinda all started when I did the first EP back in 2018/19 and was looking for names to put it under since its quite diff from what I did before. Think I thought of a few and Soul Mass Transit System just kind of stuck.

Outside of Electronic music, what have you been listening to recently and what other genres and artists within them do you enjoy/have inspired you in the past as well?

SMTS: I don’t really tend to actually listen to much electronic stuff, I find that most the time I’m listening to it, it’s to sort the Rekordbox and that out. I mostly listen to reggae/dancehall and new age/ambient stuff. Been listening to a lot of the NTS radio infinite playlists, the “island time” one slaps and found some bangers from it.

Well, if anyone needs some inspiration for making some of the coolest and ground-breaking Speed Garage and Bassline tunes, then check out NTS radio infinite playlists!

After finding out more about his Leeds roots, sound inspirations and background for the SMTS project, we moved onto discussing what’s to come next for the Garage virtuoso.

You’ve released numerous EPs such as The Big Speedy G One, Real Love, All I Need and most recently, Only U – your output is also supplemented with your editzzz volume series – is there any new projects in the work that we can expect coming soon? What plans does SMTS have for 2024 in general, can we expect a full album in the future?

SMTS: Been setting up shop with Untitled Dist., who are sorting out most my stuff now, gonna be just putting out whatever I’ve been playing hopefully, a bit quicker than before. Just did the first 2 on my own label “Grand Soul Central” and just did the ‘Fritz Schnackenpfefferhausen’ one on a label I’m calling “Wurst”, so keeping pretty busy with that. No plans for an album yet but it is something I’d like to do eventually, just don’t want it to be an album of club tunes that feel like they could be on a double 12”, if you get me?

With festival season fast approaching, so far it’s been announced that you’ll be playing at Outlook Origins, Shall not Fade and the truly incredible Gottwood. Do you have a preference of playing shows at clubs or at Festivals and can you detail any differences in how you would curate and execute a set in a club, as compared to a festival, how is your track selection different, will you typically mix faster at one over the other?

I’m not much of a festival go-er to be honest but they are fun to play at, def diff vibe cos you know at any point people can probs just dip from your set to go see someone else so there’s a much bigger prerogative to play more high energy from the off, but boomtown last year was a banger so really looking forward to getting out in the sun again this year.

Let’s hear more about your own taste – If you could curate any line-up for your own music festival that you would be headlining, where would it be and which 5 artists would you choose to play as well?

SMTS: Oooooh toughie, would have to go with these if b2b is allowed: Eris Drew b2b Octo Octa, Theo Parrish for minimum like 3-4 hours, introspekt, Love Muscle Residents throw down and Barrington Levy to close, I reckon.

Wow, an eclectic mix of artists and influences there. A lot of US influence there, with introspekt from New York, Eris Drew from Chicago, whilst keeping it local with Love Muscle residents from Leeds. Barrington Levy bringing those vibey Reggae and Dancehall anthems to close would make for a vibey atmosphere that would rival Woodhouse Moor Park on 4/20!

In an interview with Break the Wire in early 2023, you answered the ‘Ben10 Supertsylin edit’ which was huge last year – but what is the one essential tune that every DJ must have on their USB at the moment, in your opinions?

SMTS: Been spinning Operator P – ‘Heads At Dub’ and Spindu – ‘You’re in My System Dub’ so much that people are probs sick of it. Not gonna stop though, they are both bangers. For all the anti-edit people INVT X Introspekt – ‘B1’ off a new ep coming soon is a heater, will have to keep an eye out for that one though.

That’s 3 tunes but it’s hard to pick just the one right now, so much good stuff coming out!

Writing this after the Boiler Room show, he did in fact drop Operator P’s ‘Heads At Dub’ and the crowd reaction definitely proved that people are not sick of it. Keep dropping it chief!

Finally, in terms of Boiler Room Leeds, what other DJ set are you looking forward to the most? Are there any local, up-and-coming DJ’s that you think are specifically exciting?

SMTS: Got 2 B2Bs with Frazer Ray in May that I’m very hyped for, we go way back and I always feel I can push what I play a bit more with him. ODF is a great Leeds based producer/DJ who is really killing it at the moment.

SMTS clearly thinks highly of ODF, as during his Boiler Room set last Friday, he honoured this co-sign by playing the Leeds-based, up-and-coming producer’s bootleg of Tim Reaper’s remix of ‘Pull Up’ by Special Request, much to the crowd’s pleasure.

