Folk-pop perfection: Katy J Pearson transcends genre boundaries at Leeds Irish Centre

Francesca Lynes on 10 February 2025

If you haven’t made it to Leeds Irish Centre yet, you have to take a look at their What’s On page and head on over. The very least you can expect is to enjoy the 1970s living room decor with a perfect pint of Guinness in hand. Pair that with a feel-good gig like Katy J Pearson, and it’s a perfect evening. I arrived knowing a few of her tracks but by the time I left, I felt like I’d just been to one of the best gigs of my life so far. Since I got back to my flat that night, her new album Someday, Now (2024) is one I played repeatedly until the end of term. 

Glancing at the merch table as I entered the venue, I was surprised to spot beautifully handmade brooches and trinkets with the label: ‘ALL JEWELLERY HANDMADE BY DANA GAVANSKI’ written in black Sharpie. I turned to face the stage to see Gavanski perched on a chair, acoustic guitar on lap, singing to an audience surprisingly quiet for a support act (a respectful hush which is, unfortunately, all too rare). I moved closer and enjoyed her final few songs of the evening. Looking around at the crowd – a mix of older and younger people, friends and families, it was clear that Gavanski’s synthy indie pop and almost mournful vocals was enough to charm those awaiting Pearson. 

Katy J Pearson and band impressed with a set list that encompassed her discography so far, interspersed with songs from the newest release Someday, Now (2024). They began with the album opener ‘Those Goodbyes’ followed by two tracks from earlier records, by which time Pearson and her band had established an atmosphere of joy. They all seemed chuffed to be there and I wondered if this was the feeling they create and share every evening? It felt unique to the room that night, though the on-stage rapport was familiar and extended to the rest of the room. This mutual enjoyment between musicians and crowd made for a night of unexpected comedy. With jokes being shared and shouted across the room (a particular mention goes to witty guitarist Benjamin Saunders and Katy herself) meant that at one point, the friend I was with whispered to me, ‘Is this a gig or a stand-up set?’.

Despite a strong pop influence in Katy J Pearson’s music, the depth to her tone and lyrical ability amplified as she manipulated her voice and setlist to direct the gig toward a more melancholic, contemplative state. Pearson signposted this shift with a cover of Vashti Bunyan’s ‘Winter is Blue’. The themes of Bunyan’s music, along with the finger-plucking guitar led her perfectly into ‘Return’, from Pearson’s 2020 album of the same name. This was the most heart-touching moment; a rumination on personal change, relationships and a journeying through life. A tear in my eye, and in many of those of the people around me, the warmth of Pearson’s gig was a comfort in the cold of a Leeds December.


The set ended with the most dance-y of Pearson’s singles ‘Take Back the Radio’, a fan favourite from 2020. Focus on the crowd’s experience was sustained through a joyous encore and I left Leeds Irish Centre feeling a genuine connection to the breadth of emotion in Pearson’s music as well as a desire to return to this special venue. For anyone who hasn’t seen Katy J Pearson live, I hope you too get to see her and her band someday, now.

Written by Francesca Lynes

Interview: Jasmine.4.t on her debut album, boygenius, and the beauty of community

Lucas Assagba on 31 January 2025

When it comes to music, blazing a trail is no easy feat. There are infinite barriers that come with trying to find a unique and relatable sound that connects with people and inspires a new generation of creatives, all while garnering praise from the biggest names and publications in the industry. Sounds like a lot of pressure, right?

Well, if you took one look at Manchester singer-songwriter Jasmine.4.t, you’d think it was as easy as saying ‘indie rock icon.’ Her boygenius-produced debut album, ‘You Are The Morning’ released via Phoebe Bridgers’ Saddest Factory Records on January 17th; ‘Imagine having your debut album produced by Phoebe [Bridgers], Lucy [Dacus] and Julien [Baker], like, what the hell?’

The record breaks new ground, opening eyes and hearts to the brutal, yet beautiful reality of the trans experience. In December, I sat down with Jasmine to talk about the album, its themes, and the impact her community has on her art.

Was it always the plan to have boygenius produce the album, or did you shop around for producers for a bit?

It was actually Phoebe’s idea! Lucy had always told me she wanted to produce my album, and then when Phoebe signed me, she said she wanted to produce it, and then they were like, ‘Why don’t we all just produce it?’

From the outside, it looks like it all happened super fast; it was announced you were signed to Saddest Factory, then ‘Skin on Skin’ released, and then the album was announced; was it as fast behind the scenes?

