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! 

New York rap personality Wiki set to play Headrow House in July

Jay Fullarton on 5 June 2022

By now, the New York rap personality should need no introduction, with as much personality as an Action Bronson or an ODB. Wiki was one half of the cult-underground, abstract Hip Hop trio Ratking, who pushed boundaries with tracks like Canal. They emerged amongst the aggressive, hungry, innovative Hip Hop resurgence, amongst iconic supergroups like Odd Future, A$AP Mob, Black Hippy, and Pro Era – in what was surely Hip Hop’s second golden era.

Wiki is coming to Headrow House in Leeds on 25th July, for what should be one hell of a show. He’s always shown love to the UK, featuring a lesser-known King Krule on the classic Ratking track So Sick Stories, and also featuring Jesse James Solomon, and Obongjayar on solo tracks. So, we welcome him to Leeds with open arms, ready to hear his stories behind the mic in the intimate venue. 

After an incredible 2021, which begun with the severely underrated, overlooked side project with NAH, Telephonebooth – one of the grimiest, dirtiest portrayals of New York since Mobb Deep’s The Infamous, but only a brief, 21-minute glimpse into the dark alleyways and gritty underbelly of NYC.

His year only continued with a surprisingly even better LP, Half God, with production across the tracklist from Navy Blue (who also put on quite a show at Headrow House this year). With Wiki’s lyrical displays and gobby inflections, he shows off an almost New Yorkified Slowthai style delivery, or rather maybe, Slowthai mirrors an abrasive, even more chaotic, British version of Wiki… 

Earl Sweatshirt collaborator, Navy Blue – the LA based pro skateboarder, model, rapper, and producer extraordinaire with an already vast discography up his sleeve from over just two years, seems to have mellowed Wiki out – with Madlib style production behind the boards, Wiki shines over choppier, sunnier beats. With a clash of styles that should’ve been too difficult to pull off, their chemistry seems to work so well. A complete shock from the typical eeriness of Wiki’s bodega stock of rhymes and flows. 

From signed to independent, Wiki has remained one crazy, vivid storyteller; he will transport you to New York City with his penmanship, and his combinations of Hardcore East Coast Hip Hop, and Abstract Jazz Rap. Whilst still relatively low key, because of his talents Wiki has been incredibly influential on this new scene of experimental, alternative New York based emcees… Tracks like Roof are just a testament to this. Whilst he was once a Danny Brown type poster boy for weirdo, dark aesthetics, his latest is much less menacing and dingy, more bittersweet, hopeful, and seems to come from a better headspace, with a more personal, human quality to it.

Make sure to check out both Wiki’s solo output, and Ratking’s body of work (despite their split), and make sure you grab tickets while you can here! 

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. 

Live music fans to flock to Wakefield, as Long Division Festival makes its return

Benjamin Forrest on 30 May 2022

Forget Jubilee Weekend, forget Spring Bank Holiday, forget National Yoga Day – the real highlight of June 2022 is sure to be Long Division Festival in Wakefield. The 11th June will see over 70 artists take to stages all over the city centre. Last year’s festival was a massive success and, as you can tell by reading my review of the day here, it was just a brilliant day! 

This year’s line-up consists of loads of great artists – some that you will have already heard of, such as Sea Power (formerly British Sea Power), and some that you will have the pleasure of discovering on the day. Festivals are always fantastic places to discover your new favourite artists, at last year’s Long Division I happened upon Hands Off Gretel who became one of my most listened-to artists of 2021 and was also first exposed to the brilliant live performances of Low Hummer (the best band to come out of Hull since The Housemartins), who make a return to the festival this year playing an early slot at Venue 23. Rising indie band Honeyglaze, who recently supported Wet Leg at Brudenell Social Club, are a notable highlight within the line-up, playing an early evening slot at the Mechanics Theatre. Regardless of your taste, though, you are bound to find some good tunes at Long Division. 

With £36 tickets, Long Division, is one of the cheapest metropolitan festivals to come by. When you take into consideration that a train from Leeds to Wakefield takes 12 minutes and a return costs less than a fiver, along with the fact that drinks tend to be cheaper in Wakey – there doesn’t seem to be any logical reason not to go! 

“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. 

Eurovision 2022 Grand Final: Ukraine claims its third victory, followed by the UK’s Sam Ryder and Spanish diva Chanel

Víctor Torres García on 17 May 2022

After several months in which fans from all around the world were constantly guessing who would win the 66thEurovision Song Contest, it is official now: the Ukrainian band Kalush Orchestra holds the trophy of this year’s edition of the festival.

