From Pub Gigs to Global Stardom: Sam Fender is back with new music and album tour, ‘People Watching’.

Poppi Andelin takes a deepdive into Sam Fender’s career, from playing North Shields pubs and open mics to selling out in-demand stadium tours.

From pulling pints in North Shields to headlining sold-out stadiums world wide, the evolution of Sam Fender serves as a testament to the power of his raw musical talents. After taking a break to focus on his mental health, Sam Fender has bounced back into the scene with brand new music and the recent announcement of his upcoming album People Watching (2025), set to be released early next year.

It all began for Fender at the age of 8, when he learnt how to play guitar, and it wasn’t long after that he was performing small gigs with his best mate Dean Thompson; playing riffs at family events and covering songs from their inspirations of Jeff Buckley and Bruce Springsteen. The music landscape consumed Fender from a very early age, raised by his dad who was a singer/ songwriter, and grew up listening to the likes of the Beatles and Donny Hathaway. There’s absolutely no shock there that many of his songs are now inspired by 80s hits, and sculpted by an incredible indie sound that makes so many of his tracks unapologetically his own. 

By the age of 18, Sam Fender was performing intimate gigs in local pubs. This included the ‘Surf Cafe’ in Tynemouth and the Low Lights Tavern in North Shields where he worked pulling pints – little did he know at the time, this would be a venue that held deep significance as the starting point to his professional musical career. Imagine working a usual shift one night at your local, and leaving with the recognition from what was Ben Howard’s record manager at the time. Well, that’s exactly what happened to Sam Fender. Working his usual, pulling pints, and getting told to quickly whip out his guitar and play a few of his songs as Owain Davies sat in the pub to celebrate winning a Brit Award. After being recognised and praised for his talents, it wasn’t long until he was taken on as a client in 2013. 

What I admire most about Fender, both as an artist and as an individual, is his unwavering connection to his roots- a quality that undeniably keeps him grounded. Even after winning a Brit award in 2019 for best ‘Rising Star,’ he chose to place the trophy on the bar at the ‘Low Lights Tavern, where it now serves as a pump for one of the beer taps. It’s a perfect reflection of his extraordinary humility and his commitment to never forgetting where the journey for him began. It also means that if you’re ever in North Shields, you can see it for yourself… And nothing screams Geordie more than getting your pint pulled from Fender’s very own Brit award.

Sam Fender’s musical breakthrough came in the year of 2017, with the release of tracks like ‘Play God,’ ‘Millennial,’ and ‘Start Again’, marking his socially conscious songwriting. From the outset, his lyrics tackled pressing issues, critiquing capitalism in ‘Play God’ and addressing social media addiction in ‘Millennial’. These songs, as well as later releases, explored themes of working-class hardship, mental health struggles and tough realities, reflecting on himself growing up in the North East. Thus, through his music, Fender gave a voice to a generation facing similar challenges in modern life. This was later grounded in 2019, after his first hit, ’Play God,’ was added to the FIFA19 soundtrack, exposing Fender and his music to many consumers who were perhaps around his age and possibly going through similar life experiences that were reflected in his songs. 

The year of 2018 then saw Fender release his first EP, Dead Boys (2018). More of his greatest hits appeared here, some including ‘Poundshop Kardashians,’ ‘That Sound,’ and ‘Leave Fast.’ The track ‘Dead Boys’ was inspired by the deeply personal loss of his friends to suicide, prompting Sam Fender to confront the topic of male suicide in his songwriting. It has since become a recurring theme in his music, reflecting the pressing issues faced by many of his listeners in modern society. After the success of his debut EP, Fender released his first album in 2019. Hypersonic Missiles (2019) was constructed of hits from his EP and other very successful new and older singles that were released prior; some including ‘Play God,’ ‘That Sound,’ ‘Hypersonic Missiles,’ ‘Saturday’ and ‘Will We Talk?’. 

2019 was a year that immensely took off for him as an artist, and also promoted my own experiences of him as an ultimate Fender fan. After meeting Sam Fender at Newcastle train station whilst he was on his way to the Brit Awards (my most ultimate flex in life), it led me to becoming greatly enticed by his live performances in the following years. One of my favourites, and arguably the best gig I have ever personally experienced, was his headlining act at the ‘Mouth of Tyne’ Festival, whereby he played some of his greatest ever tunes in the ruins of Tynemouth Priory and Castle. A location like no other, the performance was a sell-out; and even more fans gathered on the beach side of the venue, as North Shields echoed with his incredible vocals. What makes his performances undeniably his own, isn’t just Fender and his bandmates gallivanting around the stage in Newcastle United shirts, but it’s also the life and energy that they bring to every show. With band members like Deano, Joe Atkinson, Tom Ungerer and Drew Michael, they create a vibrant rhythmic dynamic, while their saxophonist, Johnny ‘Blue Hat’ Davis, consistently delivers the infectious beats that makes their performances unforgettable time and time again.