It kind of was! I signed the contract the day after Boygenius played Kingston upon Thames. I opened for them, and it was the first time we’d all been in a room together. Then it was like, ‘We need to get you to LA.’ So, I booked the flight immediately. The label paid to fly my Manchester transsexuals to LA, and some trans musicians in LA helped out too, so we all made the album together. We added some more layers once we got back to Manchester, and then everything started coming out, and here we are! I’m very aware that my life is changing super-fast, so I’m trying to cling onto all the normalcy I have left.

When I saw that Vixen played on the album, my mind was blown; she plays guitar for Rina Sawayama and I’m a huge fan. How do you guys know each other, was that through the label?

I can’t remember if it was Lucy or Phoebe who knew Vixen; she’s a great guitarist, but an incredible bassist as well, so we got her in to play bass. We have a lot of footage of the boys and Vixen writing the bass parts together, and it was so incredible watching them all work together. They’re all incredible, but seeing how they all work individually and looking at the different things they contribute was really fucking cool.

What was the writing process like for the record?

All the songs were written and demoed as solo and acoustic; I’d taught my band the songs, but we hadn’t done many shows before we went to LA, so we arranged them in the studio together. Phoebe was laying the framework for how we recorded things; we recorded in the same studio she’d used for Punisher, so we naturally did things in a similar way. I was expecting it to be tense, or competitive, or for there to be some kind of conflict with so many cooks in the kitchen, but it was so fun. We were just hanging out, eating great food, and making great music!

It’s really crazy that you’ve gone this far. Especially because we’re mutuals and have mutual friends, I just find it super crazy that a Manchester doll has an album produced by Boygenius. I can’t get over it.

It’s fucking mad!

It’s a bridge between two worlds that I never expected.

I met the girls through transfem meetups in Manchester, and it was crazy to be like, ‘Hey, do you want to come to LA and record an album with Boygenius?’

It speaks a lot to the value of community; the chemistry between you and your band, and the way you talk about all the different aspects of community and what it does for you is really cool.

I’d definitely recommend coming to ‘Just Do the Thing’ in Manchester, they’re so cool. Each one is organised by a different doll; it’s very anarchist so you never really know what to expect!

Setting up your own meetups in Leeds would be a good shout too, just because there’s so many dolls in similar positions who want more transfem-centred stuff to happen.

Just to circle back to the album for a second, I’d like to talk a little bit about the title track. I assume the track came before the title was decided?

Yeah, it’s about my friend Han who stayed with me through my transition when most of my friends didn’t. I was sleeping on her floor when I didn’t have anywhere else to stay. It’s really a dedication to her.

But at the same time, it’s about the resilience of trans and queer people in the face of violence, which is a very pertinent thing. The memorial list for Trans Day of Remembrance this year was so fucking long. At the time I’d experienced a few violent hate crimes, and Han really helped me through that; it’s all about how my community got me to a point of being able to fight for myself and those around me, and transfem people’s potential to bring change in themselves, those around them and the world in general.

We’ve seen trans people change the world in so many ways this year, and that’s what ‘You Are the Morning’ means now. It’s a call to others to realise that they hold that power.

Your music does that to people, we’ve talked about it a little bit before. I remember speaking to you when you got signed to Saddest Factory, and it really reignited my faith in music and the idea of making it. I’ve never seen a trans girl, other than Ethel Cain, at the centre stage of indie music like this. I know you’ve not been around for long, but I’m really seeing the change.

Thank you, yeah. It’s been amazing seeing other dolls be like, ‘What the fuck? I didn’t know there were other girls out there, making music like me.’ It feels like that world has needed more representation for a long time, and I feel very lucky to be a part of that.

Of all the tracks on the album, I’m the most excited to hear ‘Guy Fawkes Tesco Dissociation’, I’ve heard it mentioned in a couple of interviews and I can’t wait.

I’m expecting it to resonate with a lot of people. I think it’s a very relatable experience, dissociating in Tesco!

Are there any other tracks on the album you’re excited for people to hear?

‘Highfield’, for sure. Of all the tracks, it’s the one that most directly addresses street harassment, and violence, and all the shit that we go through. It’s a present theme on the album, but in this song it’s really the subject. As such a visible advocate for trans rights now, it’s something that I want to bring up.

I bring it up a lot when we play live. It’s something that I think a lot of cis people just don’t think about, and how it affects us psychologically, and stops us from being ourselves on the street. It feels powerful having that song and having the boys there to support that.

