The best electronic music set in Leeds this year: Caribou + Ela Minus dazzle at Leeds O2 Academy

Francesca Lynes on 15 March 2025

It’s a Sunday night in February and I walk down, alone, to Leeds O2 Academy. Content in my headphones, I am reminded of the last time I queued outside this venue. It was freshers week, only a few months ago, though it feels like a year. It was the first Indie Thursday of the term; I remember the half-excited, entirely-awkward crowd of newbie students. As I look at those around me now to see who has replaced the noise, sweat and slightly manic excitement of freshers, I spot a 6ft+ man in a leather trench, leather cap and steel-toed cowboy boots queued next to two women in Princess Polly attire. Parents with younger kids wait alongside couples, students, and individuals like me – the broad appeal of Caribou’s uplifting electronic sound evident from beyond the vacant stage. This is my first time going to a gig by myself and I feel a certain nostalgia for my first days living in Leeds, the Caribou classic ‘Home’ playing from my phone, now a poignant soundtrack to this milestone of my newfound independence. 

As I wait by the barriers, cold starts to work its way through my Leeds layers, trepidation simultaneously building at the prospect of entering the cramped setting of Projekt. I begin to wonder what I should expect – a loud gig with one man on stage pressing some buttons on concealed DJ decks, with all the charisma of London posers mixing in Hyde Park? As if to dispel my doubts, an apparition appears. It is Dan Snaith picking up his Deliveroo dinner from beside the back door to the venue. An ordinary man, inconspicuous in a t-shirt and plain trousers, understandably goes unnoticed by those around me, though as he disappeared back into the venue, I felt a buzz at the thought of his imminent transformation. Like Clark Kent into Superman, I was now eagerly anticipating leaving the familiarity of the puddled Leeds streets to be taken into Caribou’s world of light, colour and bass-driven good times. I was not to be disappointed. 

Support act: Ela Minus 

Ela Minus is a Colombian multi-instrumentalist, producer and singer taking the techno world into her own hands. With a Björk-like air and the confidence of a musician settled into their artistry, this exciting performer positions herself in front of the DJ controller and promptly takes ownership of the stage. Buttons and dials are in full view of the audience; Minus herself is facing away. What follows is a masterclass in natural performance. At one point, I become convinced that Minus has forgotten about the crowd whilst she skip-dances across stage, sings with ease, keeps the pace and excitement with the electronic elements whilst making everyone feel included. A real show, yes, but one that encouraged attention as well as participation. The audience moved to every beat; there was a sense of a falling in love: for her music, her dance but also EDM as a whole. Minus’ presence and intense use of bass turns a Caribou crowd into eager, raving Minus fans. Her track ‘Broken’ from new album DÍA (2025), has been described by Pitchfork as “a cry for help that swells into a soul-purifying baptism-by-rave”. When the track rang out, the hair-vibrating levels of bass surpassed any previous gig volumes in my experience, pulling us into the intensity of healing by dance. It felt like an invitation to something special and, whether we purified our souls or not, we accepted it readily.

Caribou 

Building on the energy that Ela Minus had created, Caribou transfixes the audience. The levels of light, colour and volume start lower and gradually build up, creating an all-consuming set that uplifts and surprises. 