Since the beginning of his musical stardom, Fender has since gone on to play some incredible gigs. This includes playing Glastonbury in 2022 and headlining Reading and Leeds in 2023. He’s also played two sell-out performances last year in the almighty St James’ Park, an undeniably, possibly bucket-list achievement for the Newcastle born and bred artist, and ultimate through and through Toon supporter. 

The new album People Watching (2025) is said to commemorate a close family friend of the artist, after she passed away in November last year. Fender has explained in interviews that she gave him the confidence to get on stage to show off his talents, and thus the whole album is somewhat connected to her legacy in his life. Some of the tracks include, ‘Chin Up,’ ‘Little Bit Closer’ and ‘Something Heavy.’ After a break from the music scene, Sam Fender is back with new music on the horizon and a sell-out UK and Ireland tour for his upcoming album. The tour will kick off in Dublin at the start of December, where he will later visit Leeds’ First Direct Arena and end on home turf in Newcastle. I anticipate seeing his iconic black and white striped guitar dusted off, as many lucky fans will get to experience the musical bliss of Sam Fender once again. 


Words by Poppi Andelin

Olivia Rodrigo’s new Guts World Tour film isn’t a ‘bad idea, right?’

In a world where live music is becoming arguably inaccessible to many, can people afford to be forking out upwards of £50 on concert tickets? I guess Olivia Rodrigo’s new Guts World Tour film isn’t a ‘bad idea, right?’

After being on the road since February, Olivia Rodrigo has finally wrapped up her GUTS world tour – becoming Billboard’s Touring Artist of the Year. On the 29th of October, Netflix released their version of the tour, live from the Intuit Dome in Los Angeles, giving fans at home the chance to experience the show from the comforts of their own homes (and bank accounts!)

It’s true that nothing can replicate the feeling of live music, but in this instance, tuning in at home was the only option for many fans. Whether they lost the Ticketmaster war, don’t live near a tour date or they simply couldn’t afford tickets, live tour movies are a way for fans to experience every emotion felt in person, with their personal at-home concert. In the GUTS World Tour film, viewers can experience the heart-wrenching sorrow from Rodrigo’s first single ‘driver’s licence’ to the upbeat and energetic cover of ‘HOT TO GO!’, featuring one of music’s latest stars, Chappell Roan.

A problem many fans face nowadays is actually being able to afford to attend these arena shows, which are sneakily creeping up in price. With mainstream artists having a large fanbase and high demand, they can charge high prices and get away with it. A standing ticket to the GUTS world tour at the new Co-op Live arena set fans back around £90, a price somewhat unjustifiable for many, including students.

As live music for mainstream artists becomes more expensive, tour films are an exceptional way for artists to be inclusive. It’s important for everyone, from young fans to casual listeners to have access to the art of concerts and experience music from big artists (without the hefty price tag!)

Words by Grace Moore

Halsey’s The Great Impersonator and the Anti-Intellectualism Debate

 Halsey’s The Great Impersonator marks their fifth studio album and one of the most controversial moments in music criticism for 2024, from the project’s rollout to its reception. The eclectic project honours Halsey’s longstanding commitment to vulnerability, weaved between witty one-liners whilst exploring the musical styles of the last four decades.

With each song having been inspired by a particular artist or band, some influences are more evident and successful than others at times, such as in Letter to God (1983). The Springsteen tribute eloquently captures the American singer’s guilt as she recounts being diagnosed life-threatening illness and the fear of orphaning her child, wondering if the disease came as the result of praying for her life to be taken a decade prior. It was revealed this June that Halsey was diagnosed with Lupus and a rare, life-threatening T-Cell disorder. These health struggles further follow the artist’s struggle with endometriosis and their struggle to conceive, addressed on track More on her third studio album Manic (2020), before finally having her child, Ender. Lucky, a track that draws inspiration from Britney Spears, carries the star’s essence in its effective instrumentation reminiscent of the Y2K icon whilst alluding to the lonely journey Halsey went on before her audience knew she was sick – a theme built upon in the Amy Lee-inspired rock number, Lonely is the Muse, one of the strongest tracks on the album. Dog Years, by contrast, falls short of the album’s high standard with its lyricism, and whilst Darwinism is lyrically strong, its melody is sadly quite forgettable.

