Long Division 2022: Wakefield’s metropolitan music festival returns!

Benjamin Forrest on 29 June 2022

After the triumphant return of Wakefield’s Long Division Festival in 2021, following a pandemic-related break, the excitement that was built up around this year’s incarnation of the festival was undeniable. Having covered Long Division for The Gryphon last year, I was eager to revisit it. Despite what was, in my eyes, a much weaker line-up for Long Division 2022 in comparison to last year, I found myself bombing down the M62 giddy with excitement at the thought of the day ahead.

I arrived at the Art House – this year’s venue for the wristband exchange – early doors, not wanting to miss a moment of this fantastic celebration of Northern grassroots live music. After picking up my wristband from a member of the Long Division team (who were all excellent throughout the day) I was soon on my way into the centre of town to witness some excellent live music!

One of my favourite things about Long Division, and metropolitan festivals in general, is the fantastic opportunity it poses to discover new bands. With this in mind, I made the tough decision to skip out on Low Hummer, a band who I absolutely adore, in favour of up-and-coming Leeds band Fuzz Lightyear, who played an early set at The Vortex – an old-school rock venue reminiscent of the venue from that one episode of The Inbetweeners. After a fairly standard start to the set left me wondering whether to ditch The Vortex and head to Venue 23 for Low Hummer, I found myself enjoying the three-piece more and more as their performance progressed, the bassist in particular had great energy and even better basslines. Fuzz Lightyear and their unique brand of grunge and noise rock seem to be on the up-and-up within the Leeds scene, with a recent single release on Come Play With Me as well as an upcoming gig at the Adelphi in Hull. The trio certainly aren’t one to be missed!

My day in Wakefield only seemed to be getting better, after the delight of Fuzz Lightyear I headed to the Mechanics’ Theatre – for my money, the best venue at Long Division – to see Deep Tan. Previous to the festival, I had heard talk of Deep Tan, but I had never listened to their music. After the festival, I have hardly stopped listening to them. The stylish, moody tones of lead singer Wafah Dufour are perfectly complimented by the rhythm of Melia Beaudoin’s drums and the effortlessly cool Celeste Guinness on bass. The tracks ‘deepfake’ and ‘rudy ya ya ya’ stood out as definite highlights within their set, though it should be noted that the whole set was excellent from start to finish. Although, with ties to the ever-growing scene surround Dan Carey and the Speedy Wunderground label, you should not need me to tell you how great Deep Tan are as a group, I urge you to go and see this band!

Deep Tan rocking the Mechanics’ Theatre. Photo credit: Andrew Benge.

Following Deep Tan was never going to be an easy task, and although I made an effort to be as objective as possible whilst seeing the next act on my watchlist, Ava in the Dark, the band sounded absolutely terrible. This was, however, the fault of the sound mixing at the venue (The Counting House) which was laughably bad. During their opening song, only the drums could be heard – no vocals, no guitar, just drums. Unfortunately, it didn’t get much better (unless you count isolated drums with the occasional sound of guitar feedback as better). After 15 or so minutes I left, because I was hungry and also sick of hearing unaccompanied drums. I have since listened to Ava in the Dark online and, although their indie pop tunes are perhaps not my usual taste, the lead singer has an undeniably fantastic voice – it is a crying shame that the audience was unable to hear it at The Counting House. 

Returning to the Counting House after a brief food break, it appeared the sound problems still persisted as the next group, Household Dogs, were setting up. The group did not appear to be too happy about the competence of the sound man, but they persisted nonetheless with what was a brilliant set. Having previously reviewed ‘Dead Cool’, the recent release by Household Dogs on Come Play With Me, I was eager to see whether the coolness of their post-punk sound translated from the records onto the stage – thankfully, it does! Although their set did not totally blow me away (though this may have been a result of the poor quality of the venue), they still put on a memorable show and I would not at all be surprised if Household Dogs were to become the next big name in the post-punk revival scene, which is becoming increasingly saturated. 

Opening the Town Hall stage at Long Division – the site of The Lovely Eggs’ immense headline set at Long Division 2021 – was Venus Grrrls. Having heard a lot of buzz over this riot grrrl-influenced rock band over the past year or so, Venus Grrrls stood out on the lineup as one of the highlights for me. As seems to be a reoccurring theme within this article, I was not disappointed, their fierce stage presence is reinforced by great tunes – ‘Hate Me’ and ‘Goth Girl’ in particular – and infectious energy. Venus Grrrls are a brilliantly cool group but, unlike some, they have the substance to back it up. Their performance was one of the best I saw throughout the day in Wakefield, and it was especially good to see so many parents with kids in the crowd. Long Division is certainly a family friendly festival and I think that fact was much more abundantly clear this year in comparison to 2021. Either way, I have great confidence in the next generation of music lovers if their early gigs include seeing the likes of Venus Grrrls!

