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.

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.

Written by Thomas Anderson
Highlights (in italics) and Edits by Eve Moat

After announcing their first studio album since their 2015 record Anthems for Doomed Youth, The Libertines embarked on their Albionay Tour in January 2024, reconnecting with fans in small venues across the country and teasing what is to come next for the London-based four-piece. It has been 8 years since we were last blessed with new music from the band and this intimate show proved that there is still an insatiable appetite for their art and tight song-writing.

It clearly was not just the band who were excited to hit the road once more, as tickets sold out for almost every venue in just seconds. After website crashes and queues with tens of thousands of people, somehow, I managed to wade through the competition and purchase a golden ticket for their show at The Wardrobe in Leeds, on 15^th February. The feeling of capturing gold dust became only more fitting as time edged closer to the show and tickets for some venues were re-selling for over £350. For me though, I knew the experience would be priceless, and it is fair to say that I was more than correct.

“The Wardrobe, as a venue, looked as inviting as ever, with its classic heatwave knocking you for six as you descend into the basement. With a strong smell of cigarette smoke and an even stronger one of beer, I knew I was in the right place (and in for a riot).”

The band has had a tumultuous history with infamous bust-ups, prison sentences, drug addictions and fall outs, which led to many show cancellations and hiatuses – however after interviews and a press tour for their upcoming album, All Quiet on the Eastern Esplanade, releasing 8^th March 2024, it is evident that this time, things are different. For one, just by seeing them at The Wardrobe, Doherty seemed more reserved in his performance, as Barât, who was centre stage for the whole show, seems to have taken the reigns as the front man. It is undeniable that Doherty and Barât never had insufficient chemistry or passion that has supported their masterful musicianship, in fact, quite the opposite. In fact, it was the resounding unity and maturity displayed at The Wardrobe gig that was striking and unprecedented for the band, signalling a significant step in a new direction.

The 400-person capacity venue, The Wardrobe, has been home to some incredible and memorable shows since its opening in 1999, as the likes of Amy Winehouse, Arrested Development and Corinne Bailey Rae, have graced the independent, family-owned venue. However, I don’t believe it had ever been rocked like this before. The chaos surrounding The Libertines has often come on stage or from behind the scenes, but nevertheless, this time it was from the crowd, who left the venue’s floors dripping with sweat after an electric night of constant energy.

If they had any nerves about a lack of public interest in the band’s future, this show and the tour in general, will have obliterated any doubts. As the first note of the iconic, opening song, ‘Up the Bracket’, graced their ears, the crowd erupted and did not stop for the next hour and a half. After a high paced start, the tempo was maintained with an old favourite in ‘Vertigo’ and new single ‘Run, Run, Run’, which proved to already be a fan favourite, as almost everyone in the audience recited the simple, but catchy chorus.

Many older fans channelled their energy not by running, but rather mosh-pitting and bouncing around, as old met new. The positive reactions to other newly-released singles, ‘Shiver’ and ‘Night of the Hunter’, encapsulated the feeling of a new chapter for the band, categorised by maturity, consistency and focus. From ‘Music When the Lights Go Out’, to ‘What Katie Did’ and ‘The Boy Looked at Johnny’, the setlist almost blew the roof off. The encore, which of course culminated with their famed ‘Don’t Look Back Into the Sun’, topped the show off with a bang, however, the highlight for me was their rendition of ‘Can’t Stand Me Now’. Whilst the lyrics that discuss their turbulent and intense relationship may have once seemed poignant, this time they felt reflective, whilst still making the relentless crowd bounce non-stop. Not only did their endless list of classics stir up one of the greatest and most energy-filled gigs that The Wardrobe had ever seen, but the popularity and embracement of the band’s new work, cemented their return to the forefront of British Indie music.

“Every song hit the spot. Every track cracking into the crowd with each and every well-placed chord, lyric and tune. The immense ‘Don’t Look Back Into The Sun’ took me back to first year of university, where that track was played constantly in our flat and became one of our flat anthems. Good times. The only thing that brought be back to 2024 was the clattering I got as I ricocheted off every person in the room in time with the enlightened song.”

If anything is to be taken from this tour, it is that amidst an eroding underground music scene in Britain, where venues across the country are shutting down each day, these types of venues and intimate shows remain as pertinent and integral as ever for both the artist and the fan. The legendary Libertines playing at these small but lively and dynamic venues, acts as a reminder of the role that they play in connecting artists with their fans. 

The Libertines have finally stopped running from the past and for the first time, the two best-friends look to be on the same page, facing the same direction: towards an esplanade that opens up on 8^th March.

Written and Edited by Eve Moat

Monday 29^th January brought the up-and-coming band English Teacher to the intimate venue The Trades Club in Hebden Bridge, just up the road from where the lead singer, Lily Fontaine, grew up in Colne. The band coming out of Leeds proved the talent that the city is producing, and how wonderful it is to hear local music in local independent venues.

