Lime Garden Sow Seeds of Serenity at the Brudenell

Written and Edited by Millie Cain.

Lime Garden enchanted Brudenell Social Club on Sunday 3rd March, to the absolute joy of their fans. A later set, highlighting their ridiculously talented support acts ugly and Brodie Milner, the Brighton based band ascended to the eerie, pink-lit stage with the grace and sound of angels. The spotlights created a glowing atmosphere, and a moment of appreciation, lead singer Chloe Howard, began with “Bitter”. Drummer Annabel Whittel, kept a funkier sound between songs, as the band charmed and chattered away to their audience. “Pop Star” had an almost Metric-vibe, which scratched an itch between the ears with a reverberating baseline. They admitted this was their largest headline show, and the packed audience was giddy with glee as the band glowed with excitement. A room of statement silver necklaces and dangling earrings that seemed to clink together as a backing track to the indie-pop sound. 

A middle section of winding, singalong shoegaze-pop made for a lovely interlude, then breaking into “Marbles”, a favourite of rock legend Hayley Williams, of Paramore success, in a sultry deep number which must’ve been inspired by her. Lime Garden’s recent album “One More Thing” snaked through the setlist, the 80s synth of “Mother” and vocal-focused “It” allowed the band to show off their slower, tight technical abilities, before kicking the set up a gear into their bouncier tunes. Leila Deeley & Tippi Morgan made for an exceptionally talented guitar & bass duo, and are commanding respect within the genre. This is a year for female indie to flourish and Lime Garden are a leading cause. A crowd favourite was “Nepotism (Baby)” as they sung about their longing to be the daughter of Kate Moss, as we all do, and an angrier “Love Song” with punchy, fast drums and an accelerating tempo, I couldn’t believe Howard’s admission of a sore throat, it sounded so polished, and the crowd was more than happy to be the backing vocals. 

Big single “Clockwork” was a brilliant moment, there’s a real trappings of superstars here, it’s no surprise Johnny Marr named them as his favourite current band. For their encore, they returned with groovy single “Pulp” that completely captivated the crowd and finished on stellar track “Surf N Turf” with incredible guitar moments and it was a true blinder to play out an effervescent, noisy set. 

Liam Gallagher & John Squire: Live Hometown Show

Written & Edited by Millie Cain.

The high ceilings of 02 Apollo seemed to shake with anticipation as the middle aged Gallagher haircut and Stone Island youth army stomped their feet and howled some form of football chant awaiting the arrival of two Manchester legends. But first, they swayed, their £7.50 pints trembling in the wake of one, rather introverted, quite polite man, as Jake Bugg took to the stage to support the new alliance of aged Britpop stars.

Bugg has never changed, perhaps that’s why he’s so beloved, or maybe it’s his absolutely stacked discography of modern indie classics. The crowd was packed, we’d warily eyed up the queue that snaked the whole way down the street hours before, especially since their shouts could be heard from Picadilly. Wearing plain black with a single blue spotlight and an acoustic guitar, Bugg commanded the din, yet couldn’t tame the electric buzz that comes with hometown shows. Breaking into hits such as “Seen It All” and “Slumville Sunrise” he proved his own talent as a single performer on acoustic to not only fill such a huge space, but charm even the most raucous crowd. While not the chattiest, his songs speak for themselves and I was pleasantly surprised to hear a new song of Bugg’s that hadn’t already been pummelled, drained and dried out daily by Radio X. We were eager, leaning forwards, as if we could taste the new material. What it promises is his classic, instant charm with original sound. Bugg, predictably, finished off his set with “Two Fingers” and “Lightning Bolt”, to deafening roars from the crowd as they clambered on top of each other and chanted along, louder than any band Bugg could have at his back. He wound the crowd up, shook the bottle and ran, nodding his head in thanks and clearing off stage while fans screamed and hands tore through the air. 