And I don’t wanna blame the child, but I have to speculate
If this could all just be an answer to thosе prayers that came delayеd
Because I never would have said it if I knew I’d have to wait
Until the moment I was happy, then it all disintegrates,

– Letter to God (1983)

 Letter to God (1983) is the second of three iterations of this song, between Letter to God (1974) and Letter to God (1998), creating a narrative framework for the album. With each iteration, it feels as though Halsey has taken the stage to zoom out and recount the story thus far much like a play’s narrator, fitting as Halsey is reclaiming the narrative on her health from tabloid speculation with this project. This adds to the theatricality of the project established when Halsey impersonated the inspiration of each track in the lead up to its release. The attention to detail was astonishing as they recreated wardrobe and make-up looks themself, and excitement was built in the lead up to the album’s release as fans anticipated a new look each day. Life of the Spider (Draft) further contributes to the work’s raw nature as the stripped-down demo mimics the vulnerability of a sick patient with a shaved head and revealing hospitable gown, which Halsey sings about being on the album; the track’s acoustics are haunting, sounding as though it was recorded in this empty theatre in which The Great Impersonator takes place. This theme is truly brought home as Halsey ends the album with its title track, asking ‘Does a story die with its narrator?’.

 Anyone who has been following Halsey’s career knows that they are no media darling. Therefore, The Great Impersonator receiving largely positive feedback across the board should speak volumes: 5 stars from NME, 9/10 from Clash, 93/100 from Variety, 87 on Metacritic, 4 stars from Rolling Stone, and the honour of New York Times’ Critics Pick. Overshadowing all this success, however, were two reviews which screamed louder than all the others – a 4.8/10 rating from Shaad D’Souza at Pitchfork and a 1/10 rating from internet critic Anthony Fantano, uploaded to his YouTube channel, TheNeedleDrop. These critics were quick to receive backlash for their reviews, particularly how they came across more as attacks on Halsey’s character than their music. D’Souza described Halsey as ‘adopting a martyr’s pose, [] self-ascribed, [] profoundly unrelatable’ and spends half a paragraph bringing up her abusive ex-boyfriend before ironically stating she ‘[attempts to] conjure a sense of victimhood,’. Fantano similarly criticised Halsey for having ‘main character syndrome’ and sounding like an ‘angsty girl’. In response to Pitchfork’s review, Halsey shared only the positive lines out of context to her socials and captioned the post ‘thank you @pitchfork for your kind words. I think it’s so beautiful that everyone interprets things differently’ – a move that some called immature and others unprofessional.

 Some argued as far as to say Halsey is helping to normalise attacks of music critics; that by directing hate towards D’Souza, she contributed to the fear that music critics live in of being doxed and receiving death threats. There lies a point: art is meaningless without art criticism, and we should be able to give our personal views on subjective topics without fearing backlash when there is no right answer. Fan armies should not have power over journalists and if we lose the ability to criticise art, it could even be argued that it is a slippery slope to not being able to criticise policy or public figures in the name of not hurting anyone’s feelings. Not to mention, dwindling reception of reviews has led to many publications closing. I do not find it convincing, however, that anti-intellectualism is the problem with this specific case. If anything, Halsey’s album concept encourages younger listeners to engage with the greats and learn from their talent. No one is claiming that because Halsey was sick and scared when making this album that we cannot call it bad; a fine distinction exists between calling out reviewers for personal attacks and musical criticisms. With the case of The Great Impersonator, it was quite clearly the former. Moreover, it is worth noting that whilst Halsey does have a committed fanbase, the majority of backlash came from the general public – it was clear to the everyday listener that these reviews were unfair, not purely those who would defend Halsey regardless of the criticism.

 This begs the question, why did these two men in particular give such uniquely negative reviews of The Great Impersonator? Were D’Souza and Fantano unafraid to say what others feared to, or did they have more experience and musical knowledge than the other critics? Could it really be that it was just a matter of opinion? I suppose that we will never know for certain, but my bet is on the frustration that overcomes pretentious music types when they can no longer gatekeep their favourite artists, revealing an underlying misogyny. Halsey’s unique accounts of illness are too unfamiliar for them to contend with – coming across as ‘profoundly unrelatable’, and their reviews come across as defensive over the likes of Björk and Fiona Apple being discussed in the mainstream.

Words by Shreya Mehta.

Fat Dog Set Tails Wagging

Joseph Macaulay reviews Fat Dog live at Project House.