The effortlessly cool performance of Venus Grrrls. Photo credit: Andrew Benge.

Quickly following Venus Grrrls on my watchlist through the day were South London trio Honeyglaze. I had previously seen the group at Brudenell Social Club supporting Wet Leg, and also at the Honeyglaze in-store gig at Jumbo Records in Leeds. Truth be told, though, I am quite conflicted when it comes to Honeyglaze. On one hand, I genuinely enjoy the recorded material. It fills the need for downtempo indie music excellently, and I have found myself listening to them more and more. On the other hand, Long Division provided me with my third opportunity to see the band and every time I have seen them I have not been massively impressed. They perform the songs well enough and the stage persona that bassist Tim Curtis has is pretty funny, but ultimately I think they are quite uninteresting to watch. The songs sound just like the studio versions, which is fine, but it would be nice for there to be more performance involved – otherwise, you might as well stay at home and listen to the band on Spotify. Live music provides an invaluable space to experience music in a different, you would hope better, context and, at the moment, I just do not think Honeyglaze are exploiting that context to its full potential. 

After a quick trip back to the Mechanics’ Theatre for Honeyglaze, it was time once again to make the gruelling 60 yard walk back to the lovely, carpeted, cash-only Wakefield Town Hall. All metropolitan festivals seem to play on the fact that all the venues are within walking distance from each other, but anybody who has had to make the journey from The Wardrobe to Brudenell Social Club during Live at Leeds knows this to be somewhat hyperbolic. When it comes to Long Division, though, every venue is within a 10-minute radius by foot – no need for buses, expensive Ubers, or tired feet. I remained at the Town Hall for the rest of the day, soaking up as much of the friendly atmosphere surrounding Long Division before making the, admittedly short, journey home. LYR were up first, a band I was very excited for after realising that it is fronted by none other than poet laureate, University of Leeds Professor and, most importantly, Northerner Simon Armitage. Having been a fan of his poetry for a number of years, I was slightly embarrassed about my lack of awareness in terms of his band but having now heard them I can safely say that their music will remain on heavy rotation for me for some time. As you would expect from a band fronted by Armitage, they were lyrically incredible and musically beautiful. The lighting, and the intimate nature of the Town Hall stage, really added to the pulchritudinous performance. Musically, the band are quite mellow and atmospheric, totally different to everything else I had seen and heard throughout the day. Although it might be assumed that a group fronted by a poet laureate might be somewhat pretentious, Armitage seemed very down to earth and the audience interaction created a harmonious environment within the Town Hall. 

Simon Armitage fronts LYR at the Town Hall. Photo credit: Andrew Benge.

Suitably chilled out by LYR, I ventured up to the balcony of the Town Hall for the final performance of the day, which came in the form of W.H. Lung. The Mancunian group, who take their name from a Chinese supermarket, have been on my radar since their split release with Working Men’s Club on Golden Lion Sounds in 2021. The flawless and unnaturally energetic dance moves of singer Joe Evans took effect on the crowd very quickly and soon the whole town hall was under the spell of W.H. Lung’s psychedelic, synth-driven dance music. As I watched it unfold from above, on the surprisingly comfortable balcony of Wakefield Town Hall, one thought dominated my thinking: I cannot wait for the next Long Division!