Thank you for your time and I hope to see you at the show on Friday for a wicked, energy filled set, I’m sure you’ll blow the roof off!

SMTS: Bless! Hope u have a good ‘un!

The first night of Boiler Room’s Beaver Works takeover was certainly a night to remember for Soul Mass Transit System, as his hour long set on ‘Stage One’ sent his home town crowd berserk, between midnight and 1am. I managed to wriggle my way right to the front of the 360-degree deck set up and was blown away by his wizardly mixing and tasteful track selection. It was arguably the best set of the night. Gottwood festival can’t come soon enough, where I will be front and centre, waiting for another dose of Simpson’s inspired basslines and relentless grooves.

Follow, buy, and stream the latest SMTS music on:

Bandcamp: https://soulmasstransitsystem.bandcamp.com/ 

Instagram: @thesoulmasstransitsystem

SoundCloud and Spotify: Soul Mass Transit System

Boiler Room is HOT (and its only getting hotter)

Thomas Anderson on 9 March 2024 

Written by Thomas Anderson
Edited by Eve Moat

It had been almost three years since Boiler Room had come to Leeds, with their Open Dancefloors post-COVID UK tour in September 2021, so when their Instagram account announced a return show in February 2024, the excitement across the city was palpable.

Boiler Room, now one of the most recognisable event promoters and broadcasters in the whole world of music, has humble origins that stick true to the name. From the first show in 2010, which was broadcast using a duct-taped webcam in an idle boiler room, to the upcoming Worldwide Party Series, their biggest global tour yet that will span 25 cities, the company remains as committed as ever to their focus on quality underground music. Their popularisation of the 360-degree decks setup and online streaming format with the artist and their music front and centre, alongside the centrality of inclusivity and intimacy on the dancefloor, has gripped not only underground music lovers, but also the events industry itself, dragging it into a new digitalised era shaped by authenticity, inclusivity and good vibes.

As a leading, northern hub for electronic music, Leeds is home to world-class venues such as Mint Warehouse, Wire Club and the legendary Beaver Works, which was chosen to host the highly anticipated night. Even though the line-up hadn’t been announced prior to tickets releasing on 1st December, they sold out in hours, after an enormous amount of pre-sale sign-ups, which prompted the events promoter to add a surprise second stop in the city, for a follow-up night on Saturday 24th February, due to “overwhelming demand”. Leeds and Beaver Works itself are both synonymous with high energy, underground UK garage, jungle, drum and bass, and breaks – which the star-studded line-up reflected once it dropped. It included Grammy-winning MC Flowdan, Leeds local star Soul Mass Transit System, jungle wizards 4am Kru, the genre-bending, Leicester-based duo, Y U QT, and a rich list of some of the UK’s most celebrated, roof raising, selectors.

Image Sourced under CC Licence

Whilst already an industry-defining events company, the virality of Fred again..’s London 2022 set, which has currently accumulated over 30 million views, exploded Boiler Room into another stratosphere – the mainstream. Their reputation preceded them and I subsequently expected one of the best produced events and parties that I had ever attended. Boy did they deliver that.

The night began with metal scanners on the door, which instantly put everyone at ease and created a safe and carefree environment. Tick one. A fast-moving queue, with friendly security guards and ticket scanners, tick two. Just like that, I was in and ready to dance. The main room had been transformed into ‘Stage One’ – the left-hand side of the room was extended and the main 360-degree decks set up was illuminated by the instantly recognisable and iconic red hue of the Boiler Room logo. Every room was decorated like never before, the Tall Room was looking better than ever with an incredible light set-up that shone especially bright as 4am Kru proved that jungle really is massive, closing the room with high-powered breaks and jungle spirit – I even saw Johnny in the crowd! Dr Dubplate was followed by Breaka in the ‘Other Room’, both of whom had the crowd two-stepping along to their sharp basslines and deep rhythms. 

It’s undeniable that Stage One was the main attraction of the night. Lady Passion’s set of fast but soulful garage warmed dancers up for the first headlining act, which began at midnight: Soul Mass Transit System. Over the last few years, the Yorkshire native has made huge waves in the UKG scene and there is no doubt that his energetic performance did too. It wasn’t just the room that was filled to the brim, as his set was packed with hard-hitting basslines and melodic percussion, which sent the crowd wild for every drop. SMTS’s connection to Leeds was evident, as he championed local producers such as ODF, playing his bootleg of Tim Reaper’s remix of Pull Up by Special Request. It’s safe to say that SMTS is beloved by his hometown and headlining Boiler Room must have felt like a full-circle moment for him.