Backdropped by the sound of George Harrison’s ‘Ski-ing’, Gallagher’s silhouette reached the stage first to belted out cries of “Liam, Liam, Liam” baying for their parka-monkey leader, donned in his finest long waterproof coat to protect him from the beer sweat of 3500 people staring right back at him – but let’s remember this is light work for the former Oasis frontman, and for The Stone Roses’ lead guitarist who followed Gallagher onto stage. The pairing is any Britpop dad’s wet dream and they genuinely delivered what they would all hope for. Unlike Squire’s former fellow bandmate Ian Brown who shocked and generally disappointed audiences with his run of shows last year, Squire and Gallagher made sure these fans got their 75 quid’s worth and left nothing to spare. 

Opening with the album’s lead single “Just Another Rainbow” the funky drums and irresistible bassline led into a track that amped up their audience, who already knew every word, and as Gallagher cruised around the stage, mouthing ‘I love you’ under the spiralling colourful lights, Squire held longer, technical solos, showing off undeniable talent and experience. The brightness of the colourful stage was blinding, as was Gallagher’s pure confidence, obviously, we expect nothing less than his decades old arrogance, with a slightly mellowed edge as he’s really learnt into family life – even recently announcing son Gene’s new band Villanelle will be supporting him on his upcoming sold out UK tour. 

The Wheel’ brought an almost hypnotic moment, a slower, winding track, with a sea of palms raised. The track slowly built, snakelike in its power, as the lights span and yet Squire stood forward, cool and collected, as if he wasn’t holding thousands of people in the calluses of his fingers. In a sound reminiscent of ‘Dig Out Your Soul’ era Oasis, ‘I Love You Forever’ was a more fluid moment in the set. There’s a certain degree of respect that had to be felt on that stage, and it was surprising but nice to see Liam take a step back and allow Squire and his bandmates to shine. Drummer, Joey Waronker, and keyboardist, Christian Madden were both on raised platforms, and Gallagher frequently would wander off stage and just allow these musicians to have their own moment in longer instrumental sections. 

Of course, Gallagher can only be kept at bay for so long, before delving into ‘I’m So Bored’ he stirred up the footy casuals by loudly sharing his love for his beloved Man City, then allowed the crowd to squirm as he launched into a more critical track. An almost Trainspotting soliloquy of a song that calls out the middle aged crisis and their own generation of ageing rock stars, there’s a feeling of pushing back against imagined confinement and its clear from both Squire and Gallagher’s solo careers that they will continue pushing on and rinsing every avenue open to them as long as it keeps them onstage, doing what they love. Seems to be working out, with their run of tour dates completely selling out and extra dates being added due to phenomenal demand. 

For crowd favourite ‘Liverpool To Mars’, there was an awakening in the room and a collective intake of breath before launching into song alongside the band. There were tiny kids in the crowd alongside up to 2 generations of families still stretching up and standing together in a real shining moment.  

For their final song, loud boos echoed and the crowd then went into chanting in honour of Squire, as they marched into ‘Raise Your Hands’, with a long dedication to. ironically, the former boxer Ricky Hatton. Gallagher waved maracas and a tambourine along, and he stepped aside to allow Squire to lead in this finality, there was a serious feeling on the stage that the presence of 2 giants in this genre to share a stage, share a creativity and together form a sound that allowed their own pasts to transcend but also bring a refreshing new hope to their music. Waving away the crowd, volleying a tambourine up onto a young boy on the balcony and wandering off into the red fog of the stage, the crowd twitched anxiously waiting for their encore. There was a hushed feeling in the room, shared hopes and prayers that maybe, just maybe they’ll play ‘Wonderwall’ but alas, they were sated with a surprising cover of classic ‘Jumping Jack Flash’ by The Rolling Stones – leaning into their own influences before them, and taking one last look at the gleaming eyes boring into them, Gallagher and Squire gave us a wave, and said goodbye, at least for now. 

Boiler Room is HOT (and its only getting hotter)

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

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

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

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. 