Fat White Family deliver an unforgettable performance at Belgrave Music Hall

Aimee Ferrier on 14 June 2022

Fat White Family have often been labelled with words you may consider negative: “offensive,” “gross,” “terrifying.” However, for the band, formed in Peckham during 2011, these words are not necessarily bad, in fact, they seem to welcome such connotations. The release of the band’s first album Champagne Holocaustin 2014 contained some provocatively titled tracks such as ‘Bomb Disneyland’ and ‘Cream of the Young.’ Their second album Songs for Our Mothers followed in a similar vein – its mixture of drones, krautrock influence, and often murky, dingy guitar sounds perfectly accompanied musings on decisively bleak topics such as Goebbels (from the point of view of Hitler) and prolific serial killer Harold Shipman. By 2019, the band refined their sound with Serf’s Up, Fat White Family’s most cohesive work to date, blending danceable disco-inspired beats with instrumentation and vocals considerably more melodic than their previous albums. Yet, all throughout their career they have continuously kept music publications on their toes, appearing more often out of controversy than because of their music. They have been accused of racism (despite being of Algerian descent) and feuded with everyone’s favourite uninspiring middle-class punks Idles, leading to FWF frontman Lias Saoudi to pen an incredible thought piece on the matters, labelling the Bristol punks as “everything that is wrong with contemporary cultural politics.” It’s safe to say that Fat White Family are not everyone’s cup of tea, but that’s okay with them. Their latest album may have impressed critics, suggesting that they were moving away from their heroin-fuelled shock-inducing previous efforts, however, their live shows prove that they are still ready to disgust, to disturb, to repulse. 

As the band emerged onto the stage in one of Leeds’s most well-loved hangout spots – Belgrave Music Hall and Canteen, everything seemed pretty normal, with Saoudi sporting a suave suit. The band began playing a track yet to be released before Saoudi disappeared from the stage, leaving the audience in slight confusion as the rest of the band played on. A few minutes later and the missing frontman returned, only now he was wearing nothing more than skin-coloured tight shorts to give the illusion of nudity, his whole body doused in some form of lubricant. Powering into the audience, Saoudi pushed his way through the unsuspecting crowd, screaming into his microphone whilst frantically running circles around us. After throwing his body against naïve audience members he laid on the floor, arse-up, head pressed to the ground as he continued desperately to screech, sing, scream – whatever you would prefer to call it. Once Saoudi returned to the stage, the band played ‘Wet Hot Beef’ which sent the audience into wild excitement. As I grappled to stay upright and find my friends that I had lost in the opening performance, the sheer insanity of Saoudi’s behaviour bled into the audience, making it one of the most intense crowds I have ever found myself in. Yet, unlike my panic-inducing experience at Amyl and the Sniffers, there was a much greater sense of community and friendliness that flowed through Fat White Family’s crowd – it was clear that everyone was in awe of the band, especially Saoudi’s incendiary stage presence. 

The band charged through an impressively energetic setlist, playing hits such as ‘Whitest Boy on the Beach,’ ‘Touch the Leather,’ ‘I Am Mark E. Smith,’ and ‘Fringe Runner.’ Saoudi frequently returned to the audience, otherwise he could be found crouching on the edge of the stage, pouring water over himself and the front of the crowd (much to my dehydrated and sweaty joy), or throwing himself around in a passionate frenzy. Despite everything the band have been through in their twelve years – from homelessness, heroin addictions, breaking up, reforming, losing members, gaining them back – it is clear during their live performances that they enjoy what they do. I have seen few frontmen with the same amount of fervour and intensity possessed by Saoudi – and it was frankly inspiring to witness. Ending the set with ‘Bomb Disneyland,’ Belgrave was filled with chants of “all your kids are dead kids” and “dirty bomb Legoland” as sweaty bodies thrashed around to arguably the band’s greatest live track. I left the set covered in a collection of substances – beer, sweat, water, bodily fluids – a few bruises adorning my arms. A DJ set by Saoudi ended the night where unsuspecting Belgrave drinkers in the downstairs canteen were subjected to the sounds of hard noise and BABYMETAL. I spoke to Saoudi later on, who, now back in his suit shook my hand politely. You would not have believed that this was the same man who had paraded his oiled body around stage only a few hours earlier. 

Whether you only know one song or Fat White Family’s entire catalogue, they are a band not to be missed live, and one you will not forget. 

Amyl and the Sniffers show at The Stylus let down by violent masculinity

Aimee Ferrier on 14 June 2022

I stumbled upon Australian punks Amyl and the Sniffers a few years back through their connection to Flightless Records, the independent label founded by former King Gizzard and the Lizard Wizard drummer Eric Moore. I became enthralled by recordings of the band’s raucous live performances, which featured lead singer Amy Taylor screaming lyrics about the socio-political state of Australia whilst shaking her bleach blonde mullet with an uncontainable energy. On the evening of a rather placid Sunday, I finally got to see the band in action at the University of Leeds’s very own Stylus. 

