Northern Ballet’s A Christmas Carol
Northern Ballet’s A Christmas Carol kicks off the festive season flawlessly.
Back in The City: Live at Leeds Returns
Close your eyes and think back to mid-November. What were you doing on a Saturday? Most likely sleeping in? Shielding from the cold? Resting up from a weary week? Not me. I was striding from venue to venue, catching 10 different live music acts across a 12-hour span whilst furiously taking notes on all and proving to myself just how unfit I’ve gotten with every 15-minute sprint between sets. You’re probably wondering why I was undertaking such an adventure; I’m wondering how you read that paragraph with your eyes closed, you freak of nature?!?!? Either you have supremely thin eyelids or failed to follow my directions, either way, your attitude stinks and you can leave it at the door of this article. For I was doing this for Live at Leeds in the City, the wonderful one-day marathon of a music festival which I had the honour of covering with Head of Photography Bella Wright. Albeit exhausting, Live at Leeds in the City was a spectacle, a true celebration of the talent pool that is the rising music scene across the UK, and as such I intend to regurgitate my thoughts of the day onto this article with all the glitz and glamour that made up the festival. For that I need you to imagine (eyes open of course this time) and attempt to feel every strobe light, every guitar strum and every shoulder tackle from a gentleman who has just lobbed his pint into the air, liberated by his favourite indie-rock bands distorted riffs. This was Live at Leeds in the City.
The day began with intimate and vulnerable sets from Oliver Pinder and Talia Rae. Our humble beginnings at the Doghouse and Headrow House tapered our appetites and eased us into the fray of ringing ears and aching achilles. The passionate vocal beauty on display lit the musical fire in our bellies, driving us on in our quest for festival immortality. Our hunger led us to The Key Club for a midday set from a new band on the scene, Soft Launch. Their set had it all; catchy key riffs, band members swapping instruments like a game of hot potato and passionately free dance moves that the compact Key Club stage could hardly handle. Whilst their early set seemed tough to top, the best was yet to come.
By now the line between hunger for music and sustenance had been blurred. Due to dangerously bloated queues and overwhelming time pressure, our dreams of nourishment in the form of Belgrave pizza were snuffed out (haunted, harrowed and ultimately hangry relieving this trauma). We pushed on in the spirit of hometown pride to see Leeds’ own L’Objectif, who despite recent changes to their lineup gave a seamless post-punk-infused masterclass. Boasting a live crispness most bands travel far and wide to obtain, the hometown four-piece displayed a variety of great tunes rather early into their career that left me hungry for more (no pun not intended… I still yearn for that pizza). Several binge-listens later and I can proudly call myself a L’Objectif fan post Live at Leeds.
No pizza? No problem. As any self-respecting university student will understand, Greggs was there for us in our darkest hour. Fueled by the spirit of the north, we arrived at The Gryphon’s home turf: Stylus Leeds University Union. Rising indie starlets Overpass were next in our sights. Contrary to popular belief, this article being released a month after the festival not out of journalistic laziness, but because I was waiting for my Spotify Wrapped to reveal Overpass’ ‘Beautiful’ as my top song of the year. With this blatant favouritism in mind, I can tell you the Birmingham band gave a performance of pure indie bliss to a clamouring fan base. Frontman Max Newbold’s longing voice was reflected by countless adoring followers, and the buzz in the room was telling of the bright future that the Midlands four-piece are on the road towards.
We next began the march out west to Brudenell. Young band The Guest List was our objective, and whilst their technical prowess was evident, their lesser experience failed to match some of the brilliance on show at this festival. They have the makings of something special, and I still eagerly await to see what the future holds for them, but they have a little way to go. Still, they are grafting and paying their dues on support slots as all young bands must and it is clear they will return soon much higher on the bill should they continue on their path.