Depeche Mode bring Memento Mori to Manchester

Written by Eszter Vida, edited by Millie Cain

After a fascinating and expectedly dark comeback with their 14th album Memento Mori as well as a period of lament over the passing of keyboardist Andy Fletcher; Dave Gahan and Martin Gore prove they are still the biggest alternative synth-pop duo that the 1980s new wave scene ever produced. Contrary to the statement behind their album’s title, translated as ‘remember you must die’, Depeche Mode also remember their history as a group, playing a setlist that only strengthens their musical legacy for their diverse range of fans.

I attended the concert with my older brother, with whom our formative musical worlds as two very different musicians were deeply influenced by the group’s ominous sounds and flamboyant dancing, courtesy of a great frontman like Gahan. For me, they have always been a band close to home, having blasted the entirety of Black Celebration during late night road-trips, or better put, carpool concerts as well as receiving Facebook birthday posts from my parents, who would then tag the song ‘Little 15’ to match the appropriate age I was turning. This band has penetrated my upbringing in all sorts of ways. 

Before I was even born, their music connected my Hungarian parents, going to the same new wave club nights where they eventually met one another at the local youth disco ‘Petofi Csarnok’ in 1980s Budapest. Due to the Soviet’s censorship laws preventing Western music entering the borders of Hungary, the 1980s new wave scene was a glimpse at liberation, with Depeche Mode trailblazing as the kings of the genre. People like my parents were desperate to get their hands on catching up with the new romantic trends of rock and synth-pop. In short, Depeche Mode became one of these symbols of freedom for the 80s youth. There is now even a bar called ‘101 Klub’ dedicated to the legacy of fan clubs that were set up for the band, with the current owner being a long-time friend of my dad’s (great for discounted pints, but not that you’d need that when visiting Eastern Europe). 

You might say I’ve always had a ‘Strangelove’ for them, or that it was inherited by blood to listen to them. Therefore, after seeing their other contemporaries such as OMD, New Order and The Cure live with my family, to finally see them live was a full circle moment. We got there in time to catch the support Nadine Shah, a set that felt fitting for a support with the lead singer’s sultry and enchanting stage presence. As frontman Dave Gahan took to the stage, the entire room resonated upon the first note he sang; it was genuinely incredible.

Despite not being the most vocally trained singer, his voice is so distinct that it really wouldn’t be Depeche Mode without him. There is always a tone of surrender and carpe diem in their music and these messages that progressed throughout the decades are aptly depicted from the extravagances set up on stage. The looming M as their stage design acted almost as a Big Brother of their discography, as they took us through all their different eras. Embellishing the rest of the display was the dual synthesisers and drums, the only instruments arguably necessary.

The breadth of talent and artistic albums they had produced over their career is astounding to keep up with. Whether it’s the early refreshing sounds of synth-pop with Speak and Spell, my personal favourite dark ambience of Black Celebration or the heavy grungier Ultra, Depeche Mode are the producer’s musician and pioneers in the age of the synthesiser. 

Ironically, I hadn’t really considered just how dark yet strangely versatile all of Depeche Mode’s songs are. Martin Gore’s solo moment singing ‘Somebody’ brought a tear to my eye. For a band that’s so disguised by flashy synths, this and the special stripped back rendition of ‘Strangelove’ bore so much vulnerability and pure emotion. This also includes the remaining member’s duet of ‘Waiting for the Night’, (pictured above) as they extend their intimacy by reaching for the hands of their fans and connection. 
The fun in Depeche Mode is that they will always carry a legacy that represents experimentation and artistic freedom. The indescribable feeling of singing ‘Enjoy The Silence’ together with thousands of other people is unmatched, transporting us back a decade that will forever be remembered as one the synth-pioneering band ruled and continue to rule beyond.

Not So Quiet at The Wardrobe: The Libertines’ Night of Chaos, Classics and New Beginnings

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 15th 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 8th 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.

Image Credit: @barnaby_fairley on Instagram

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 8th March.

Independent Venues Week: English Teacher are Writing R&B for You

Written and Edited by Eve Moat

Monday 29th 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.

Image Credit: Eve Moat

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.

Image Credit: Eve Moat

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.