In the opening segment of the gig, Caribou keeps the stage in black and white as the band plays a few tracks from the lesser-known depths of his discography until a final crescendo and drop into the crowd-pleasing ‘Odessa’ when the venue was plunged into red lights and geometric patterns were projected behind the band. A striking start encourages consistent dancing from those around me, and I genuinely feel myself smiling at the stage as I eagerly await what’s to come. Caribou’s live performance consists of Snaith and his bandmates, Ryan Smith (guitar, keyboards), John Schmersal (bass, keyboards) and Brad Weber (drums). For some tracks, Dan and Brad face each other, both playing drumkits with a musicality that brings an electrifying definition to the drum solo. The energy of the three of them on stage takes over: everyone around me, including those I see when I crane my head to check out the balcony above, are on their feet dancing. At one point the sounds produce the sensation of being inside a siren (in an exciting, sonic-absorption kind of way); at most other points, the music simply encourages uninhibited dance. Caribou were smiling throughout, Snaith using the few breaks between pieces of the free-flowing setlist to look out at the crowd, expressing a gratitude that felt genuine. The pace is kept up for the whole evening, more intense EDM shifting seamlessly into classics such as ‘Sun’ and ‘Never Come Back’. It was fun and loud, at times soulful and always, consistently, joyous. The noise, bass, and dazzling beams made me consider at one point that I may leave O2 that night with reduced vision and hearing, a price that, in the infectious fun of Caribou’s set, seemed a reasonable one to pay. The musical highlight, however, has to be the 2,300 people (plus the 3 band members) singing ‘Happy Birthday’ to the drummer, Brad. Electronic and dance music contributed an estimated £2.4 billion to the UK economy last year. Nevertheless, it is a genre, scene and entire community that is constantly being neglected – take the closure of Leeds’ very own Old Red Bus Station as a microcosm for this wider issue. My ticket for Caribou had a face value of £49.50 so it is understandable why there was a lack of students in the crowd. However, there are ways to support the local garage and electronic scene here in Leeds. Get yourself to Caribou or Ela Minus’ tour if you can, look out for smaller-cost clubnights such as Cosmic Slop (which Caribou has DJ’d at for free), or events at smaller venues. As Caribou has said about his own work, EDM “makes people happy”. Indeed, when I later listened to his 2025 album Honey back at my flat, I found myself dancing on my own in the shared kitchen, inevitably being caught twirling around while eating buttered toast. My recommendation for 2025? Go to the loudest gig of an artist you love, but go alone.

Written by Francesca Lynes

Independent Venue Week: won’t you take me to Regtown ’25?

Eszter Vida on 27 February 2025

It was born out of the blessed poetry of Lipps Inc. Had they known when they wrote ‘Funkytown’ back in 1970, that they actually proposed a culturally, spiritually, enlightened definitive question in their pulsating chorus: ‘oh won’t you take me to Regtown 2025?’ Little did they know of their influence on independent Leeds based record label Private Regcords, taking on their grandest gesture yet and booking out the entirety of Hyde Park Book Club to celebrate DIY small festivals and local talent galore.

Mr James Vardy, CEO of Private Regcords, and the puppeteer behind the 15 acts on his lineup proposed such a musical coup on the beloved student hotspot this past Independent Venue Week, in effort to celebrate a variation of local experimental, indie, art-pop, jazz and everything in between. This special day of collaboration could not have been met with a more sanctimonious response, selling out on general admission tickets and flogging T-shirts like evangelical pedlars in the freezing cold to raise funds for an awesome night. These days not many startup festivals can financially upkeep themselves, and the struggle to meet the nail biting margin for a necessary profit to continue consumes most creative projects with inaccessibility, bankruptcy and the fearful reminder of the state live music is in. So the fact that we have events like this means that our community has struck gold on its legacy for culture. 

It’s within these third spaces that musicians are not only playing to one another, but praising each other’s work in recognition of being equals on a lineup, curated by people who love local music. And not only did they party until Leeds’ City Councils temporary 2am curfew extension – oh no. If you want to get involved and continue spreading the message of DIY events, head on down every Sunday at 10am to the new Hangover Sessions in the Snug Room of Hyde Park Book Club, where the record label hosts stripped back performances as cures for your post-Saturday shenanigans. I know it cured my post-Regtown festival blues.

Written by Eszter Vida

Adult DVD. Sold Out. In The Round.

Freddie Waterland on 24 February 2025

Adult DVD. Sold out. 1am start time. In the round.  

Adult DVD’s hometown gig at the Belgrave Music Hall was as chaotically energetic as anyone who is even vaguely familiar with their music could expect. ‘Yacht Money’ and ‘Hot Set’ provided the ideal start, an unapologetic blend of punchy vocals from lead singer Harry Hanson, strong riffs and as much influence from the synths as could be imagined with no less than four on stage, encapsulating in microcosm the band’s distinctive sound. Often made comparisons to LCD Soundsystem are not without merit, but only by listening to their classification defying acid/electronic/dance rock can one begin to grasp what Adult DVD are about. 

Simply put, the ‘in the round’ aspect of the gig – where the band stood in a circle essentially amongst the crowd, in an intimate ‘boiler room’ style – worked brilliantly. Perhaps the main beneficiary (apart from the crowd) was drummer Jonathan Newell; no longer relegated to the back of the stage behind a wall of equipment, the pulse Newell provided not only provided the perfect complement to the synths but deservedly took the spotlight at times.