My first qualm with the night came from the support act – a local Yorkshire band called Geoffrey Oi!Cott. The four-piece made up of middle-aged balding beer-bellied white men, all sporting cricket uniforms and instruments plastered with Leeds United stickers, took to the stage chanting ‘YORKSHIRE, YORKSHIRE!’. The band began playing their poor imitation of punk with a technical skill level comparable to that of GCSE music students. I imagine their music is what non-punk fans think punk sounds like. As they sloppily made their way through their mind-numbingly dull set which consisted of songs about cricket, beer, and Yorkshire, I was left wondering where Amyl and the Sniffers had found such a poor excuse for a punk band. Furthermore, the band played a track entitled ‘Dawn of the Dickie Birds,’ a rather misogynistic tune dedicated to the women in the audience (of which there were very few, especially in comparison to the sea of ageing white male punks in the crowd) that included lyrics such as “she’s as good as it gets” and “push against the wall and tamper with your balls.” These men were the epitome of aggressive masculinity, too preoccupied with beer and their Yorkshire pride to write anything that could actually be considered true punk. Why couldn’t Amyl and the Sniffers, arguably the most successful punk band currently operating with a female lead, give this opportunity to a band with underrepresented members? After all, punk truly belongs to those of marginalised genders and races, not middle-aged white men who already dominate our mainstream. What have they got to be angry about? The rising price of beer? According to their music, that’s about it. 

Once they had finally left the stage it was time for the main act. Tearing onto the stage in a T-shirt that read ‘Fuck You You Fuckin’ Fuck,’ Amy Taylor began singing one of my personal favourites from the band, ‘Control.’ Almost instantly the crowd were slamming their sweating bodies against each other with uncontrollable excitement. I am no stranger to mosh pits and rowdy crowds, however, something about this felt different. Within the first song my friend was lifted over the barrier by security, unable to withstand the violent men that were throwing punches at every given chance. I had no intention of moshing from my place at the barrier, however, the intensity of the crowd led me to be thrown so hard that, as I write this, there are a large collection of bruises decorating my arms, legs, and hips. There was a severe lack of respect for personal boundaries and the well-being of fellow gig-goers in the crowd that left me feeling unsafe. One man, old enough to be my dad, was pressed so hard against me that I had to fight back tears. I could not concentrate on the music, sounds blended into white noise as I felt the weight of this man against me. There was definitely opportunity for him to move with the crowd, yet his front stayed firmly pressed against me. The pits were nothing more than great exertions of masculinity – men preoccupied with displaying their ability to withstand harsh crowds with no respect for those who had no interest in joining in. I was lifted out of the crowd by security with an overwhelming sense of anger inside of me. Women should be able to enjoy live music without feeling as though their bodies have been violated and made to feel at risk. It’s times like this that I don’t think men will ever truly understand the implications of their actions. 

Once I was away from the aggressiveness, I was able to actually take in what I was watching. After removing her t-shirt to reveal a sparkly bra top which accompanied her cherry-patterned short-shorts, Amy strutted around the stage with admirable confidence, flexing her arms and sticking out her tongue. The band were on top form, driving through tracks that were mainly from their 2019 self-titled album, and their newest release Comfort to Me. A standout moment of the set was their performance of ‘Knifey,’ a track about violence against women that draws lyrical parallels to fellow Australian Courtney Barnett’s song ‘Nameless Faceless.’ Hearing the voices of women dominate the audience as they shouted along to the lyrics about simply wanting to walk home safely made me feel a little less alone, particularly after what I had just experienced near the front of the crowd. The band ended their set with the killer ‘Some Mutts (Can’t be Muzzled)’ which stands out as one of their most impressive tracks. With intense guitar riffs and heavy bass, the song was the perfect outro for a high-octane performance. 

To conclude – I think Amyl and the Sniffers are incredible performers, who delivered every song with impressive stamina and energy. However, considering they have songs such as ‘Knifey,’ I would have appreciated if they were more active in looking out for the audience. It was clear that many people at the front were being squashed to the point of danger, yet they ignored this. It would have also been nice to see a support act that weren’t laughable middle-aged white male punks. You can still enjoy a punk gig without hurting people. You can enjoy it without disregarding people’s boundaries. Gigs should be places for people to collectively enjoy music they like, not fear for their safety. Sadly, I left Amyl and the Sniffers feeling upset, violated, and angry. An intense display of masculinity ruined what I hoped to be a fun night of female-centric punk. That’s not to say I wouldn’t see them again, because musically they were great. Next time I’ll be stood far away from the aging men attempting to relive their punk youths down in the pit. 