Flowdan was next up, as anticipation on the night reached its climax for the Grammy-award-winning MC’s set. The Roll Deep Co-founder and grime scene legend gassed up the crowd with his baritone bars, spitting over the heavy dubstep, drum and bass, and garage beats that have become synonymous with his voice over his 20-plus-year career. These combinations have, in recent years, evolved into a smash formula for guaranteed hits and crowd frenzies, which translated on the night, when the rammed main room erupted song after song, as DJ Neffa T, dropped certified riddims and fan favourites that made Beaver Works Rumble, including tracks Baddadan and Shella Verse.

The act that I was licking my sweaty and dehydrated lips for the most was Y U QT, who were closing the night on Stage One at 3-4 am. The Leicester-based duo holds a special place in my heart, as they represent my hometown and high school in Lutterworth. Known for their high-intensity and carefree sets, the duo can always be seen with ear-to-ear grins on their faces, dancing just as hard as the delighted crowd, who are almost always two-stepping and going berzerk to their hip-hop inspired dubs and genre-bending, often bass loaded, original tunes. This approach to electronic dance music has cemented themselves as up-and-coming stars in the underground music scene, especially after a huge 2023 that included an electric DJ Mag set in November and the instant success of their track ‘Y’all Ready for Dis’, which has amassed over 1 million streams across Spotify and Soundcloud to date. Even though ravers had been on their feet grooving for over 4 hours, they were still completely captivated and immersed in the bouncy basslines and the signatory, expertly sourced samples that lace the duo’s dubs. Ecstatic faces filled the room as the pair played to the crowd faultlessly, even providing a sneak peek at what may be to come this year as they debuted unreleased IDs, specifically ‘It Hurts When (One More Time)’.

The night reached a personal apotheosis when the Leicester partnership mixed in their ‘Apricots’ dub, an edit of Bicep’s iconic, ethereal, synth-based track. As the elegant instrumentation built and the Malawain-inspired vocals kicked in, excitement for the whole night culminated as the lights cut and their signature Y U QT tag played. What I experienced next can only be described as pure bliss. The greatest drop of an electronic music track that I have ever heard, graced my ears. Angelic white lights suddenly pierced the darkness in absolute unison with the relentlessly chopped-up vocals and a new, devilishly deep bassline pattern. Light met dark, white met black and angels met the devil in an other-worldly collision that transcended the room into a state of unparalleled euphoria. The contrast and dichotomy between the different musical elements blended into a beautiful cacophony. Faces around me were awe-struck for mere seconds, before all hands flung into the air and sweaty bass faces were unleashed. For me, that moment was the pinnacle of electronic music and consummated the show as the best party that I’ve been to. The rest of their set continued to amaze me and concluded an exemplary night that was overflowing with talent, awe-inspiring mixing and top-tier tune selection.

Boiler Room has cultivated a reputation for throwing some of the most intimate, enjoyable and quality events that showcase and celebrate the finest underground music around. The first show of their two-night takeover of the esteemed Beaver Works demonstrated exactly why the brand has become so revered, representing the gold standard in music events and acting as the barometer for exemplary nightlife.

Everyone’s Favourite Hippie Dad: Beans On Toast Live Review

Maddie Nash on 8 March 2024

Written by Maddie Nash Edited by Millie Cain

To celebrate the mammoth achievement of releasing his sixteenth album, ‘The Toothpaste and the Tube’; cult folk figure Beans on Toast embarked on his new UK tour doing what he does best: playing intimate, community-led venues to spread his message of positivity and hope. With a new album released every year since 2009, it is a testament to the success of his beloved hippie-uncle image that his shows constantly generate a raucous, feel-good energy.

What characterised the venue room of Brudenell Social Club that night was the sloshing of beer and dad laughter, rhythmically rising and falling together; the room that has seen so many different acts was transformed into the cosy familiarity of a small-town pub. As Beans on Toast steps out, his run-of-the-mill-hippie-dad persona was greeted with a warm and particularly rousing welcome, the majority older crowd hailing him with applause.