It’s something that I don’t see talked about enough. All the conversation is about bathrooms. Who even cares about that?

Exactly, I can go to the bathroom with another girl and be in and out, and feel safe enough, but walking down the street anywhere is terrifying! There’s this background threat of violence that we always have as trans women, and I don’t think people realise that.

The conversation about bathrooms almost seems like a distraction; we’re being made out to be a threat when we’re the ones who are at risk? But I barely see anyone talking about the actual violence we face! I’d really like to centre that conversation in my music.

In terms of the music, what’s next after the album? Are you gonna take time to sit and write?

Oh, I’m writing all the time! I wrote a whole EP while I was in the studio recording the album, and I’d like some of those songs to be on the next album. I’m gonna be playing lots of live shows too.

Hopefully, I’ll be spending more time doing what I love; spending time with lots of lovely queer people and making music. I feel so lucky.

Written by Lucas Assagba

Smitten: An Album You’ll Fall Head Over Heels For

Joseph Nozedar on 25 September 2024

Joseph Nozedar reviews the Manchester indie-pop band’s 4th album as Smitten captures the hearts of fans with their nostalgic return to an 80s jangle pop sound.

Smitten (2024) is an ambush to the ears, a genre bouncing haze of nostalgia. The album harks back to past lives and past loves in both lyrical content and artistic pastiche. Somewhat nostalgic, yet refreshingly modern, with a lot of things I love sprinkled into the mix. Initially, I wasn’t sure what to make of it, but on my second listen, the infectious, euphoric energy radiating from the record took hold and a smile crept onto my face that stayed for the entirety of the album.

Written between the US and UK over a two-year period, Smitten finds Pale Waves reflecting upon their Northern roots and adolescent memories. Deviating from the rebellious pop punk sound of the 2022 album Unwanted, this new record is a melting pot of past influences. It draws inspiration from the synths of the ’80s, jangle pop of the ’90s, and the pop-rock scene of the mid-2000s.

The album begins with the explosive and hypnotic single, ‘Glasgow’, a track that singer Heather Baron-Gracie has proclaimed her personal favourite from the album, it offers a glimpse of the nostalgic energy and artistic growth present throughout the album.

But Smitten isn’t purely a walk down memory lane. Modern pop hooks on tracks ‘This Is Not a Love Song’, ‘Gravity’ and ‘Kiss Me Again’ showcase the definite influence of contemporary pop. It manages to marry the catchiness of modern pop with intimate and personal lyrics and instrumentals that speak to you.  Smitten does not dip into modern pop’s soulless sheen; songs like ‘Thinking About You’ offer a warm, authentic humanity that feels ingrained in the album’s DNA. 

Image Credit: Kelsi Luck

This emotional depth is encapsulated by lead single ‘Perfume’.  An excellent choice for the band’s first single and a personal favourite. Lead vocalist Heather sings about being totally enamoured with a person: “My mother says that when I want something I never let go / Call me obsessed but I don’t mind just as long as it’s all mine”.  ‘Perfume’ is an infectious 1980/90s-leaning anthem reminiscent of bands like The Cure and The Cranberries. 80’s synths and 90’s jingle jangle guitars pull at the indie heart strings to create a joyous sound bath for the listener.  

Encapsulating a beautiful, fleeting, youthful summer in under four minutes, ‘Last Train Home’, is a homage to the sound of The Sundays and The Cranberries. Heather’s bewitching siren-like vocals transport the listener back to the nineties. It’s indie pop at its finest, showcasing the album’s transportive power and reminding me why I first fell in love with indie music as a teenager. 

While the band has deviated from their earlier sound, there are still shades of their pop-punk prestige and fierce attitude in track ‘Miss America’. This defiant attitude coupled with the honesty of Heather’s openly queer lyrics and the band’s increasing visibility within the LGBTQ+ community, serve to deepen the emotional resonance of the record. When interviewed on the album, Heather stated that Smitten aims to capture the excitement, euphoria, and even confusion that come with early queer relationships. The band integrates their personal experiences into the music in a way that feels empowering for their LGBTQ+ fans.

With Smitten’s melting pot of influences, Pale Waves have crafted a multifaceted sound that can only be considered their own.  Smitten will add further depth to their live setlist and another edge to an already sharp and versatile band. As Heather has said: “These will be the best Pale Waves shows to date. The UK is home for us, so these shows are even more special and we’re so excited to get to play songs from Smitten live.”

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!