Live at Leeds heads to Temple Newsam for inaugural ‘In The Park’ festival

Benjamin Forrest on 6 June 2022

Upon hearing that one of the largest and, let’s be honest, best metropolitan music festivals in the country, Live at Leeds, was establishing a classic outdoor summer festival, I had mixed feelings. On one hand, I frequent Live at Leeds every year and it always proves to be a highlight of the Spring/Summer period, but on the other hand I was unsure whether a festival like Live at Leeds would work within the setting of a traditional outdoor festival. These doubts grew when I first saw the line-up for Live at Leeds: In the Park, which did seem to leave a lot to be desired if I am brutally honest. Much to my pleasure, though, Live at Leeds: In the Park turned out to be a roaring success and a brilliant day all around!

Hosted within Temple Newsham, which has also hosted Slam Dunk North since 2019 and was even the site of Leeds Festival for a few years in the early 2000s. With Slam Dunk having taken place the day prior to Live at Leeds, the grounds were already fully kitted out though, due to the size difference between the two festivals, some areas were closed off when it came to Live at Leeds. Whilst the indie-rock heavy line-up left much to be desired, the organisation of the festival certainly did not, the staff were all lovely and the day went off without a hitch (except perhaps the weather, which was very cold for much of the day). 

Although, as I have mentioned, the festival line-up was not to my personal taste, it did have some major pull for music fans – from the Mercury Prize winning Arlo Parks to the reformed 00s indie band Bombay Bicycle Club, as well as local heroes such as L’Objectif. The four stages provided a decent mix of acts to suit different tastes. Admittedly, despite my initial pessimism, over the course of the day I saw a range of great artists – some that I already loved and some that were newly discovered. 

The day kicked off with a set from West Yorkshire-based young punks The Lounge Society. The quartet seem to have a lot of momentum behind them, with releases on Golden Lion Sounds as well as legendary indie label Speedy Wunderground – who have previously released early work by the likes of Loyle Carner, Squid, Black Midi and BCNR. I had previously caught a bit of The Lounge Society at 2021’s Long Division Festival in Wakefield and, I have to say, the group seem a lot more polished now in comparison. The bassist/vocalist Cameron Davey, in particular, had a great driving energy to his performance and drummer Archie Dewis was like a machine. The group have some excellent, danceable punk songs with electronic influences (drawing comparisons to the likes of Folly Group), though I did find myself wishing for a bit more power. Perhaps it was due to the early nature of their set, or the relatively small crowd within the DIY Big Top tent, but the performance seemed to be somewhat reserved, as though the band were dancing around on the edges of power pool but refusing to jump in. Nevertheless, The Lounge Society provided a fairly decent start to the day, finishing their set with their Speedy Wunderground-released single Generation Game. 

The Lounge Society. Photo credit: @sarahoglesby_creative

Following The Lounge Society at the DIY Big Top were Macclesfield indie trio Cassia. Pulling an impressive crowd for such an early set (2:20pm), the three-piece appeared to be an early highlight for many attending the festival. The group deal mainly in feel-good indie tunes, similar to the likes of Circa Waves or Kawala. Whilst the band were not to my taste personally, their joyous indie rock seems tailor made for festivals and their songs (in particular their latest single ‘Motions’) would seem right at home in any Summer playlist. With a new album Why You Lacking Energy? set for July, Cassia are certainly ones to watch if you are into the indie rock scene. 

After a short break to visit one of the many food vendors at Live at Leeds (I mean, seriously, I’ve been to cities which have less choices for food), I returned to the DIY Big Top to see Dream Wife – who had previously closed out Live at Leeds in 2021 with a blistering set at Brudenell Social Club. If The Lounge Society had left me yearning for more power in performance, Dream Wife certainly delivered this, and then some! Empowering, danceable punk music and an immense stage presence meant Dream Wife’s set was one that definitely stood out on the line-up. The audience interaction was also some of the best I saw throughout the day, from spraying money (I presume fake money, though I was too far back in the crowd to verify) into the crowd to frontwoman Rakel jumping into the pit for the last song of the set – they certainly got the crowd going and filled the big top with positive vibes which were carried on throughout the day. It was also lovely to see Rakel and bassist Bella wandering around Temple Newsham, checking out some other acts throughout the day. 