Debuting songs from his new album took the crowd by storm, less acoustic focused than his more popular work; it was these songs which had everyone dancing. In keeping his signature homely, honest vocals, lead singer Jay McAllister mixed the funky backing of his band with some incredibly catchy choruses such as ‘Back out on the Road’, which leave you singing along, even if you’ve never heard it before. It seems impossible that the band were formed especially for this tour and met on the way to their first gig. The instrumental meshed together seamlessly, with tracks such as ‘What would Willie do?’ defying genre categorisation. It is apparent to me that Beans on Toast is an icon of cult folk due to his ability to lace his music with rock, country western, and jazz so successfully. 

Part of what made this gig so successful was the intimate feel of it. It was obvious that he loved the crowd with a genuine earnestness, and they adored him back for it. From counting in a rousing chorus of ‘Yorkshire!’ to singing happy birthday to audience members, every interaction felt deliberate. One of the most important elements of folk music is in grassroots tradition and community; it’s the music of the people by the people, from historical working-class national songs to the folk of today. Beans on Toast is such a successful folk figure as he understands this perfectly. Such a strong sense of community banded around the room, linking us all together. The support acts were internal, various members of the Beans on Toast band getting an opportunity to solo, from the silky keys of pianist King Killership to the spoken word poetry of Bassie Gracie – a set that started off humorous and ended with some surprisingly striking and powerful images, capturing the trippy, disorientating feeling of Beans on Toast’s music by shrinking the line between song, poetry, and art.

The acoustic set still works just as well though, and the softer melodies don’t fall flat due to the crowd singing along making it sound almost like a lullaby or a hearty campfire retreat depending on the song. This simple storytelling works as the writing is so personal, a particular standout being ‘The Album of the Day’, his adoration for his daughter shines through this beacon of fatherhood fantasy. The positivity and sentiments of the songs are reflected in the crowd, displays of friendly affection and love are everywhere I turn my head. The simplicity of his hippie protest songs is balanced out by how well they land – maybe easy protest songs are exactly what is needed right now. ‘Life won’t be wasted on me’ and ‘I believe in a world worth saving’ are his battle cries. The focus is on seeking music that makes you feel good in this lively and loving celebration of positivity and the small things in life.

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.

Frank Carter and The Rattlesnakes Invade Leeds with The Mysterines

Millie Cain on 6 March 2024

Written and Edited by Millie Cain

Surrounded by bald heads and beards, leather jackets and dyed red hair, with my 17-year-old sister in tow (who is far cooler than me), we arrived at the hive of excited chattering that was 02 Academy on 13th February. Perhaps it was the adrenaline of pancake day fuelling the crowd, but the atmosphere was blinding from the first moment.

Dressed in all black, grinning, The Mysterines took the stage. Lia Metcalfe’s sultry voice captivated the whole room, with an effortlessly cool attitude as they broke out into opening track, an unreleased fan favourite ‘The Last Dance’. There was a real feel of a hive mind within the band, they seemed to move in a haze around each other as if they had their own gravitational field.

Their short support set left a poignant mark on the rest of the night, the alternative Wirral-based 4-piece packed a punch, with a mixture of tracks from their previous discography and upcoming album ‘Afraid Of Tomorrows’ which is out June 7th. The band released a total of 7 songs across two EPs on their own Pretty Face Recordings label before signing to Fiction Records in March 2021 and releasing their debut album ‘Reeling’, the following year.

During standout track ‘Stray’, Lia held the crowd in the palm of her hand, holding an impenetrable gravitas under the smoky red stage light, she faced the crowd arm outstretched and let us be consumed by the sounds of the lead single of their upcoming album. ‘Stray’ was written after The Mysterines “re-indulged” in the music that shaped their childhood and was inspired by 2022 film Meet Me In The Bathroom, which explored the New York scene of the ‘90s and ‘00s through bands like The Strokes, Yeah Yeah Yeahs, LCD Soundsystem and Interpol.

“It’s almost feels like it would have made more sense if our albums were released the other way round,” Metcalfe told NME, with ‘Reeling’ focussing more on massive hooks and big singalongs while ‘Afraid Of Tomorrows’ sees the band leaning more on their psych, grunge and alternative influences. This album follows their UK tour supporting Arctic Monkeys, “That was the most surreal experience ever,” Metcalfe admitted. “It still feels like a fever dream we all had. They really looked after us and it was really inspiring to see a band from the North of England in their position. As huge and respected as they are, they’re so grounded and humble.”