‘7 foot 1’ and ‘Dogs In the Sun’ were both well crafted and compiled without losing the jazzy electricity that makes the band unique. They provided the perfect build up to the highlight of the night, ‘Do something’. A cacophonous soundscape as full of relentless dynamism as the rest of their music, ‘Do something’ retains lyrical sardonicism whilst being undeniably catchy. This combines to give a sense of forward motion – surely emblematic of the band’s trajectory in the coming years.

The remainder of the set basked in the playful peculiarity of the moment. It is not every day at 2AM you are stood, essentially engulfed by a dance/rock band, above an (albeit excellent) canteen in Leeds’s Northern Quarter, but as the industrious ‘Sadman Mancave’ faded into the joyfully crazy ‘Bill Murray’, it became apparent it’s something that should happen more often. 

Written by Freddie Waterland

The Next Service to Depart from Platform 1 is The Brian Jonestown Massacre Express 

Joseph Macaulay on 18 February 2025

The Brian Jonestown Massacre have long had a divisive reputation as a live act. The more than thirty members who have come and gone over the last thirty-five years are testimony to the internal frictions that have given Anton Newcombe and co. such notoriety. In 2023, they made headlines for an onstage brawl culminating in Newcombe’s wielding of a guitar against one of his bandmates. It was with some trepidation, therefore, that I crossed to the other side of the tracks and ventured to the Leeds Beckett Student Union. 

I have never been at a gig quite like it. The band take to the stage, denim-clad, feather-hat-sporting, and with heavily tinted sunglasses, no doubt to hide the countless nervous glances fired Newcombe’s way. He takes his place and flicks over the first page of his laminated lyric book. We wait with bated breath. The band waits for their leader’s cue. A subtle nod of the head, and this psychedelic steam train heaves into motion. For the next two hours, we ride tracks of hypnotic guitar noise, layers of tambourine and head-jerking percussion, and the cool vocals of this hazy locomotive’s crackpot conductor. 

We plunge through musical landscapes. At times, more concrete forms of a pop riff or vocal hook swim into view before plunging back into the foggy horizon, all the while punctuated by a steady tambourine groove that reminds you that you haven’t yet derailed. Among these landmarks are the likes of ‘Anemone’, the band’s most famous and accessible tune, that washes over the spectator in an effortless wave of rhythm and jangling guitar lines. ‘When Jokers Attack’ and ‘Pish’ stand out too, but all blend into a backdrop of blissful psychedelic groove, a ride so smooth that it does sometimes leave passengers slipping into a lethargic doze, though never ceasing in gently nodding their heads. 

Songs begin to feel amorphous, and I do find myself seeking some auditory refreshment. Moments later, and a slick bassline or guitar line pulls me back in. There’s a kind of musical game of cat and mouse at play here, where Anton Newcombe lounges in his own brilliant, startling, divine genius and at the point where you want to shout something at him just to snap yourself out of his spell, in another masterful stroke he beats you to it and says, “look at this!” and blows your mind. 

As the train rounds the final bend, the Brian Jonestown Massacre vista is wide open for all to see. They are self-indulgent, their songs do kind of sound the same, but it doesn’t matter. You can’t help but be drawn in by their hypnotic rhythms and softly spoken rhymes. And as I am about to be lulled into a deep sleep, the final track proves a final twist in the tale. The sitar backed melody of ‘Super – Sonic’ evokes The Beatles’ ‘Tomorrow Never Knows’. It’s swirling and disarming, thoroughly enchanting. Now, this I could listen to forever. 

I think I’m about to attain nirvana. I’m on the brink of the abyss. I’m flying, floating, endlessly, blissfully…

Then the song finishes and the lights come on in the Beckett Student Union, where this service terminates.

When Did We All Start Acting Like BRATs?

Jess Cooper on 15 November 2024

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

The Libertines: What has become of the likely lads?

Joseph Macaulay on 4 November 2024

There is a timeless quality in the washing away of other people’s sweat from yourself after a gig. That first moment of reflection. A lingering smile. The repeating lyrics of the closing song are still echoing round and round. 

Don’t look back into the sun… Now you know that the time is come…

It’s timeless because this very moment has been shared by innumerable other people. The riotous old days of The Libertines now seem an intangible myth. And yet here I am. Feeling the exact same things that they did all those years ago.

The water keeps on gushing over me. Don’t want to take any chances about the contents of that flying pint. But as the filth washes away, I think over every detail. From the moment I walked into O2 Academy, I knew I was in for an entertaining night.