Dream Wife. Photo credit: @sarahoglesby_creative

The undisputed highlight of the day, in my eyes, was the afternoon set by Australia’s finest export, and Live at Leeds 2019 alumni: Confidence Man. Taking to the DIY Big Top Stage at 4:15pm, the four-piece put on an immense show complete with outfit changes, champagne and impressive dance routines (both by Confidence Man themselves, and the security team at the front of the stage). Truth be told, Confidence Man were always going to be the highlight of the day for me; it was my fourth time seeing the group and they will always hold a special place in my heart – I still maintain that their gig at Brudenell Social Club in the Summer of 2019 was the greatest gig I have ever attended. The band played a range of tunes from their debut record as well as their recently released follow-up Tilt, accompanied by three different outfit changes in their 45-minute slot. Judging by the size and the reactions of the crowd, Confidence Man could have easily worked as a headliner, the atmosphere they created within the DIY tent was simply euphoric and I can only hope that they are invited back again in future years.

After catching the back end of Sport Team’s set on the MTV Main Stage, I headed down to the Dork Presents stage – which was technically two stages which were alternated between acts – to catch Porij, who were excellent, and local Leeds band L’Objectif (who are, apparently, quite big in the Netherlands). Although I did hear some disappointed people in the crowd, who has been expecting an authentic French rock band, the vast majority of the crowd reacted incredibly well to the band’s unique blend of indie, psychedelia and post-punk. The home crowd lead to some great audience participation and, of course, mosh pits. The bassist, in particular, stood out as a driving force within the band – both in terms of performative energy and musical talent, the basslines within L’Objectif songs being definite highlights. The group are fast rising within the local scene, as well as further afield, and seem to be headed for big things – they certainly aren’t one to be missed!

L’Objectif. Photo credit: Jamie Macmillan

After L’Objectif, I did not really feel a need to leave the Dork Presents stage, as Isle of Wight indie band Coach Party took to the stage. Their song ‘FLAG (Feel Like A Girl)’ had been on my radar since hearing it on BBC 6 Music so I was eager to see how they worked as a live band – as it turns out, they are pretty great! Referring to Coach Party simply as an indie band feels somewhat reductive, some of their songs would fit happily within the genre of punk, or at least post-punk, but regardless of what genre they can be pinned to, they put on an excellent show. It seemed as though the people of Live at Leeds were already aware of their greatness, as they pulled a sizable crowd despite clashes with both Sea Girls and Arlo Parks. Deserving of a much bigger crowd, however, was the next act at the Dork stage, Liverpool singer-songwriter Zuzu, who clashed with headliners The Vaccines. I had not listened to Zuzu before watching her set, but I thoroughly enjoyed the music despite it not being the type of music I typically gravitate towards. Dressed as though she had just walked off a Mary Quant fashion shoot in the 60s, Zuzu performed a great set of guitar-based pop songs which evoked empowerment and often anger but in a catchy, poppy way. Unlike a worrying amount of guitar-pop, though, Zuzu’s lyrics are far from vapid and she was refreshingly authentic during her crowd interaction between songs. Moreover, she also sings in her own accent – which instantly endeared her towards me, especially given that it’s a Northern accent! 

The last band of the day, for me, came in the form of another Liverpool act, The Mysterines, who headlined the Dork Presents stage. I was a big fan of early Mysterines singles ‘Take Control’ and ‘Who’s Ur Girl?’ (both released in 2019), and even the more recent single ‘In My Head’, the first single taken from the album Reeling, was on heavy rotation for me when it first dropped in 2021. Unfortunately, none of these songs featured on the setlist for Live at Leeds. In fact, their set was quite disappointing – for such powerful, dissident rock music, the band were quite boring to watch. Their stage presence was incredibly lacklustre, and crowd interaction was minimal at best. Nevertheless, much of the crowd seemed to enjoy the band’s set (which was shorter than advertised), with the sunset over Temple Newsham providing a good backdrop to the mosh pits inside the Dork Presents tent and the bottom of the hill. 

The Mysterines. Photo credit: Jamie Macmillan

Overall, then, Live at Leeds: In the Park 2022 was a brilliant festival! Contrary to my initial pessimism, I had a great time at the festival and, judging by the reactions on social media, everybody else who went did too! I have never been so happy to be proved wrong. The worry that Live at Leeds would follow Slam Dunk in completely abandoning the metropolitan aspect of the festival in favour of Temple Newsham has also been proven wrong; with a Live at Leeds: In the City line-up already announced for October 2022 – the initial announcement featuring the likes of Working Men’s Club, Los Bitchos and Dinosaur Pile-Up as well as headliners Pale Waves – tickets are available to purchase here. It is sure to be another great celebration of live music within the city of Leeds, and it also means we no longer have to wait a whole year in-between Live at Leeds events, so rejoice! 

