James and Razorlight ignite Leeds First Direct Arena

Written by Joe Nozedar, edited by Millie Cain.


A glorious Saturday in Leeds saw the city centre become awash with
hundreds of daisy T-shirt wearing James fans, cramming rooftop bars and
beer gardens whilst eagerly awaiting the band’s performance at First Direct
Arena. Evening approached as I settled into my seat high above the steep
colosseum that is the First Direct Arena where special guests Razorlight were taking the
stage. The floor was half-full. Razorlight immediately stirred the Yorkshire
crowd, diving in with their huge hit “In the Morning” an almost poetic choice for
the dawn of an unforgettable evening.


Those that were running late or lingering over one last drink were in a state of
blissful ignorance, missing this incredible opening performance. It felt more
like a joint headline show rather than a headliner with an opener— in my eyes
it was a two-for-one sort of billing. This would be Razorlight’s second
performance on West Yorkshire soil this year, having recently headlined the
smaller Leeds 02 Academy where they gave a ruckus performance, proving
they are so much more than a support act. The London boys provided a set fit
for both the sweaty basement clubs of Camden and the class to ignite full
capacity arenas.

Frontman Johnny Borrell declared ‘there’s just four of us, no backing
track…this is pure music.’ GIfted with an impressive classical rock voice, at
points reminiscent of Ozzy Osbourne, with the force of nature that is Andy
Burrows back behind the drum kit, the stellar 4 piece produced an electric set.
Showcasing a softer, more compassionate sound compared to the ragged
punk edge of contemporaries such as The Libertines, Razorlight offer a totally
different energy. They present a lighter, yet equally compelling, set flowing
beautifully with a consistent, hazy punch throughout. Leaning more into
classic rock loaded with a swaggering 1930s prohibition-era sleaze, their back
catalogue of hits which include the infectious ‘Golden Touch’ and ‘Vice’ from
infamous debut album Up All Night (2004), were played to the ever-filling
Leeds arena, which by the time the iconic riff of ‘America’ rang out, was
packed. The band’s rendition of ‘America’ was quite frankly stunning; a hair-
raising, surreal moment pounced upon by the incredibly receptive Leeds
crowd who lit the arena with phone torch fireflies. James clearly has a
competitive streak, literally setting themselves up with an extremely tough act
to follow.


Razorlight’s dynamic set left you wondering if the night had peaked early,
some bands might be intimidated by such a strong opening performance but
having had the pleasure of watching James earlier this year at a smaller
venue in Madrid, I knew of their prowess as a band and it was soon apparent that both acts were brilliant in their own right. The Madchester shape shifting
powerhouse of James have an equally brilliant yet incomparable sound.


For Bradford born lead singer Tim Booth, the performance was a homecoming
of sorts, adding an extra layer of excitement to the evening. The twelve piece
consisting of founding and new members, including violinist Saul Davies,
trumpeter Andy Diagram and backing vocalists from the Manchester Voices
Inspirational Choir. The band’s dynamic rhythm section, with David Baynton-
Power joined by Debbie Knox-Hewson on drums. This combined power and
drive elevated the songs, adding an extra layer of intensity to the
performance.


The first part of the set featured a strong emphasis on the new album, very
well received by the audience. It was evident the crowd were already familiar
with many of the lyrics, singing along enthusiastically. Highlights included the
live debut of new track ‘Butterfly’ with hundreds of butterflies swarming the
screens behind the stage and of course, Tim Booth’s now iconic liquidly fluid
dancing. The first “huge” song to be played was a personal favourite, ‘Getting
Away With It (All Messed Up)
’ setting the arena into raptures, just before it
descended into a Hacienda style rave club with the classic opening strains
Come Home’ ringing around the arena. There wasn’t a single person left
seated as the crowed ebbed and swayed. This was followed by the equally
anthemic ‘Sometimes’ which kept the club feel and marked the end of the set.
The encore featured perhaps the bands biggest hit ‘Sit Down’ but was
interrupted before the final chorus due to a medical emergency in the crowd.
The audience responded with commendable composure, and the venue’s
efficient handling of the situation allowed for a swift continuation of the
concert. The venue kindly allotted the band extra time in which the crowd’s
empathetic restraints were instantly rewarded by the raptures that followed the
rattling opening chords of fan favourite ‘Laid’.


Booth, stated earlier this year to Channel 4 that him and his band are “Not
nineties musicians but belong now”. Longevity is a luxury not many bands
experience, but this was not the performance of a band of has-beens – a barn
storming night of brilliant new music. James’ new album Yummy (2024),
topped charts becoming their only No 1 album after 42 years in the industry
with their last no 1 single coming in in 1988. Tim Booth has spoken out openly
against ageism in the music industry and when you can make stage diving
look effortlessly cool at the age of 64, he definitely is the man to raise the
issue. He went on to show his disdain for what he called “the once great Radio
One”, the radio station that had promoted Queen, the Beatles and pioneered
Britpop but will no longer play artists over the age of thirty (even when they
are producing new and popular music).