On May 14th, the long-awaited Eurovision Song Contest 2022 grand final took place in Turin, Italy, after Måneskin’s unprecedented success in Rotterdam last year. During the so-called ‘Eurovision Week’, Italy proved to be a good host despite the technical difficulties the organisation was facing a couple of weeks before the beginning of the festival. Not only was it held in an earthly architectonical paradise but also, the venue and the stage itself were favourably adapted to the technological and media parameters this internationally-acclaimed festival required. Furthermore, the three hosts demonstrated their professionality and also added bits of Italian humour and sarcasm to their contributions, which made the show more engaging and certainly amusing. 

The long-awaited voting moment was characterised by ceaseless tension and uncertainty, since it consisted in a fierce battle among Spain, Sweden, Ukraine and the United Kingdom, which could have been considered the winner of this year’s edition if the votes from the jury would have been the only points to be taken into consideration. However, when the points from the audience (or televoting) were announced, Ukraine became the undeniable winner of the 66thEurovision Song Contest, as it received more than four hundred points from the televoting. The top five of the 2022 edition of the festival was formed by some of the songs fans considered to be their favourites to win. Although countries like Greece or Norway achieved a great position (eighth and tenth respectively), fans believed they would get a higher score, considering the hype around both songs. Another surprise was Czech Republic finishing in the bottom five, concretely in the 21st position, as fans were crazy with this entry since it was released. In general terms, this year’s Eurovision can be classified as one of the most competitive and challenging editions of the history of this competition. 

Kalush Orchestra, the Ukrainian Band who won this year’s festival, came up with a song called Stefania, which is perceived as a Ukrainian War anthem. Mixing folk sounds and rap flows, Stefania is about the hardships of being a mother and the lack of social support when raising a child. The abrupt speed changes and the multiple symbols used, such as the lullaby, provide a realistic depiction of the story behind the lyrics of the song. Women are depicted as both sensitive and strong beings, who have the power to strengthen society and make it evolve. Ukraine’s victory is now understood as a message of sympathy and support from Europe, which transcends the threshold of politics and economic power and makes use of music as a channel to preach unity, freedom and most importantly, peace. 

It is still surprising for British fans that the UK came second in the Eurovision Song Contest after many years trying to get a proper result in the competition. However, with Sam Ryder’s Spaceman, it can be said that the United Kingdom has found the formula that guarantees its entries success, engagement and recognition. In his song, the Essex singer talks about finding the light in darkness after difficult times. Demonstrating his vocal range on multiple occasions, Sam achieved a second position for its country, not only by means of a strong and unique pop song but also through a performance packed with lights, which spread hope and positivism and showed Ryder’s stage presence.

Spanish diva Chanel closed the top 3 with her song SloMo. Despite the harsh criticism she went through, the Spanish-Cuban artist, who spend her entire life devoted to the world of arts, proved to be one of the most talented, hardworking and praised acts of the history of the festival. SloMo preaches female empowerment and liberty, inviting every woman to dance and to feel proud and comfortable with their bodies. Chanel also deifies female diverse beauty, highlighting its uniqueness and attributing it a special power of seduction. In addition, she supports her message by means of a breath-taking performance, which combined modern dance moves, high-quality vocals and Spanish-inspired outfits and motifs, such as the use of the fan at the end of the performance. 

Although the previous three were the most remarkable performances of the night, there were other acts which ought to be highlighted, such as the Serbian entry. Konstrakta’s In Corpore Sano is a social criticism to Serbian public healthcare system. In this Balkan country, artists are deprived of the right to access public healthcare and have to be careful not to suffer from any disease, otherwise their monthly income could be notoriously reduced. Despite the ruthless reality the song describes, fans showed tremendous admiration for its message, catchy rhythm and also its eccentric performance. Another outstanding entry was brought by the Norwegian band Subwoolfer. Their song Give That Wolf a Banana provided the festival with the necessary humour so as to make both audience and contestants disconnect from the incertitude and tension the festival may generate. Moreover, it kept the audience guessing who was hiding behind the wolf masks.

Many fans also missed the presence of some entries in the grand final. One of the favourites, Cyprus’ Andromache and her ethnic pop song Ela, could not make it through the finals despite the huge support she received from the audience. The Irish representative, Brooke, found herself in the same situation. Although she did not guarantee her country a place in the Eurovision final, she confesses she is happy with her performance and that it was not probably the right time, showing herself positive, full of hope and willing to improve.

Nonetheless, the country where the contest will be held next year is still unknown. Normally, the winner is in charge to organise the festival but considering that this year’s winner is Ukraine, which is still under military threats, it is not likely that the competition will be held in the country. Although the Ukrainian president showed his willingness to organise the festival in Mariupol, the widely spread tension around the country does not provide any glimmer of hope at the moment. For this reason, the Spanish and the Greek delegations already mentioned that they would be willing to celebrate the festival in their countries in case Ukraine wins. However, many fans also speculate that the UK may be next year’s host. It still remains unknown but it will be announced soon enough so as for the whole continent to start looking for their next year’s star. 

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.