Miles Kane, supported by Brooke Combe, takes the O2 Academy Leeds by storm

Phoebe Hedlam on 5 June 2022

Miles Kane’s first support, Tom A. Smith, kicked things off with some classic indie rock; his charisma drew the crowd in and set things up nicely for Edinburgh singer-songwriter, Brooke Combe who followed. It was clear that Combe understood Kane’s crowd as she got them suitably warmed up with her cover of Arctic Monkey’s ‘Why Do You Only Call Me When You’re High’. Her warm vocals leant itself perfectly to the indie classic and got the crowd firmly on her side as she made her way through her singles, ‘A-Game’ and ‘Impress You’. The catchy bass on Combe’s final track, ‘Are You With Me?’, got the crowd fist-pumping and raring to go for Kane’s performance. I am sure I won’t be the only one in the audience who will be keeping an eye out for what Combe brings out next. 

With his infectious energy, incredible band, and hit after hit, Miles Kane bought the house down on Sunday night at the O2 Academy. 

Miles Kane started as he meant to go on as he opened with the riotous ‘Don’t Let It Get You Down’ from his latest album that is difficult to resist screaming along to at the top of your lungs. What followed was a mixture of hits, old and new, that left plenty of room for Kane to show off his showmanship. Kane made it clear why he has been in the game for over a decade as he treated the crowd to plenty of guitar solos as well as a special guest: Leeds-born Corinne Bailey Rae joined him on stage to sing their single, ‘Nothing’s Ever Gonna Be Good Enough’. Scattered amongst his solo hits was a couple of The Last Shadow Puppet favourites, ‘Aviation’ and ‘Standing Next To Me’, that fit in nicely with the Motown influences of his latest album Change the Show. Kane was supported by an incredible band that matched his energy and stage presence as they helped him to rile up the crowd and get them on his side. A particular highlight was when Kane gave the stage to his sax-player and backing singer during ‘Never Get Tired of Dancing’ which showed the band off to their full capacity as they ensured that no one was too tired to have a boogie on a Sunday night. Another fantastic moment was Kane’s rendition of The Beatle’s classic ‘Don’t Let Me Down’ – a true celebration of the music of the North. 

In short, Miles Kane is an artist who knows exactly what his crowd wants and isn’t afraid to give it to them: something to sing along so loud to, or stamp their feet so hard to, that they may just forget that Monday is just around the corner. 

“We’re Alt-J and we’re from Leeds”: Alt-J stun O2 Academy Leeds with triumphant homecoming show

Benjamin Forrest on 30 May 2022

Once upon a time, all the way back in 2007, a group of friends formed a band within the student halls of the University of Leeds. 15 years, 4 studio albums, 4 Brit Award nominations, and a Mercury Prize later, Alt-J made a triumphant return to their spiritual home of Leeds on the third date of their UK tour. The tour followed the release of their fourth studio album, The Dream, in February which reached number 3 in the UK album charts. 

Their set at the O2 Academy Leeds a good mix of songs from the latest album – the reactions to which were excellent, given how well received The Dream was, both commercially and critically – as well as a fantastic array of fan favourites and other notable tunes from the Alt-J discography. As is to be expected, the best crowd reactions came with songs like ‘In Cold Blood’, ‘Every Other Freckle’ and the all-killer-no-filler encore of ‘Left Hand Free’ followed by ‘Hard Drive Gold’ and, of course, ‘Breezeblocks’. A personal highlight was the inclusion of ‘The Gospel of John Hurt’ from 2014’s This Is All Yours, though truthfully I could not fault any aspect of the setlist. Even the tracks from their latest album which could have been difficult to do justice to in a live setting worked incredibly well, and the crowd seemed appreciative to witness the band’s wonderfully unique brand of folktronica in a live setting – especially given that it had been 4 years since Alt-J had visited Leeds.

The atmosphere at Alt-J was incredibly friendly and joyous, and Alt-J did their best to preserve that feeling – even stopping halfway through ‘3WW’ to check that somebody in the crowd was okay. It came across very well that Alt-J were actively enjoying their performance; whether this was due to the fact it was a homecoming show, or just that it was early on in the tour and they weren’t knackered yet is unclear but either way, their positive on-stage energy translated into the atmosphere of the crowd. The atmosphere was further heightened by the incredible on-stage visuals and light-show which accompanied the performance: the mood and character of each track was captured very well by the visuals which backlit the trio. 