People have tried to categorise the music of Fat Dog, usually requiring more than a lengthy
sentence and still not coming close. The thing is, they really are difficult to explain. Until
you’ve been there, sitting on the floor with hundreds of others before exploding into a mosh
pit as the saxophone screams and front man Joe Love barks (often literally) into the
microphone, there really is no way to quantify what they do.

WOOF., their debut album was released in September on the legendary Domino Records.
Described as a mix of punk, dance, rave, klezmer and video game soundtrack, this is one
that the literary medium will never be able to succinctly wrap up with a bow. And even after
listening to the record, I was still feeling fairly in the dark as to what the gig would look like.
I’d seen them a few years ago in support of Sports Team, but back then they hadn’t even
released a single. Fast forward to now and with an album and a few line-up changes, the
London based five-piece have sold out Leeds’s 1000 capacity Project House.


“IT’S F***ING FAT DOG BABY”, screams Love as he takes to the stage in the judo outfit and
cowboy hat combo that have become his signature look. If this aesthetically typifies the Fat
Dog spirit, the booming techno that begins teases their sonic signature. But it’s with the
addition of the klezmer influenced sax and synth melodies, those unfamiliar scales, in
juxtaposition that reveal their originality. Couple this with Love’s raw vocals that swim in
reverb, and the band are truly fascinating to watch. The crowd are enthralled, hurtling
tirelessly in all directions. I find myself helplessly grinning from it all.


If any song best represents them, it’s their first single ‘King of the Slugs’. Their techno
powerhouse combines all the aforementioned qualities in a seven minute long epic. It’s
certainly not for everyone, but I think it’s for far more people than might be first assumed.
They’re infectious, intriguing and innovative, and what might read as alienating on paper is
proved otherwise in the crowd that range from wide-eyed newcomers to aging gig veterans.
Drummer Johnny ‘Doghead’ Hutch, so called for the latex mask he wears in every
performance, underpins each track with a relentlessly driving rhythm. Alongside the punchy
basslines of newest band member Jacqui Wheeler, they puppeteer the audience into frenzy,
throwing the eager pack a bone time and again.


Amidst the frenzy generated by the likes of ‘Wither’ and ‘All the Same’, the new release
Peace Song’ is a saxophone-led eye of the storm moment that lends a deeply emotional
inflection to Love’s raw vocals. It’s reminiscent of an arcade game soundtrack in the pulsing
bassline and would make the perfect accompaniment to driving an open top car into a
pixelated sunset. Similarly, ‘I Am the King’ feels like a trancey Underworld excerpt. A chance
to catch one’s breath. However, the calm can only last so long with Fat Dog.


Running’ rounds out the set in a whirlwind, Love encouraging the more daring fans to run in
a great sweaty circle. A feral chanting of ‘woofs’ summons the band back on stage for a brief
encore consisting solely of a cover of Benny Benassi’s house classic ‘Satisfaction’. After
around forty-five minutes of chaos, the dust can settle. Limited by the fact that their released
discography measures little more than half an hour, the addition of a handful of unreleased
tunes completes an exhausting, no punches pulled set. The lights come on and it feels like
waking from a dream.


Fat Dog are a phenomenon. They’re enigmatic and weird. They must be seen to be
understood. I fear I’d sound like one of those people who claim to have been abducted by
aliens in my attempts to describe them. All I can say is go see for yourself.

Words by Joseph Macaulay.

Bradley Simpson unplugged: A captivating night at Brudenell

On the night of November 13, I had the unexpected opportunity to see Bradley Simpson perform at Brudenell Social Club. Despite not being completely familiar with Simpson’s solo career, I’d still call myself a fan of The Vamps, especially as Simpson played a crucial role in the development of my teenage self’s musical (and romantic) taste and interests. 

Simpson emerged on stage a little after 9, dressed in a white shirt, looking rather angelic and instantly sending the crowd into a frenzy. Shouts, screams, and several “I love you”s and “I love you too”s later, Simpson grabbed the microphone and set the tone for the night—energetic, shoulder-moving, hands-in-the-air, feet-hurting fun.

He opened with one of his unreleased songs. Though it hasn’t yet seen the light of day, the true fans in the crowd seemed to know every word by heart. His stage presence was immaculate and the way he moved was contagious. Simpson was clearly enjoying himself, something that made a new fan of his solo career, like me, enjoy myself, too. I found myself dancing to songs I didn’t even know the lyrics to, my eyes shifting between the fans reaching their hands in the air in hopes of Simpson touching them and Simpson himself whose smile of excitement seemed glued to his face.