Back to the city centre, rife with exhaustion. The special sets we’d dreamed of seeing were right ahead of us, in anticipation I could see the lights (upon further review this could just have been hallucinations from the lack of oxygen courtesy of our hasty speed walking). Mercury Prize winners, and Leeds homecomers, English Teacher were set to be a spectacle after toppling the regime of London-exclusive winners that has spanned a decade. The spirit of the Leeds music scene was packed into the Beckett Student Union, feverishly fervid as the crowd brimmed. The punchy bass riffs ebbed and flowed amongst both heavy guitars and tender percussion, and the ever-present crowd played a big part in raising frontman Lily Fontaines’ poetic lyrics upon the shoulders of Yorkshire pride. Potentially the epitome of what support for grassroots music can create, English Teacher’s brilliance really represented what this festival is all about and I’ll be damned if I don’t express my excitement for what they come up with next.
Another 15-minute jog 8 hours into the day now (thank God we’re passionate about live music otherwise my hamstrings would’ve given way by now). Act 8 of the day was a brief yet divine view of Stone’s frontman crowd surfing their final track and whilst we didn’t catch their full set, my heart was contempt with this holy visual. Our actual reason for returning to Stylus once more was The Royston Club, a personal favourite band of mine and for all intents and purposes THE rising stars in the indie guitar scene. Playing to a rowdy and rambunctious crowd, The Royston Club rattled off unreleased tracks and fan favourites alike (along with a supremely well-received ‘Disco 2000’ cover). The tight guitar riffs and gut-wrenching harmonies had even the most stoic of dark fruits music enjoyers swooning for the Welsh wonders. The Wrexham quartet are the next big thing, that I can say unequivocally, and despite this being my sixth viewing of them, my excitement never wavers. See them before the crowds become masses, the ticket prices become extortionate, and the bandwagon is overburdened with diehard indie fans.
Exhausted, we reached The Wardrobe where Lime Garden’s immaculate stage presence and wonderfully vibrant tunes breathed new life into our night. They exuded confidence and pride in their music which was second to none throughout the day. Their gorgeous blend of indie pop, disco and surf melodies almost took a form of their own and jived around the room on my behalf (my legs had now given way, but my soul had never been more at ease). Their infectious performance drew a day of music mastery to a close.
Many festivals often are forced to choose between quality or quantity for their lineups. Live at Leeds in the City 2024 refused to play this cruel gauntlet the music overlords throw down. At any moment it felt as though we were to be thrown off our planned schedule, we could seek refuge in the nearest venue and find a hidden gem. Whilst this did not occur, due to mine and Bella’s supreme cardiovascular ability, sheer determination and a good chunk of luck, the acts we handpicked to catch in advance did not disappoint in the slightest. Live at Leeds in the City 2024 was a true depiction of how magnificent the upcoming music scene in the UK is today and my calendar will be marked for next year’s marathon.
Words by Dan Brown
Sports Team come out of the Wardrobe with a bang
On the run of their ‘Boys These Days’ tour, Eszter Vida reviews their art rock/post-punk band’s sold out return to Leeds’ iconic The Wardrobe.
Our story begins in 2021. Post-pandemic. Neighbourhood Weekender in Warrington. The 2 most depressing combinations of places and times to be alive, set right on the field I used to get pissed on to speakers blaring Arctic Monkeys, aged 16. Alex Rice launching himself into a crowd of Twitter fiends, because let’s face it – no lad from Warrington is ever self-identifying with the Cambridge grads uniformed in polo sweatshirts (but we’ll return to my point on target audiences later, don’t snap at me just yet). It feels like Sports Team are always there for the satire of it all just when we need them.
Now 2024. We’re still in the thick of political turmoil. The Wardrobe in Leeds. Sports Team always seems to be on a run of following up a multitude of global disasters with a new album cycle each time, and I think that oddly sums up the nature of this band. Without being too ambiguous, post-punk bands are now having to keep up with the times, in fear of cancellation or industry plant comparisons. God forbid, we want more authenticity from label backed artists.