Alt-J are currently touring mainland Europe, with festival dates in Prague, Berlin and Rome set for the Summer months, before setting off on an Australian tour in September. Hopefully, though, the trio will return home soon enough to put on another fantastic show in Leeds. 

Kae Tempest is unmatched in their performance at Leeds Stylus

Kate Wassell on 17 May 2022

I knew Kae Tempest was a big name, but I didn’t expect their show to have such an impact on me. Their new album ‘The Line Is A Curve’ dropped just last month: a moving, searing record that I wish I had listened to before the show, but am so glad to have found now. Tempest is a distinguished poet, having won the Ted Hughes award and supported the likes of Benjamin Jephaniah and John Cooper Clarke. Their music is the kind to have listeners hanging on every word, dissecting and revisiting each lyric, making for a night of spoken word at its best. 

Shungudzo, Zimbabwean gymnast, TV personality and politically voiced artist, is a support act with enough energy to fill a stadium. Dressed in a long pink ruffled dress, Shungudzo leaves her macbook propped on the side of the stage, while she jumps and skips across the stage of Stylus like a child on a sunny day. She exudates a beautiful energy, her no bullshit statement lyrics received with glee from the Stylus audience; rather than hiding behind metaphors, Shungudzo says exactly what she means. Our generation is the one to make change, she voices near the end of her set: and in her demeanour is bold resilience as well as sunshiny positivity. Tempest’s and Shungudzo’s musical styles may be different, but they have in common a political fury. 

Kae enters the stage, and after yells of awe and appreciation have died down, they address us before they begin playing. ‘The Line Is A Curve’ will be played in its entirety, they tell us, and there will be no breaks between any of the tracks. A buzz fills the room; the anticipation of such an immersive album experience is palpable. ‘Speaking between songs cringes me out’, they joke, but there’s something so thrilling about this prospect: immediately the separation between audience and artist feels smaller, somehow, like we’re about to go through something not just standing in front of them, but with them.

Sound engineer for their tour, Hinako Omori accompanies Kae on synths, the sound waves rolling underneath Tempest’s cutting words. Like so many hip-hop artists, Tempest tows the line between rap and poetry. Something feels different about them, though. Their lyricism takes precedent over the fairly sparse production of their tracks, but they pull from the wide scope of sound: the featured artists on ‘The Line Is A Curve’ include Lianne La Havas, Kevin Abstract and Grian Chatten, to name a few, which together stretch out from the genre of hip-hop and bring known but surprising voices to each track. Tempest’s spoken delivery also sets them apart, of course, and their attention to detail is evident: there something that is needed to be said in their lyrics. 

And it’s their lyricism that is the main gift of the night, masterfully painting images with their words. In ‘Salt Coast’ we’re pulled into a tempestuous landscape: “soaked coast, foul wind, old ghosts, scrap tin”. Standing in pulsing golden light, the image of a twisted tree behind them, they personify nature – “the browning of your leaves” – and politicise it too – “the tyranny and hate of Britannia rules the waves”. Track ‘Smoking’ follows soon after, a commemoration to their past self. Having come out as non-binary in 2020, Tempest’s nods to their past female identity, “that girl from the past that laid the foundation stones”. They repeat, “there can’t be healing until it’s all broken, watch me break”. It feels like a celebration and separation, like a coming apart of something that once existed but no longer does. Kae’s recognition of her former identity feels like this throughout the new album, never taking over the tracks completely, but colouring them. 

It’s ‘Grace’, the album’s closing track, that brings me to tears. Ending ‘The Line Is A Curve’ section of the gig, Tempest’s voice rings clear over a simple guitar melody: “there are things I have to say about the fullness and the blaze of this beautiful life.” In all its unassuming nature, the track is breath-taking.

Kae Tempest’s set at Stylus was unlike any gig I’ve been to before. Performing their 2019 track ‘People’s Faces’ at the end of their set, they gesture to us, the audience: ‘My sanity’s saved, ‘Cause I can see your faces’. And every face is beaming up at them. You might already be a fan of poetry, or you might think spoken word is pretentious and underwhelming. I urge you to stick on a track of theirs, or better yet, buy a ticket to a show, and experience for yourself their brilliance.