From unreleased tracks from his upcoming album, to released songs, to covers of unanticipated songs, it felt as though you couldn’t look away. The energy Brudenell had at that moment was electrifying. The stage was on fire as Simpson brought the charisma, energy, and magnetism of a, dare I say, rockstar? 

It’s safe to say the covers caught me off guard, but I found myself enjoying them wholeheartedly. His first cover was ‘Hot to Go’ by Chapell Roan and although it’s not something I would expect him to sing, Simpson’s deeper and raspier voice gave the song a unique twist that made it feel like his own. The versatility in his voice was striking, as it was clear that he adapts effortlessly to each style whilst keeping the crowd captivated. A prime example of this was his second live cover of ‘Dreams’ by Fleetwood Mac. His slowed-down version gave the song a ballad-like aura, showing that Simpson can also sing a ballad without breaking a sweat. 

At that moment, Brudenell transformed into an intimate lounge. The energy softened as the room grew quiet, with the flashlights flickering on whilst Simpson’s face glowed and his warm vocals wrapped around everyone like a tight, reassuring embrace. As the night went on, Simpson’s connection with the audience only deepened. He didn’t just perform; he interacted with fans, making eye contact and sharing smiles that felt genuine and personal. 

A standout moment came when he returned on stage for his final song ‘Picasso’. Although the view was partially obstructed by the fans that were hoping to get one last close look of Bradley Simpson; that didn’t stop the rest of the crowd from singing along, creating this wave of unity in the room. His vocals shone, filling the space with not only power but also warmth, leaving me eagerly anticipating the release of his debut album.

By the end of the set, I found myself surprised at how quickly the time had passed. It’s rare to come across a performer who can captivate both loyal fans and newcomers, but Bradley Simpson and his artistry did just that. 

Words by Aria Aristotelous

Sound, Soul & Small Changes: Michael Kiwanuka’s Upcoming Album

A striking voice you may recognise from the Big Little Lies soundtrack, Michael Kiwanuka follows his Mercury prize winning, eponymous KIWANUKA (2019) with the hotly anticipated Small Changes. Released on the 15th November 2024 via Polydor Records, Small Changes is a confident reply to those awaiting Kiwanuka’s return. 

In Small Changes, Michael Kiwanuka leans into a more mellow sound, giving himself the space to ruminate on the honeyed soul we know him for, as well as newer sounds, such as the unexpected synths on track 7 Follow Your Dreams. The record begins with Floating Parade, the first single. A soft and groovy introduction paves the way for swelling strings and later in the track, Michael’s assured vocals. This opener could develop into something louder and larger but instead it tentatively entices the listener into the world of Kiwanuka’s fourth addition to his balanced discography. Working with producers Danger Mouse and Inflo, the album compliments the work of Sault, Little Simz and Cleo Sol perfectly. The coexistence of these artists signifies an exciting point in musical history for genre-bending funk and soul. Kiwanuka’s Small Changes furthers this mellow exploration of sound, soul, movement, and dance.

There is a shift in the album after the gloriously harmonised vocals and forward-leading refrain “tell me I’m moving up” in track 04 Rebel Soul. The arpeggiatic piano melds into Lowdown Part 1 which delves further into the rock undertones set up in the album so far. Despite this new rock focus, Kiwanuka is able to masterfully sustain his relaxed and gently pensive style throughout with his Funkadelic-inspired twangy guitar evocative of Maggot Brain. On this record, Michael Kiwanuka showcases his confidence in his overlaying styles and genres by being more experimental and ruminative, without verging into over-indulgence. 

At times it is difficult to make out how this record is trying to make us feel as Kiwanuka’s lyrics take us through pensivity, love, inspiration and melancholy. There is a constant warmth as he takes us through these feelings as more of a reflection – the emotions expressed are done so with the air of someone in full acceptance. 

Despite the overall atmosphere of the album being gentle, the more I listen to the record the more I hear the persisting undercurrent of movement and dance. With that said, Small Changes surprises the listener; the new synth sounds and rock notes show signs of Kiwanuka’s willingness to expand his palette, taking sonic inspiration from unexpected places and seamlessly melding it to his unique yet timeless style.

Kiwanunka’s most ambient record to date, this is one to delve into. The more I listened, the more I was able to explore the shifting layers of its soul-filled and increasingly-movement focussed, dance-worthy tracks. 

Further listening:

Inflo, who co-produced Small Changes, has also worked closely with Little Simz, Cleo Sol whilst being a member of the revolutionary SaultDanger Mouse, who co-produced Small Changes and like Inflo, has a distinct sonic influence on the record, has a phenomenal album with Karen O entitled Lux Prima (2019). If you want a more feminine tilt on the sounds heard in Small Changes, I’d recommend giving it a listen.