Known for their dynamic, high energy sets, Sports Team are a band that play into the satire of being a British band. It’s no wonder that the home city of Gang of Four at a venue right next to a music university producing an identical entourage of bands sells out in an instant. But in this live setting, the performance felt like we were all in on the joke, poking fun of privilege and everyone’s individual place in the current state-of-affairs. We’re a long way from Aldershot, but Leeds is exactly the melting pot where indie bands thrive upon the legacy of the ones that came before them in its historic scene. It’s only the merry homecoming of drummer Al Greenwood.
The support for this tour reflects the best of up-coming bands, brewed in the same art-rock sphere. Mary in the Junkyard is no exception, with their gothic, new wave sound and their magnetic hold on the crowd. The room quickly filled in anticipation, whether you were swarming at the front, warming up at the bar or clawing through the awkward staircase barriers that lead to the pit section of the Wardrobe.
Bursting on first with ‘Camel Crew’, they knew to play to their dedicated fans’ appetites and to feed them well with their classics. The crowd instantly connected with old favourites like ‘Happy (God’s Own Country)’, ‘Lander’ and of course, ‘M5’. There was not an air molecule between us all in the pit as the room exploded into madness and the camaraderie of the band on stage sweeped the room entirely.
Building up heat for their 3rd album Boys These Days, I can safely say it’s one to look forward to just from the recent single release of ‘I’m In Love (Subaru)’. It’s Rice’s facade and the irony of the lyrics he sings that embraces their unapologetic nature of leaning to more new wave and pop influences like Bryan Ferry and Roxy Music. The rest of the instrumentalists, composed of Greenwood on drums, Rob Knaggs on vocals and guitar, bassist Oli Dewdney are the centre of pushing the tempo while keyboardist Ben Mack debuts flashy synthesisers next to the other tracks’ signature punchy riffs, played by guitarist Henry Young. The live performances can be unpredictable, and tonight’s setlist of new and old shows testament to embracing their evolving sound as a group.
Some memorable moments from being in the crowd: getting bit in the mosh pit, the lack of deodorant, the erupting combat in the pit. You couldn’t get this from any other band’s tour. The two most optimistic conclusions: Sports Team are back with a promising third record and there’s nothing that sums up the relief of seeing them back in action than the tweet used by the band to announce this tour in the first place below.
Words by Eszter Vida
Role Model at Manchester O2 Ritz – ‘No Place Like Tour’
On November 13, Role Model (Tucker Pillsbury) took to Manchester O2 Ritz, bringing a splash of the US over to the UK, for the third appearance of his world tour, No Place Like Tour.
Self admittedly, before the gig I had only heard bits of Tucker’s music, the odd song here and there whenever they made appearances on my Spotify shuffle. With ‘forever&more’ and ‘Oh, Gemini’, being just a couple of notable mentions as some of his most well-known tracks, I wouldn’t have exactly called his music style ‘my kind of thing.’ Excited but unexpecting, I set off on the hour-long drive from Leeds, travelling to the background hum of the night’s support act, Matilda Mann, and getting myself ready for the night ahead with Role Model.
Matilda Mann opened up the evening, setting the tone with her stripped-back vocals, conveying delicate and raw emotions throughout several one-of-a-kind acoustic tracks. Mann treated the audience to several unreleased tracks from her upcoming album release, Roxwell, with audience favourites including ‘Say It Back,’ and ‘Dazed & Confused.’ With anticipation for the evening already building, Matilda’s performance was the foundation for what was gearing up to be one extremely magnificent live experience.
On this cold, rainy Manchester night, Role Model set the room ablaze with what can only be described as an unexpectedly confounding stage presence, surpassing all expectations. The energy from his bouncy, countrified pop tracks (and an abundance of heartbreak-induced ballads) perfectly reflected his most recent 2024 album release, Kansas Anymore. A fun take on The Wizard of Oz, the tour radiated nostalgia and comfort, creating a space and an environment that is unique to any live performance that I had previously experienced. If there’s one thing that he knows how to do well, it’s making the audience feel valued, present, and completely indulged in the intimacies of the performance.