Even though you may say that guitar driven music and bands are no longer in
fashion, 2024 has seen a renaissance in guitar-heavy music with many bands
snatching the number one spot but having limited airtime. While it may be
some time before the habits of certain radio stations change, the new material
of constantly innovative bands like James must not go unnoticed.

Nubiyan Twist bring new their album ‘Find Your Flame’ to Project House

Written by Jess O’Brien, edited by Millie Cain.


Nine-piece band from Leeds, Nubiyan Twist, launched their fourth album, Find Your
Flame
, at Project House on Friday 24th May, as part of the Leeds Jazz Festival 2024.
After having seen their outstanding performance in Sheffield with their previous
album, Freedom Fables (2021), I couldn’t wait to see what they had in store for their
next show.


Nubiyan Twist throw afro-funk, jazz, hip-hop, dancehall and reggae sounds into their
eclectic mix in the new album, featuring the likes of Nile Rodgers and Corto Alto. The
album is introduced with an important message about wasting time with constant
worry, stress, and work. It then moves into a disco sounding tune featuring Nile
Rodgers. The album consists of impressive alto sax solos, uplifting afro-beats and
beautiful harmonies backing all the songs. The album also spans many languages,
including Patois from Aziza Jaye in ‘So Mi Stay’ and Bambara from Mamani Keita in
Slow Breath’. K.O.G also brings his Ghanaian sound to the album with another
collaboration on my personal favourite, ‘Pray For Me Part 2’.


The show opened with an up and coming band, Heritage, from Leeds, who
stormed the stage with so much energy, I can’t wait to hear more of them in the
future. By the time Nubiyan Twist came onto the stage, the venue was completely filled and wrestling with anticipation. They can certainly pull a crowd of all ages, with gigs in Leeds often attracting either a younger or older crowd, but on Friday they proved that their genre-bending music is
for everyone.

The lead vocalist, Aziza Jaye, brought so much fun and intimacy to the
performance, engaging with and enlivening the crowd. There was a clear theme of
gratitude for women throughout the concert, especially during ‘Woman’, as
well as the experience of bringing new life into the world with ‘Carry Me’. The lead
guitarist, Tom Excell, took a moment midway through the gig to outline the message
of his lyrics and the inspiration he took from having his first son two years ago. Not
only did they perform their newest songs, but they also performed some of their most
loved songs from previous years, they have especially rekindled my love for their last
album with their unforgettable performance of ‘If I Know’ (feat. K.O.G).
It’s no surprise that Nubiyan Twist filled the venue in their hometown, and with such
fun, upbeat music, I think their music would be a lot of fun at a festival rather than in an
overcrowded gig space. However, I still left the gig not only with a fresh perspective
of their new album, but also with a newfound enjoyment for their uplifting sound.

It was great to hear the main message that they wanted the audience to take away
was that despite some real challenges for some of the band members over the last
few years, Find Your Flame is about taking that negativity and using music to turn
the bad into good. They have found their flame, and now they are passing the torch
for us all to do the same.


Nubiyan Twist will be touring the UK until the end of August. Don’t miss your
chance to see them this summer!

Album Review: Maggie Rogers’ Don’t Forget Me (2023)

Written by Kate Moxon, edited by Millie Cain.

I first discovered Maggie Rogers in the January of 2019 when her song ‘Alaska
made it into my Spotify algorithm’s rotation. From the first listen, I fell completely
head over heels for the way Maggie crafts her music and her artistry. After this, I
scoured the internet for the available low quality YouTube videos of her performing
on tour and high quality videos of performances on a variety of late night talk shows.


Some may be more familiar with her from a viral video of a masterclass with Pharrell
Williams whilst she was a student at New York University’s Tisch School of the Arts.
Williams gives her no notes on ‘Alaska’ and even compares her to the Wu-Tang Clan
because of her inability to be put in a box. More recently she has been appearing at
numerous of Zach Bryan’s tour shows to perform their song ‘Dawns’. A few weeks
ago, she shared the stage with Bruce Springsteen at Bryan’s Brooklyn show during
his encore of ‘Revival’.


Don’t Forget Me (2024) is co-written by Maggie and Ian Fitchuk, who has
consistently worked closely with country pop powerhouse Kacey Musgraves – as well
as having a writing credit on Beyoncé’s COWBOY CARTER (2024). The essence of
country seeps into each song of Rogers’ record especially ‘Never Going Home’ and
the title track ‘Don’t Forget Me’.


I found that this album excels at the storytelling element, which is obviously closely
associated with country and classic folk music. I would say that ‘Don’t Forget Me
has elements of both Rogers’ previous albums, as well as her archival work released
during lockdown – with the softer acoustic guitar which becomes more prevalent as
the album progresses.