Words by Francesca Lynes

Hyde Park Book Club? It’s Nothing that Dolores Forever can’t sell out!

Eszter Vida reviews Dolores Forever’s sold out headline show at Hyde Park Book Club.

‘Shut up and eat the pasta!’ Dolores Forever is back in town, and you just had to be there. Saving Leeds as best ‘till last for the UK leg of their tour, the indie-pop collective graced the stage with pure unapologetic fun on a sold-out Sunday night. The duo, composed of Hanna Wilson and Julia Fabrin, made a ½ homecoming show back to Wilson’s roots in a tightly-packed basement of our beloved Hyde Park Book Club.

A swarm of eager fans, awaiting their entrance as they were welcomed by the support act Pet Snake. But just gone 8:45pm, a light brush of shuffling passed my shoulder, and the train of performers slipped by on my right. There was never an overrated 4th wall of performance to begin with, as we experienced the priceless intimacy of what you wouldn’t get at any larger venues.

It’s hard to define genre in today’s age of music, but Dolores Forever weaves their influences together marvellously, refining 80s pop disciplines with a modernised DIY/indie take on post-pandemic/ 21st century narratives of experiencing the world as a young person. The release of their debut album It’s Nothing marked a pinnacle point in their career and defining sound, oozing with a synthy alt-pop essence comparable to contemporaries Sharon Van Etten, Holly Humberstone and even bedroom-pop acts like Soccer Mommy and experimental pop legend Caroline Polachek. 

Moments of splendour involved their surprisingly euphoric lyric ‘Shut up and eat the pasta’ from old-time favourite ‘Someday Best’ in a very liberating act of screaming along with the rest of the audience. “The ‘angry women energy’. I fucking see you.” A statement made by Wilson that was nothing short of the drive reflected back on stage as the audience received them with the same passion. In an effort to avoid boxing their sound into the category of bedroom-pop, tracks like ‘Why Are You Not Scared Yet?’ and ‘Concrete’ are proof that their sound reflects more than just the anxiety of being 20-something; in fact, there’s a darker thematic presence of resentment and discontent. It’s something that translates to the crowd during their live set, the dedicated front row bouncing up and down as the chorus of closer ‘Not Now Kids’ hits.

For more emotive bangers, ‘Split Lip’ was my personal favourite of the night. Stripping back from the more in-your-face angst, this track is one that makes you well up in the most unexpected way, specifically when they sang lines that directly addresses you in that small room: ‘you don’t have to give yourself a split lip, you don’t have to beat yourself up over it, you know I hate seeing you like this?’ Each chorus feels louder, boomier as the drums reverberate, the band reaching further into your soul like a best friend would.

Concluding on an endless applause and significantly more endless merch queue (support small artists!), you could say there’s promise behind their very fitting stage name that the feeling you are left with could last forever. If I was an etymologist, their Spanish first name ‘Dolores’, meaning ‘pain’, isn’t forever, and that’s the ephemeral beauty of their music connecting with fans, also evident in their patient post-show goodbyes to their fans.

For fans of: Sharon Van Etten, Holly Humberstone, Bleachers.

Words by Eszter Vida

Yours to Keep – Why You Should Check Out This Local Indie Music Festival 

Leeds music scene attracts thousands of students each year; why aren’t more of us branching out to see what more can be seen and heard just a short train journey away? 

For just £20, a festival full of artists ranging from young new talents Gravy to the cult-followed refined experimentalism of The Orielles, the few extra quid and 45 minutes to get to Huddersfield felt entirely worth it to me.  

Yours to Keep Festival debuted last year with headliners Teleman performing alongside indie newcomers Panic Shack, establishing the festival’s focus on indie and rock – with punk at its centre. This year, Yours to Keep’s sophomore success left me wondering why weren’t more of Leeds’ students in the crowd? 

Doors open at 4pm – the perfect time to make the 10 minute walk from Huddersfield station to Parish to grab a pint and wander into one of the venues to see who is playing. 