His well-known live performance-bit of announcing himself as numerous different artists garnered amused laughs from the audience, from The 1975, to an unexpected (and very random) Ed Sheeran, with an especially loud outcry following a ‘hey, we’re Ross Lynch,’ if you know, you know. With a little pinch of all-American flair, the evening’s energy was palpable, seen in a sea of cowboy hats, bows, and a happy-go-lucky attitude from the crowd. You felt grateful to be there, and lucky to be in the moment of such a beautiful, magical experience. The evening’s energy was palpable, and gave Role Model’s music a whole entirely different meaning, tied to an evening that surpassed all expectations.
In fact, if the gig had been one month earlier, I can almost guarantee that ‘a little more time,’ would have made it into my Wrapped Top 50. Right there, standing in a room with hundreds of other strangers, Role Model found a fan in me.
Role Model is set to continue his tour February 2025, in Australia. Matilda Mann is also set for an exciting month, as her new album, Roxwell, is due to release on February 28, with pre-save now available.
Words by Mia Stapleton
An Evening with Vampire Weekend: Gig Review
Vampire Weekend are no stranger to the live music scene. Active since 2008, this all-American college band formed in Columbia University became an asset to festivals around the world, headlining since 2010, and garnering worldwide acclaim. An enthralling pastiche of alternative rock, indie, pop, jazz, ska, and classical, their discography boasts five albums and no shortage of variation. With the announcement of a UK tour alongside their newest album release, Only God Was Above Us (2024), I ran to Ticketmaster to catch their December 2nd gig at the O2 Apollo. I had high expectations for the night, and I cannot say I was disappointed in the slightest.
With no opening act, the band kicked things off with a collection of songs from their debut album, Vampire Weekend (2008), including ‘Mansard Roof’, ‘Oxford Comma’, and ‘Bryn’, against a stripped back set – black and white with the band’s logo. It was during the thrilling ‘Ice Cream Piano’ that the backdrop fell, revealing the extended band, including a violinist and trumpeter.
The band curated the following setlist with care – a rousing mix of older and newer songs punctuated by lengthy instrumentals, which highlighted the extent of their talent not only as musicians, but as performers. The energy in the crowd was immaculate, wavering between wanting to sing along to the catchy songs and just admire the atmosphere of frontman Koenig’s vocals with the live instruments and coloured lights illuminating the hall.
‘A-Punk’ was perhaps the most anticipated song of the night – the band’s most famous track, and a staple in the indie scene since its conception. The iconic opening riff played, and the cheers of 3,500 people reverberated across the venue. At this moment, it became clear why Vampire Weekend hold the reputation they do in the music scene – they had Manchester jumping up and down and screaming in unison. The first part of the show ended with ‘Hope’, a perfect conclusion that mixed piano, drums, and the repeated refrain “I hope you let it go” – a showcase of the musical extent of the touring band.
With Koenig’s declaration that the Vampire Weekend portion of the concert was ending, the band returned to the stage to announce that they were taking audience requests for songs to play. If this doesn’t display their artistic spontaneity, I don’t know what does. With no more practice than the question “What key is it in?”, the members played nine songs, ranging from ‘Five Years’ by Bowie to ‘All I Want for Christmas Is You’ by Carey – the perfect way to kick off the festive season. The conclusion to the evening featured cult favourites ‘Worship You’ and ‘Ya Hey’.
Reflecting on the night, my only wish is that they had played for longer, despite their two-and-a-half-hour set time. Vampire Weekend are indeed a veteran act, and this night only reinforced their legendary status. The band will continue their UK tour in London, before taking their set to mainland Europe later in December.
Words by Uma Bagalkote
Cacophony – Paris Paloma Casts a Spell on Brudenell
On the 28th of November, Paris Paloma graced Leeds as the ninth and final stop on her UK tour after the release of her new album Cacophony. The album has amassed over 240 million streams on Spotify since its release in late August, with hits including ‘Labour’ and ‘Drywall’as fan favourites. Originally from the Midlands, Paris has gained acclaim for her music since 2020 and now has an impressive 6.8 million monthly listeners on Spotify. The strong themes of sisterhood and feminine rage against a consistently misogynistic society that feature in her songs, have struck a chord with many women across the world.