“Because they were so relaxed and had so much fun with every show, that loosened us up,” Metcalfe added. “It allowed me to enjoy how mad it was that I was playing stadiums with my mates. It was also a good reminder that nothing has to be super serious all the time.”

With the honesty that comes with their music, there comes a shining light on sexism in the alternative music industry. Female songwriters are constantly having their songwriting credentials questioned, something the rest of her male bandmates are not victim to. Even after being invited to contribute lyrics to Paul Weller’s album, and a number 1 single, Lia still attests to the scrutiny she receives on such a higher level than the men in her genre.

To this crowd though, they had nothing to prove. A truly exciting, mesmerising performance which built an incredible ambiance with final track heavy rock hitter ‘Hung Up’ before Frank Carter and The Rattlesnakes dived onto stage.

The fiery orange stage light opened the soft piano, a single poetic spotlight, he needed no introduction, the instantly recognisable Frank Carter stretched out, and the Rattlesnakes lit up behind him.

In a sharp suit, he dressed up for the occasion, slicked back Bond villain hair and launched into incredible vocals for the opening ballad ‘Can I Take You Home’ for Act I ‘Cloudy & Pink’ of their show, which contained 3 songs from their new album ‘Dark Rainbow’. Without pausing, the lead singer and guitarists alike were climbing the speakers, leaning so close to the crowd they nearly touched their noses as they launched into heavier track ‘Brambles’. The crowd of the 02 reached out to try to grasp the dark silhouettes on a red stage as they introduced themselves, with so much energy I thought Carter might take flight. “Who’s ready to dance Leeds? Because I fucking am!”

His point was proven – it wasn’t long before the suit jacket was off, pristine white shirt untucked, Carter was shaking his hair out, head banging along to the music. The whole band shared this intrepid current of excitement that bled through their music as they broke into Act II – ‘Like Lightning’.

A heavier, punkier part of the set that buzzed of feverish clapping, bouncing and general thrashing around to iconically beloved fan favourites such as ‘Devil Inside Me’ and ‘My Town’. They lit the stage with blue lights, even had heavy rain sounds preluding their tracks, the crowd was filled with whispers of people trying to predict upcoming songs, and wondering how big the mosh pit would spread.

The answer is huge. The fans were possessed, it felt like everyone in the room knew every word, Frank Carter was preaching to his own choir, and genuinely at times the crowd nearly drowned out the band themselves. Not that they seemed to mind – Carter gleefully twirled around his mic stand and pointed his mic out to the crowd to hear them singing back to him. For ‘Crowbar’ he crouched low, arms and legs in the air, throwing his body around the stage like a doll.

As the tempo increased for ‘Cupid’s Arrow’ his smile was so wide it could’ve split his face in half. The band themselves were so tight, ridiculously clean, for all their years of performing it really shows how polished a band of their experience should be.

For ‘Wild Flowers’ they announced, “this song is for some very special people tonight, this mosh pit is ladies only, if you want a mosh in a safe environment” and Carter couldn’t be more correct when he cried out that “You’ve never seen a happier mosh pit in your whole life!”.

By now we belong to the band, the cheeky and charming (without being cocky) Carter and effortlessly talented Rattlesnakes. It was a true shared -and sweaty- experience, watching trainers and doc martens float above heads as crowd surfers dived over and over into the air.

The band leeched off this energy, Carter himself dived in before screaming “this song is about how i kissed your boyfriend” and seemed to teleport straight back up on stage for the opening of ‘Honey’. Which was quickly flipped into ‘Parasite’ about your boyfriend, “who thinks he’s a comedian” , a furious number with big drops and an angry back and forth.

The band swung smoothly from these booming punk anthems into soul-crushing ballads, letting the crowd rise and dive with them every step of the way. There was a feeling of familiarity, I don’t doubt many people in the room had probably seen them over and over, but for me, on my first encounter with them, they drew me in as if I always had.   

“Leeds you’re beautiful as always, thank you so much for having us play” they constantly reached out, chatting away, letting the crowd chant back, listening to their people just as much. Carter crooned, threw himself into the passes, his vocals were immense, and he had some truly poignant moments to himself, but never hesitated to let his bandmates shine with him.