Entering the venue from the rainy outdoors of a dark, windy Hebden Bridge, the warmth hit into me, and I immediately felt at home. A typical working men’s club, with proper pub-vibes, and the frontage of a back-door music club. It was like all the little pubs I’d ventured into in the north as a kid, and the intimate music venues I’d experienced the comfort of as I’ve grown older. Later in the night, Fontaine remarked that 2023 had been the year that most independent venues had closed in recent history, and thanked everyone for coming down to support The Trades Club and help small venues continue to live on and support promising new talents, especially local musicians.

To start, the support band Nightbus took to the stage just after I arrived: a three-piece band with an unusual sound, defined into a genre only by their heavy guitars and crunching rhythms. Playing tracks with different vocal arrangements and a set that made me feel all different emotions, the new band from just over in Manchester gave servings of their debut indie track and left me sipping my lime and soda at the bar in a content state.

After a short interlude (and a bit of shuffling forward through the crowd from myself), the avidly awaited English Teacher graced the stage. The band consists of Lily Fontaine (as aforementioned) as lead vocals; Lewis Whiting on guitar; Douglas Frost on drums; and Nicholas Eden on bass. Opening with one of their newer tracks ‘Nearly Daffodils’ got the crowd going and the tempo soared throughout the venue. It embodied a great mix of soothing vocals with gritty sounds and heavy instrumental: a well-planned way to start off their set. With each song came new lighting, creating a beautiful haze around Fontaine and a lovely ambience around the warm room. The colourful lights mirrored the feeling of each track and embodied the collective feeling of the crowd in relation to the music.

Some of my favourite English Teacher tracks ‘A55’ and ‘Mastermind Specialism’ came back to back in the setlist and complimented each other perfectly. The soft melodies falling off the strings of the guitar in both songs accompanied by calming, deep vocals left the whole room swaying and staring on in awe. Fontaine even remarked that ‘A55’ is about drinking too much, and that ‘Mastermind Specialism’ is about making bad decisions (usually caused by drinking too much), which got the crowd laughing along. She also asked, “can you tell I’m trying to fill time?”, reminding the crowd of their new band status. However, the crowd didn’t care that they were inexperienced as we continued to cheer them on and lapped up every bit of their performance. The subsequent track was ‘You Blister My Paint’, which isn’t a regular in my music listening but was beautiful, with heart-wrenching lyrics and almost semi-operatic vocals and left the crowd applauding and cheering.

One of my favourite new tracks of theirs is ‘The World’s Biggest Paving Slab’ because of its groovy nature, catchy bassline, and guitar harmonies. When this was announced, I started bopping along, and it was many times more amazing hearing it live than through the speaker in my phone (despite how much I loved it the first time I heard it). Another older track from their discography was the penultimate song of the set, with ‘R&B’ getting the crowd to go a little crazy, as does the song as it continues. ‘R&B’ talks about how English Teacher “despite appearances, [I] haven’t got the voice for R&B” but “[I’ve] been writing R&B”, showing the irony in these statements, along with the fact that people may think they look like an R&B band, but they’re solely indie, rock and drops of folk, suggesting you shouldn’t judge a book by it cover.

Finishing with their latest release ‘Albert Road’, written as an ode to Colne, was a perfect end to a brilliant event for an incredible event. I could’ve listened to English Teacher all night long, and I would recommend you take a walk with them down Albert Road too.

Written by Arlo Taylor Osmond
Edited by Eve Moat

After 6 weeks on the road, The Orielles came home to Yorkshire for a cosy, intimate show at Brudenell Social Club that concluded their UK and EU tour. The experimental, genre-bending sounds of the Halifax trio evoked stank faces and swaying heads across the crowd for a blissful hour, delivering a mixture of psychedelic pop, post-disco punk and all their other sounds that elude categorisation.

The Yorkshire band have been gaining greater recognition from avant-garde fans worldwide since the release of their third full-length album, Tableau, in October 2022. They’ve achieved a great deal since their first gig at Brudenell on 28th October 2017, and they enter with an ease and a confidence that is aware of that. Sidonie B Hand-Halford settles into her drumkit as her sister, Esmé Dee Hand-Halford, picks up her bass guitar. The pair are followed by their fellow band member Henry Carlyle Wade, who immediately demonstrates his talent as a guitarist with some deep, moody strums as we’re immersed into the gloomy atmosphere of ‘To Offer, To Erase’. 

Halfway through the tune, Sidonie B’s drumsticks take centre stage in a complex crashing of high hats and bass drums. However, her expertise are displayed better in the fast pace of ‘The Room’, next up on the set list. During this tune, I was enthralled by the interesting dynamic between Henry and Esme. Henry’s electric, energetic jamming in this dance track is satisfyingly balanced by the slick nonchalance of Esme’s playing. They have two different styles that each, in their own way, serve a function for the band and appealed to different members of the crowd. 

Although the music of The Orielles is admiringly versatile, one consistency is their love for a tempo change in the middle of a song. This technique reaches new heights when seen live, carrying the audience to different emotions so quickly and with so much authority. Their performance of ‘Beam/s’ was a brilliant example of this. Audience members are raised from melancholic and dreamy shoegaze to a lively, upbeat grungy sound, before being lassoed right back to the former. This time, there are cinematic sounds of a violin that accompany Esme’s velvety vocals.