But onto the show! Newcomer Nadia Kadek stepped in to open the last three shows in place of Luvcat and delivered a mesmerising performance. Gentle and compelling, Nadia took us on a journey of yearning and forgiveness and held the audience in a trance. Although Nadia hasn’t officially released any music yet, make sure to check out her Instagram: @nadia.kadek for performances and demos. And, if you send her a dm, she’ll send you a secret song! My personal favourite song she performed was Green Car – check it out!
Paris kicked off the show with the first song on Cacophony: ‘My Mind(now)’, with the audience smoothly chanting along. Accompanied by George and Jim, on bass guitar, and drums and keys respectively, Paris began casting her spell on the audience. Notable standouts for me were ‘Knitting Song’, ‘Last Woman on Earth’, ‘The Warmth’ and ‘Escape Pod’ (from the perspective of Laika, the first dog sent to space ☹) although the whole album is a joy to listen to.
During a break for her band, Paris sat down with us to play ‘Triassic Love Song’on her acoustic guitar,a song about the famous ‘Triassic Cuddle’, (look it up!) just one of her many songs from clever perspectives. This song also included a ‘call and response’ section, which scratched an itch in my brain perfectly. Furthermore, Paris fits perfectly into the ‘Ancient Gods duo’ of Hozier and Florence + The Machine, so if you’re looking for new music following similar themes exploring divinity and mythology, then I urge you to take a deep dive into Paris’ discography.
Moving on, Paris’ most popular song ‘Labour’ was played as the encore, and every single person in the room knew the words. It gave me goosebumps. ‘Labour’ discusses the invisible emotional, physical and sexual labour that is forced upon women, especially in relationships and how exhausting it is to carry. Resonating with women all around the world for its calling out of weaponised male incompetence and unfair expectations of women, ‘Labour’ has catapulted Paris into the spotlight, and for good reason.
If we had a daughter,
I’d watch and could not save her
—-
It’s not an act of love if you make her
You make me do too much labour
In a similar vein is ‘Last Woman on Earth’, which discusses the important issue of bodily autonomy, focusing especially on how the female body can be mistreated after death at the hands of men. Paris explores choosing ‘the flame over desecration’, and ‘leave me to the beasts and bears, I’d rather that the feast was theirs’, and pleads with us, the listeners, to respect her wishes. It’s an uncomfortable song, but unfortunately a necessary one to tell, especially in our society’s increasingly unstable political climate. But I digress.
The background set was beautifully hand-painted, featuring wolves, bears and forests, and added to the captivating atmosphere of the gig. There was even an exchange box at the merch stand, where audience members could pick up old books and leave little notes and friendship bracelets to swap with other people. The vibes were so welcoming and safe, which unfortunately, can be rare at some gigs – there was even a dancing circle after the set was finished!
So, to round off, I feel incredibly lucky to have been a part of the captivating performance of such a wonderful breakthrough artist, and I thoroughly recommend you see Paris on her next tour! Unfortunately, Leeds was the last stop on the UK stretch of Cacophony, and up next for her is North America in March 2025. But I’m sure she’ll be back soon. Check out Paris’ latest release: ‘The Rider’, written for the new Lord of the Rings animated film: The War of the Rohirrim, which is out in cinemas! And make sure to stream her album Cacophony on Spotify now – happy listening! x
Words by Aeryn Pettifor
Welly: not just Big In The Suburbs
“Pop has been gentrified. // I, Welly, and my gorgeous band, are the cure. // This is proper, spit-and-sawdust, chalk-and-cheese, salt-and-vinegar Pop.” (Spotify)
I can’t tell if the gig season kicked off later than usual this autumn/ winter, or if I just haven’t made enough time to check out live music as often as I would like. Nevertheless, I’d had this gig for Welly at the Parish Dive Bar in the diary for weeks. So, on a random Saturday at the end of November, I dragged my flatmate with me on a train to Huddersfield to go and check this band out.