Wristband collection at Parish (a very informal, friendly process) was simple, as was getting a drink, and we headed, pints in hand, over to the Northern Quarter. A five minute fast-walk away (through Huddersfield in November – wrap up warm!) is the venue that completes Yours to Keep. Northern Quarter has the same sense of live music history that Parish does, though this smaller bar feels like more of a hidden gem rather than a locals’ favourite. The classic and characterful highlight of this space was that the sound technician was hidden in a small mezzanine level accessed by a wooden ladder propped against the wall. When we arrived, the place was starting to fill as people stood to bob their heads for Gravy. Local teens make up this newcomer indie-rock quartet. Through orthodontic braces the lead singer pulls off an impressive and consistent vocal performance reminiscent of early Declan McKenna. Sonically, they seem to strive for the Arctic Monkeys debut album, Whatever People Say I Am, That’s What I’m Not (2006), however, landing more often closer to the crowd-pleasing energy of Sam Fender or Two Door Cinema Club. Elements of their subversion of this genre are successfully worked into the gaps between songs – guitar riffs and maximum reverb making their music run almost entirely without pause. Their set seemed to be enjoyed by everyone in this intimate bar and you can catch these ‘ones to watch’ at Live at Leeds this summer or on Spotify. 

The festival pulls in an impressive range of genres and ages, including a particularly heavyweight set from Polevaulter in the Northern Quarter. My personal highlight would have to be when Polevaulter’s lead singer (Jim Hopper’s doppelgänger I must add) interrupted their unsmiling, avant-garde techno performance to ask the sound technician ‘would you mind turning this mic up a wee bit, cheers’. The warmth of the chilly North cut through what might have risked being a show of pretention down in London.   

After the intensity of Polevaulter, we headed back to Parish. Similar in decor to Brudenell with a slight lean to more rock/metal aesthetic, this space has a welcoming and relaxed atmosphere. At 300 capacity with a slightly raised viewing level and small bar, Parish’s similarities to Brudenell continued. The place feels timeless, and you can tell it has been hosting gigs for years.  One of the first things we saw here was the end of Friedberg’s energetic all-female pop punk performance. For fans of Warpaint, LCD Soundsystem and cowbells, their newest album ‘Hardcore Workout Queen’ is well worth a listen and their performance did not disappoint. The festival aims to mix practiced professional musicians with local new talents which provides the freedom to wander in and out of the venues, discovering new sounds without that well-known festival pressure of two acts you love having clashing stage times. If you want that feeling of coming across an amazing act totally new to you, like Friedberg was for me, then Yours to Keep is the place. After catching Friedberg, we headed for the outdoor area. A surprising highlight, the outdoor area is more retro and colourful, a space complete with picnic benches, heaters and murals.  

Heading downstairs into the Parish basement you can find The Parish Dive. The smallest venue – though complete with a pool table and full bar – the Dive was surprisingly well set out for watching smaller acts perform such as the wacky stage antics of The Will Yates Experience. Like many Hyde Park housing basements, this venue space completes its indie aesthetic with low ceilings and a subterranean moody ambience.  

After a meander through all the component parts of Yours to Keep, the atmosphere began to buzz as the evening went on and it came closer to the headliners. First though, we had time to grab a bite – a burger from Parish pub, well worth the wait – before heading back upstairs as Pale Blue Eyes took to the main stage. Though the charm of newer bands is part of Yours to Keep identity, the confidence of Pale Blue Eyes combined with the stronger quality sound and lighting of the main stage brought the festival into a different energy for the final part of the evening. The three-piece from Devon created a fun atmosphere, the now-full crowd drawn into their spiralling instrumental outros not dissimilar to The Stone Roses. Lead singer Matthew Board echoed the warm atmosphere of the festival when he spoke briefly on the importance of festivals like this in towns like these and reminisced on seeing his favourite bands in venues like Parish growing up. After Pale Blue Eyes there was time for a brief break to head back to the bar or outside area before headliners The Orielles.  

The Orielles, for me, are one of the most exciting bands to have come out of the indie-rock resurgence in the past 20 years. Their debut album combines classic feelgood indie with unique, absurd and mundane lyrics, whilst their 2022 record ‘Tableau’ edges their post-disco punk into more experimental territory. Watching them live is an essential part of the listening experience as they expand, distort and carry forward this boundless audio exploration. A highlight was their stylistic merging of ‘Tableau’ into an earlier track, ‘Henry’s Pocket’. Made to match the tones of tracks like ‘Airtight’ or ‘Drawn and Defined’, this moment contributed to a cohesive and exciting headline set. Lead guitarist Henry’s enthusiastic, verging on gloriously manic dance was fully embraced by the crowd at Huddersfield, who moved to the disco undertones of the songs. I just wish that their set had been longer. 

Yours to Keep is the perfect music-filled evening away from Leeds, a chance to visit neighbouring Huddersfield and to experience some new pubs and local venues. Having the opportunity to have a friendly chat with The Orielles afterward encapsulates the down-to-earth, music-focussed community at Parish and exemplifies how this up-and-coming festival itself is enjoyed by locals, tourists and the performing artists alike. Thanks Huddersfield!  