‘Television’ played with my emotions in the same way. Midway through the song, Sidonie B puts her heart and soul into a cathartic, chaotic crescendo on the drums that is heightened by a powerfully intense looping of Esme’s chorus. The band members suddenly change pace and style, without any visible difficulty, and seamlessly plunge the audience into a slow, uplifting environment of indie pop. Each masterful switch executed by The Orielles is accompanied by screams from the audience, who clearly enjoy being kept on their feet.

While it doesn’t appear to be their main priority, the band’s talent for weaving stories with words as well as instruments was shown in the moving, stripped down performance of ‘Stones’. Anchored by an acoustic guitar, it’s a confusing yet beguiling story that reflects the sisters’ alternative status as filmmakers (La Vita Olistica, 2020). 

After hearing most of Tableau, the crowd recognises an old favourite from its first few guitar notes. Shrieks ensue for ‘Sugar Tastes Like Salt’, their fourth ever release. At the song’s break, cheeky grins appear on the band members’ faces as people start to move fast, limbs flying with the funk of the bass. Hearing this tune after hearing Tableau is eye-opening though. Upon close listening, one can hear twinkles of innovation and even hints at a dissatisfaction with traditional song structure. Having hosted The Orielles multiple times since 2017, Brudenell has seen these twinkles develop into mature, brave, sophisticated ideas. It’s a pleasure to experience part of that journey.

The performance makes me wonder how such a talented, ambitious band can be so free from pretension. After a viciously creative performance of songs that make you question the very existence of genres, Henry concludes the show by saying “Thanks a lot chickens”, followed by a homely “Yorkshire” chant with the audience. 

“We should do this more often” says Henry, with a charming grin on his face.

Tableau by The Orielles is available on all streaming platforms.

Written by Elsie Oulton
Edited by Eve Moat

On Friday 3rd November, Piri took to the stage at Project House, bringing her ‘Extra Hot Tour’, and the masses, to Leeds.  The 24 year old Yorkshire native shimmied, she sauntered, she pranced, all whilst filling the new ex-warehouse venue with her infectious, pop-inspired drum and bass.

Other than her March run of intimate, spontaneous shows on ‘The Piri Pop Up Tour’, this is her first proper UK outing as a solo artist (having moved away from ‘Piri and Tommy’, the duo with her ex-boyfriend, and creative collaborator). The pair remain close and collaborate regularly – he joined her on this tour; popping on stage occasionally with a guitar, and shuffling around whilst beaming with an endearing, boyish charm.

The show started with ‘Fumble’, her impeccable Sudley collaboration released this summer, and what followed was an hour of sugary, accomplished dance pop, beach balls, and sunbeds: it was a raucous victory of a live show. Two dancers joined Piri for the majority of the songs, combining regimented choreography with looser, fluid movements, encouraging and riling up the crowd. Piri strutted around the stage with a casual confidence, calmly juggling the combination of the backing tracks, choreography, and her vocals; she has natural ability to hold the room amidst the chaos, and genuinely excite an audience. 

In the second half of the gig, Tommy joined her for an short acoustic set, excitedly dubbed the ‘Jazz Café’ section by Piri when introducing it. Red velvety tables and crude electric candles were hauled in from the sides of the stage by the dancers, yet more ridiculous, ‘on the nose’ props, which added to Piri’s tongue in cheek attitude towards the show’s ‘low budget’. Once ensconced, they performed ‘Settle’, followed by their bright summer single ‘Lovergirl’, and new release ‘Bluetooth’. This section subtly showcased the strong musical foundation the two of them share, and allowed Piri’s bright, shimmering voice to stand alone from the full throttle dance production its usually interpolated with. Following these three tracks, Piri had a Yorkshire love in (naturally), before surprising the crowd with a gloriously well executed cover of the Arctic Monkeys’ ‘When the Sun Goes Down’, rounding off the ‘Jazz Café’ interlude in an the most gloriously unexpected way.

One of the highlights of the show was a walloping mashup of Jorja Smith’s ‘On My Mind’, ‘Pain’ by PinkPanthress, and Crystal Waters’ ‘Gypsy Woman’ (a classic Piri live cover) – the perfect combination for the rave-ready, expansive new venue. This epic juggernaut of a mashup was proceeded by a cover of garage classic ‘Flowers’, neatly setting the tone for this section. Despite consisting entirely of covers, this part of the show wove in seamlessly to the ‘Extra Hot’ set, mirroring the bountiful joy of her original music, whilst simultaneously showcasing her musical influences and inspirations.

The show culminated with ‘Soft Spot’ (the song which initially garnered Tommy and her recognition), followed by ‘On and On’ (cowbell n all). These revved the crowd up to such a degree that quite frankly no one could get enough of ‘Crazy Frog’, when it blasted through the speakers once ‘On and On’ had finished. It had reached peak rave, with Piri and Tommy even rushing back for a quick boogie on stage, and this crowd feel at the end was a testament to the sheer power of a Piri live show.