Welly (aka Elliot) is a self-proclaimed “suburban smart-arse” and frontman of an energetic britpop slash indie rock band from Southampton. Probably the best way I and seemingly Elliot (from my research stalking their X account) could describe the band is if the Zero Zombies from Horrid Henry grew up and sang about the frustrations of modern-day suburbia. Their music exudes the irony of current British culture (”Unpack your morals // For Jack Kerouacs novels”, ‘Soak Up The Culture’) and this humour is also translated over onto their digital footprint (”Fuck your sunburnt relic ‘59 telecaster // I want the Mr Blobby Bass”, X). I can’t quite remember how I first came across this band, however I am very glad that their song ‘Shopping’ managed to find its way onto my playlist. If you’re into the likes of Homes Counties, Flat Party or FEET, then this is definitely a band to delve into the discography of.
When we arrived at the venue, we were immediately greeted with retro film and music posters, fruit machines, and pool tables. I felt right at home. Pint in hand, we watched the opening band, Rushbonds, a band based in Leeds with a few shows under their belt already. With their experimental indie/ jazz-fusion melodies and soulful lyrics, it was difficult to not fall immediately in love with their music. After their set, we spoke to them briefly and took some photos for them. Definitely another band to look out for!
On our journey through Huddersfield from the train station to the Parish Dive Bar, we’d kept running into the same group of people. When we were ordering at the bar of the venue, we saw them again and assumed it was just coincidence. It was only when we saw them take to the stage dressed in hilariously nostalgic iterations of primary school uniforms that we realised we’d accidentally been running into Welly and his band the entire evening.
Welly started off his set with an enthusiastic introduction of his band members (Joe and Matt on guitars, Jacob on bass, and Hanna on percussion / synthesisers), followed by the currently unreleased track, ‘It’s Not Like This In France’, that featured the odd lyric in French (as a French student, I was very happy). The banter between songs with the audience was consistent and strong, and Elliot somehow managed to make audience participation not awkward or cringe at all. Some highlights were the demonstration by Joe of the difference between a canter and a trot, congratulating Hanna on her Grade 2 cowbell exam, and nearly getting knocked over by Jacob doing an Angus Young impression in the crowd mid-song. I was quite surprised when they played their most streamed song, ‘Shopping’, quite early on into the set. No complaints from me however, as it was one of my favourite songs by them prior to this performance. Fortunately, Welly didn’t let the energy plateau after that, continuing to deliver song after song that you just couldn’t help but jump around to. Their latest released single, ‘Big In The Suburbs’, was another hit with the crowd, with its driving guitar riffs and witty lyricism. For their final song, ‘Me and Your Mates’, the atmosphere was electrifying, with the whole crowd, Rushbonds included, in a mini mosh pit.
One of the great things about going to these smaller gigs is that you feel a strong sense of community. All the bands stick around to support each other, and you get the impression that everyone is just really happy to be there and to be playing their music to an audience. This gig highlighted the importance of supporting local grassroots music venues; going to shows of perhaps lesser known artists is vital to their survival, as well as a great way to discover new music. Although the crowd was small, I can safely say that this was one of the best gigs I’ve been to in a while. Dancing with the support band, laughing at Welly’s antics, and exchanging banter made the whole experience one to remember. The connection between the band and the audience was unmistakably intimate and real. After the show, I talked to Elliot about what it means to him to be playing these types of shows:
“A lot of small music venues are closing and I think a lot of the bands are quite dire, quite dour, and quite sort of impersonal to the people that are coming to the shows. We try and put a show on that, when we come to these places, it’s a laugh, it’s a reason to spend £7, it’s a reason to try and come to these small venues, which are dying at a rate of knots. I think music has to change if the venues are gonna change.”