The Liverpudlian Zuzu preempts the mood of the evening with a scintillating opening act of catchy indie rock. Her fifteen minutes on stage allow for a whirlwind showcase of both her songwriting skill and endearing crowd work. ‘Spy Balloon’, in particular, shows her talent for instantly singable indie pop hooks. An excellent start. 

During the interlude, Ed Cosens takes to the stage, to provide some soulful, acoustic entertainment.  Reminiscent of fellow Sheffielder Richard Hawley, Cosens’ rich voice reigns in the night’s excitement, making sure to not let the pot boil over too soon.

Moments later, and the arrival of Real Farmer. The Dutch four-piece shatter the calm with an explosion of punk noise, made all the more captivating by the oxymoronic combination of the singer’s Jim-Morrison-esque look, and vocals more akin to Iggy Pop or Idles’ Joe Talbot. For punk enthusiasts, they’re certainly worth checking out. 

A vicious final track, and thoughts turn entirely now to The Libertines. What would they open with? ‘The Delaney’, perhaps? Or a new tune off their recently released All Quiet on the Eastern Esplanade? The set, a façade of The Albion rooms – the recently closed Margate hotel owned by The Libertines and featuring on the album’s cover – looms over us, begging the question. We don’t have to wait long to find out.

Like a loose rodeo bull, the band flails into life. It’s ‘Up the Bracket’. Of course! The title track of the album that started everything. Immediately, The Libertines’ magic is on display. They drunkenly slur through lyrics and guitar lines without ever looking for a moment out of control. It’s as though the frantic dancing of the audience drags the band along with them. Pete Doherty seems to acknowledge this, as he and the crowd share that famously crooked two fingered salute. 

Then it’s into the next one, and the first track off their latest album. ‘I Have a Friend’ sees The Libertines look at modern issues, interspersing their poetic style with mentions of free speech and empty human discourse. There’s no time to ponder these contemporary anxieties however, as the frontmen dive into a vintage guitar solo and the crowd continues to bounce. It’s hard to spot the countless trials and tribulations that litter the years between the two songs. The comradery between the band members is apparently stronger than ever, and their songwriting is, as always, on the money.

What follows is something of a greatest hits setlist, interspersed with new tracks. Some of these new additions prove the more poignant moments of the evening. Doherty takes on a Fagin-like persona for the haunting ‘Baron’s Claw’, and for a moment you could be watching something by Andrew Lloyd Webber. ‘Shiver’ and ‘Run Run Run’ are also welcomed as instant classics by a crowd in full and fine voice. The new album seamlessly weaves its way into the set, helped, it must be said, by The Libertines’ live embellishments that were somewhat lacking in the album’s overly polished production. 

As the final harmonica notes of ‘Can’t Stand Me Now’ die out and the band leaves the stage, we are given a chance to catch our breath. But the crowd is baying for more already. That’s the thing with The Libertines; you simply cannot get sick of their sound. Each song has something interesting; a brilliant guitar line, a witty lyric, a vocal harmony from Doherty and Barât. They aren’t another 2000’s band going through the motions. Instead, there’s more a sense of vocation – this is what these four were meant to be doing. How else would they still be doing it?

The Libertines retake the stage and deliver a seven-track encore that resolutely satisfies any remaining song requests. As countless crowd surfers fly over my head, I find myself under The Libertines’ spell. I think it’s their authenticity that is most captivating. They indulge in the theatrical, the romantic, the poet, the rock star, because they are all these things. As I said, there’s a reason that this band is somehow still performing together, still enthralling audiences, still writing great songs. The Libertines are the real deal. They are as brilliant now as they ever have been, and I think it’s safe to say that for now, the good ship Albion is in steady hands. 

Words by Joseph Macaulay

A chat with The Goa Express ahead of their first headline tour of the UK

Benjamin Forrest on 15 May 2022

Originally formed as teenagers in Burnley, The Goa Express have since been claimed by every music scene from Manchester to West Yorkshire, their unique brand of psychedelic, garage-punk influenced indie music gaining them a sizeable following. The group have been steadily rising in popularity since their initial release, ‘Reincarnation of the Lizard Queen’, in 2016 and are now set for their first headline tour around the UK – including a date at Hyde Park Book Club in Leeds on the 18th May. I spoke to lead singer James Clarke, and his brother Joe who plays keys in the group, to get their thoughts going into the tour and find out a little more about The Goa Express. 