How To Go Next Year: 

Follow @yourstokeep on Instagram and keep an eye out for announcements! 

Instead just head to Parish Huddersfield’s website and look on their What’s On page. The venue itself has a great atmosphere, great sound quality and is worth a trip…plus £3 beers and £1 shots after 8pm every Wednesday 

Words by Francesca Lynes.

When Did We All Start Acting Like BRATs?

Amidst BRAT tour controversy, Jess Cooper looks at the post-pandemic concert etiquette crisis.

Brittany Broski is the wine aunt of the chronically online. Having cemented herself with an audience of ‘girls, gays and theys’, it was no surprise when she appeared on screens at the SWEAT tour this autumn, taking part in the viral Apple dance. Every show of the concert headlined by electro-pop superstars Charli XCX and Troye Sivan, the cameras normally panned to the audience, where either a celebrity or a very lucky fan would be given their chance to dance the TikTok routine to Charli’s hit song from her BRAT album. So to see one of our own get ready to take on what had become the ‘it’ moment of the show, it felt like the stars had aligned in musical heaven. But we were blissfully unaware of the carnage that would unfold.

Out of the shadows, donning a black mesh top and a sadistic grin, appears an attention-hungry fan. He shoves our beloved Brittany out of view and swaggers to the front of the group, desperate to catch the camera’s eye. The internet exploded. Countless social media users were quick to call the concert goer out on his blatant disrespect and rudeness. For many, the issue was not that he wanted to be on camera; it was that he seemingly had no care for his fellow fans. In the grand scheme of fan behaviours, it truly could be worse, but this viral moment has highlighted a wider problem in live music: nobody knows how to behave anymore.

To play devil’s advocate, fans did head to the SWEAT tour with the expectation of the show being an ever-expanding, theatrical nightclub where your favourite dance-fuelled artists come to life. Therefore, behaviours like this (whilst unpleasant) are somewhat more acceptable at a concert which is mimicking drunken nights out and stumbling into the smoking area. The problem is this has not just been happening at the SWEAT tour. Instead, this interaction highlights an underlying attitude problem that has been plaguing live music for a while now. Last June, Bebe Rexha was left with stitches after a concert goer threw a phone at her face mid-show and was charged with assault. He claimed he thought ‘it would be funny’. Ava Max in that same month was slapped onstage by a fan so hard that the inside of her eye was scratched. That is not even mentioning the countless videos circulating social media of supposed ‘fans’ rushing the stage at Travis Scott, Taylor Swift, Nicki Minaj and so many others’ shows. When did it become so acceptable to be so unruly at our favourite artist’s shows?

One reason explains our friend over at the Los Angeles’ BRAT behaviour, which is the desire to go viral on TikTok, Twitter, Instagram or whatever poison you pick nowadays. Perhaps he was unaware he was pushing an internet sensation who got her start as the meme ‘Kombucha Girl’, or maybe he knew exactly that he would be disrupting an entire fanbase through a simple shove. Regardless of whether he knew, it is undeniably true that the rise in antisocial attitudes in such public spaces, especially where so many people are capturing the moment through photos and videos, is to draw attention away from whatever is happening onstage by behaving so outlandishly. It clearly worked for this poor man, though it might have been for the worse.

Another explanation could be the impacts of the pandemic and lockdown, which robbed a generation of music fans of that inaugural first concert or festival experience. Instead, they’ve now grown up and are muddling through concert etiquette for the first time, often getting it wrong in the process. It isn’t just young people either; looking at the wider entertainment industry, patrons were notoriously removed from performances of The Bodyguard on the West End last April for singing ‘loudly and badly’ over the actors. Industry professionals are still, even three years after performance venues opened fully post coronavirus, pinning this poor behaviour on the lockdown. People simply forgot what it was to be in a theatre or in a stadium and have to respect others around them.

Unfortunately for music lovers and concert chasers, it doesn’t seem like these attitudes are coming to an end anytime soon. Swifties have been dubbed chaotic and narcissistic at Eras Tour performance across the States and Europe, screaming and sobbing profusely over the music. At performances for indie rock singer Mitski this year, fans were blurting out inappropriate sayings in the middle of quite an emotional set of songs (at one show, she allegedly stopped the entire performance). Maybe we should just take note from the metal heads, who seem to be the most respectful of all. Brittany Broski might have been safer at a Judas Priest show.

Words by Jess Cooper