I think this ethos shone through in their performance. Although my flatmate didn’t really know much about Welly when I persuaded her to come with me, we both had such an amazing night; an electric evening at a venue that perfectly captured the spirit of small music venues. Watching a band like them play was a reminder of why I love live music: it’s an atmosphere you just can’t recreate anywhere else. I think Welly’s appeal is really quite universal, and I’m extremely jealous of all the people that were able to attend their last gig of the tour in Hackney on the 4th of December – it looked amazing!
Words by Anya Fernihough
Review: Infinity Song’s Live at Leeds Debut
A slow burn is a hell of a thing. It’s one thing to be promised something, but something else entirely to be told you have to wait for it. When Infinity Song’s soundcheck ran into their Live at Leeds set by ten minutes, I was frustrated, as anyone would be, but I trusted their talent, and their ability to bring something to the table. I knew if I stuck around, the wait would be worth it.
Truth be told, ‘worth it’ doesn’t even begin to describe it. When they opened their set with a nine-minute cover of Fleetwood Mac’s ‘Dreams’, my jaw dropped, and my expectations went sky high. The four siblings, Momo, Angel, Abraham and Israel, and their accompanying band, operate as one unit, effortlessly harmonising with one another and giving each other space to show off; whenever they’d take a step back to let Israel shred a guitar solo, my eyes and ears were wide open.
Though synchronized to an inhuman degree, Infinity Song are overwhelmingly human. They strike a perfect balance between a band of classically trained musicians with a job to do, and a family travelling the world together. Fan favourite ‘Haters Anthem’ saw them at their most fun, as they huddled together and chanted the song’s hilariously spiteful lyrics with the audience; ‘I love the way it feels to be a hater / something’s so sweet about thinking that I’m better.’
They ended their set with my personal favourite, ‘Slow Burn’, and that it was. Starting off slow and mellow, and eventually making their way to double time, the band took my breath away with this performance. Just when you thought they’d finished, one of the siblings would step forward for another riff, another run, another solo; it’s very easy for a band to overstay their welcome onstage, but they could still be playing right this second, and I’d still be stood in the crowd, singing and swaying along.
Infinity Song are a real talent. The Roc Nation signees have quickly propelled themselves into the stratosphere, and I’m so grateful they landed in Leeds for the day. Rock music has never been more back.
Words by Lucas Assagba
Review: Eszter Vida’s Live at Leeds Debut
‘You all look so defeated. Is it because you’re seeing me instead of English Teacher?’
Festival clashes are an ever-present evil. How could anyone choose between Beabadoobee and Jorja Smith, or between SZA and James Blake? I don’t doubt that rising star Eszter Vida was a little bit worried when she found out her Live at Leeds debut clashed with the Mercury Prize winning English Teacher, but where most people would crumble, she took it in stride. It’s an honour to call Eszter my friend, and my editor, and I can firmly say that even if my friendship, my career, and my life weren’t on the line, she would still be a highlight of my Live at Leeds experience.
I’ve had the privilege of seeing Eszter live a few times, but this set was her at her very best. Her band noticeably lacked a drummer, and while I expected her to pull through, I thought the set would hit a solid ceiling of momentum. Frankly, I’ve never been more wrong, and I’ve never been happier about it; the energy in the room was palpable as Eszter invited us into her world for a breathtaking thirty minutes. Her opener, ‘Kingdom’, was marvellously addictive, and since watching the set I’ve found myself singing the chorus over and over and over again; ‘What did I see in you?’
I always admire how different Eszter’s sets are to her recorded songs. Producer Evan Martin, who she’s dubbed as a ‘synth god’, joined her onstage, but their collaboration was far from uninteresting. Keeping a performance engaging is deceptively difficult, and while Eszter’s uniquely percussive lyrics were enough to draw me in and keep me there, I still found myself in awe of the sheer range of sounds produced by her band; balancing drum machines, synths, guitars and flutes is no easy feat, but from the way Eszter and her band jump from one soundscape to another, you’d think it was as easy as breathing.