The Burnley quintet includes two brothers – James and Joe – James states boredom as a predominant reason for the formation of the group, “We came together largely through not having that much to do in Burnley and largely through meeting in school. We all met in school, always to hung out together and then didn’t really have that much to do other than going to each other’s houses and muck around, there’s limited opportunities in small towns”. Speaking of small towns, though, The Goa Express has been heavily tied to the rising scene in the Calder Valley. Todmorden and Hebden Bridge seem to be breeding grounds for great groups at the moment, with the likes of Working Men’s Club, The Orielles and The Lounge Society putting these towns on the map. At the epicentre of this scene is The Golden Lion, a pub and independent venue established in 2015 which now also operates as a record label (Golden Lion Sounds), releasing records for artists such as Henge, The Lounge Society, and even Jarvis Cocker! Asked about this thriving local music scene, James explained, “Waka – Richard Walker – who runs the Golden Lion with Gig, we’re both from Todmorden so we’ve grown up there, we know the faces quite familiarly, we’ve just known him for ages. Although it seems like quite an unsuspecting place and a, sort of, little hidden little town in the middle of nowhere it’s probably not that unsuspecting when you’re there. It’s full of crazy characters and wacky people. Golden Lion was a bit of a refuge for us growing up, when we didn’t have anything else to do, anywhere to go, anywhere to listen to the sort of stuff we wanted to listen to”. The Golden Lion is a prime example of the absolute importance of independent venues for the development of new artists and music scenes, and the existence of bands like The Goa Express would surely support that claim!

Thus far, releases from The Goa Express have all come from independent labels, with early singles on Wrong Way and Eli Records and their recent singles on Ra-Ra Rok Records. The single ‘Be My Friend’, which received praise from Steve Lamacq on BBC 6Music, featured on the Counter Culture 20 compilation by Rough Trade. The Goa Express are an undeniably independent band, Joe detailed the benefits of this approach for the band, “Luckily we’ve still managed to maintain a good level of control over what we do and the people we meet and what trajectory you want to go down. I think eventually we won’t be against having the support of a label but we’re trying to do that on our own terms and keep as much control as possible”, he went on to explain “We’re not gonna spend our entire music careers being independent but it works for now and we’ve not needed anything else. It’s quite difficult coming from no involvement in the music industry to just all of a sudden having a shit ton of deals in front of you, managers and lawyers and all this kind of thing. It’s been nice for us to take it slowly and build up trust with different avenues”. The band are currently witnessing a great deal of success being signed to Ra-Ra Rok Records so, presumably, there are already a few major labels sniffing around – watch this space!

Blending psychedelia, pop, garage rock and indie, The Goa Express have a fantastic and thankfully non-generic sound to them. Asked about their influences, James lists, “A lot of Spiritualized, a lot of Brian Jonestown Massacre, a lot of stuff that was revivalist of 60s stuff but came later on in the 90s. Obviously your generic Britpop stuff and things that were dead catchy but largely the stuff that remained a little bit underground and revived certain movements that were lost in a bit more of a contemporary way”, before adding, “As well as all the classic shit that everyone listens to”. The psychedelic influences were definitely more noticeable on the bands earlier tracks, and that is something the group will admit to, “We’re less psychedelic now, none of us like that track [Reincarnation of the Lizard Queen] at all, we probably borderline hate that track. It’s funny to look back on and thing that that long ago we were still trying to get our stuff out there”. Describing the reasons for the development in sound, the band said, “We’re a bit more selective, the sound has just kind of evolved gradually, it’s never been coordinated to end up in a certain genre”.

Speaking to the Goa Express brothers it was refreshing to see their lack of pretentiousness in their approach to music and their band, perhaps it’s their Northern roots or the fact that they are fairly early on in their trajectory of success – either way, it is clear to see that The Goa Express exist largely through a simple love of good music between close friends. Prior to setting off on tour, which began in Nottingham on the 10th May, I asked the brothers about how they would approach their first headline tour, “Just go and enjoy it and embrace it. This time around, considering it’s our own and it’s a headliner, just try and make a good impression and not take things that seriously. If one show is wicked that good, if one show is bad and no one shows up then so be it, who cares?”. The two highlighted the Leeds gig at Hyde Park Book Club (which you can purchase tickets for here) as one they were particularly looking forward to. The group were supposed to play on the Oporto stage at Live at Leeds last year but had to pull out the night before, if the disappointment felt within those attending the festival is anything to go by then the Leeds gig is sure to be a good one, and James assured us “We’ll be there on time and in top form”.