Unreleased tune ‘Is This My Last Night With You? and closer ‘Ethereal’ were my personal highlights. It’s hard to bring energy to a crowd, but even harder to bring a performance from a boil to a steady simmer, and keep an audience captivated as you lay your emotions bare. Eszter seems to have mastered this, as I found my mind drifting around her lyrics like a planet to a star; ‘A basket of eggs smashed on the floor / I don’t want more / Let it all fall.’
Eszter Vida is one to watch. I don’t know where she’s going next, but I do know I’ll be seated in the front row, armed with endless praise and a glowing review. Big things are coming.
Words by Lucas Assagba
The Marías concert: Fairies are real and I saw one with my own two eyes.
Stepping out of a dream, María Zardoya took the stage in a haze of soft lights, her presence as captivating as the stories woven into their lyrics. The lovechild of María Zardoya and Josh Conway, accompanied by their two bandmates, took over the stage at O2 Ritz Manchester, where they transported us to a place of pure romance, with lyrics speaking straight to the heart.
From “I don’t want to get lost inside the colour under my tongue” to “I live under your eyelids, I’ll always be yours,” the 16-year-old in me who first listened to these words, staring out the window and holding back tears, had been dying to cross them off my bucket list.
As the band stepped on stage, I stood in awe. A silhouette appeared, unaware of what I was about to experience. With wet hair and asymmetric clothing, as if she’d just dragged herself out of a pond – appropriate, given the album’s name is Submarine – Zardoya held us spellbound, every word a new wave to ride. With lights pulsing to the beat, the opener, ‘Hamptons’, set a mesmerising, almost psychedelic tone for the night. The crowd was urged to let loose, jumping and shaking off the worries of the day. When Zardoya tells you to do something, you listen – so we all jumped.
As time went by, one look around proved that no one in the crowd could stop dancing. The band did an exceptional job of pleasing both old and new fans, playing songs from their EPs all the way to their debut album—tracks like ‘Only in my Dreams’, ‘Cariño’, ‘Heavy’, and ‘Hush’. The band admitted that after their debut album, they weren’t sure if they’d release another. Thank God they did!
Zardoya’s stage presence felt angelic, and her chemistry with bandmate (and former partner) Josh Conway is one for the books. The way she moved across the stage felt like an apparition. It was as if the audience had stumbled into a dream, mesmerised by these fairy-like creatures singing you to sleep. Apart from their own songs, the band also played a cover of ‘Lovefool’. Although unexpected, their execution made the song their own with Zardoya’s soothing and ethereal vocals wrapping the song in a new layer of intimacy.
The concert’s most intimate moment arrived as ‘Sienna’ started playing. Zardoya, now seated and holding her head, drew us into a private reflection. Seeing her perform the song live felt like a glimpse into something personal, almost sacred. The song is, indeed, one that is close to the singer’s heart. It discusses a once-cherished dream of having a child with her partner – a dream that gradually dwindled as the relationship came to an end. The whimsical soundscape of the song gave the listeners the opportunity to interpret the music as they wished, with the weight of longing, of love lost, dreams unfulfilled – these feelings reverberating around the room. In that moment, ‘Sienna’ became more than a song; it was a story of intimacy and heartache accompanied by such vulnerability that the audience was left bewitched. For the ones in the crowd that were familiar with the song’s backstory, this was no ordinary performance—Zardoya was sharing a piece of herself with us, opening up and letting us see her not just as a performer, but as a woman with her own dreams and heartbreaks.
Leaving the concert, I felt as though I’d fallen in love. The air of the train home was thick with romance, unspoken words and the lingering urge to reach out to people from past lives. I suppose that’s what love does to you—it stirs forgotten feelings and leaves you wanting more. Upon exiting the venue, struck by the reality of the outside world, the magic of the concert shall stay with me for a while as a refreshing reminder of how raw and enchanting this live performance was. It was a lingering experience, the echoes of the night still quietly humming in the back of my mind.
Words by Aria Aristotelous