The album begins with the musical equivalent of a breath of fresh air, in the form of
It Was Coming All Along’. The seemingly breezy song depicts the inevitability of
growing up and a yearning to hang on to your youth forever, yet knowing this is futile.
In the first verse she sings:
‘And everywhere I look around /
It seems like we’re always saying goodbye,’

which is eerily relatable to most students when they initially move to university, and
again when the eventually say goodbye to the cities they called home for multiple
years. We all know that it was coming all along, but many refuse to accept this fact.


The next song ‘Drunk’ is a powerful and angry pop-influenced song which is about a
forbidden love, such as rekindling with an ex. In the pre-chorus Rogers sings:
‘And I see stars that never, ever, ever looked this bright to me
Feeling on your skin never felt this right to me,’

She knows it is wrong, but it also feels so right in the moment which is the hardest
part of letting go.


The following track is her second single for the album – ‘So Sick of Dreaming’. This
edition allows her to fully embrace her country-pop style, which is undoubtedly when
the artist is at her strongest musically. The bridge includes a spoken word interlude
where she retells her being stood up for her date to go to see The Knicks (they lost).
Her being fed up with dating players and losers is especially relatable especially in
the dating app age which never fails to provide disappointment.

The Kill’ is a song about incompatibility. Both parties are going in for the kill; both are
said to have laid out shoes from their previous relationships which were impossible
to fill. Musically, the song is very pop focused, but again contains elements of
country with the dominance of the acoustic guitars. Next is ‘If Now Was Then’, a
song about a past relationship and the things that Maggie would do to rectify the
situation if she got the chance. She wishes that both parties could take back the hurt
they caused, which is inevitably impossible – she’s stuck on this boy from her past to
the backing of a country-pop hybrid.

I Still Do’ is the first taste of a slower tempo. She sings:
‘Love is not the final straw
But it’s always a reason to risk it all’

Her emphasis on love is a theme which continues through the album. To Maggie,
love really is the reason for most of her actions and thoughts. The tempo reverts to upbeat style of ‘The Kill’ the on the next track ‘On & On & On’. She is still stuck on this past relationship, thinking about what could’ve happened. This song is a form of revenge.
‘And it goes on and on and on
When you hear this song
And it plays on and on and on,’

is her writing this song to taunt this boy. She wants him to hear this song and
remember how badly he treated her. In the outro she sings
‘Yeah, you better run,’
whilst laughing in a slightly threatening manner which added to the revengeful
message of the track.


‘Never Going Home’ keeps to a similar tempo and reflects the transition between
relationships.
‘There’s old music playing, I can hear my friend saying
“You know it’s time to go, go, go, go, go,”’

is reflective of her friends pushing her out of her comfort zone. In the bridge, Maggie
attempts to rebound and sings:
‘We get to talking, but those lips aren’t your lips
We lean together, those hips aren’t your hips’

but has the common experience of looking for your ex in someone else.

The penultimate track, ‘All The Same’, is hauntingly sad song about the monotony of the
aftermath of a breakup.
‘Give me the chance to wake up in a full romance
Just knowing that you chose to stay,’

is heart wrenching lyrically but coupled with the minimalistic backing, is made even
more sad. The final track, the titular track, ‘Don’t Forget Me’ was the first single released and,
again, is devastating. The song describes Maggie’s opinion on her friends’ lives and
how they are getting married and growing up. This is something which terrifies
Maggie however she feels left behind and still craves a relationship. Her friend,
Molly’, follows her loves to parties. Rogers sings
‘She seems happy, oh, but that’s not love to me’.

The album, as a whole, plays on Maggie’s strength in songwriting and overall
artistry. It perfects the country-pop hybrid genre, which is reminiscent of successes
such as Kacey Musgraves’ Grammy-winning album ‘Golden Hour’.

Live At Leeds in the Park 2024 – A buffet of talent to kick off festival season 

Written & Edited by Erin Clark

As the first £8 pints were reluctantly purchased and the first portaloos christened, the 2024 festival season was ushered in this past weekend at Temple Newsam. The floodgates opened and the people poured in, wristbands were fastened uncomfortably tightly around wrists, and most of those in attendance were tipsy before even entering the event space – ahh, the comfort, grace and decorum of the great British festival. This year’s edition of the proud jewel in the crown of Leeds’ music events, Live At Leeds in the Park, boasted an impressive roster of performers across a jam-packed day of sets.  

The frenzied scramble of opportunity ensued – Do we grab a pint? Some food? Do we get some merch? Or do we run in the direction of the nearest music? We chose the latter and made our way to the ‘DORK HYPE stage!’ wherein we found the winner of LAL’s ‘apply to play’ scheme – Velkro. For a young star of a band formed a mere 9 months ago, an achievement as mammoth as performing at LAL should be well and truly celebrated. The band’s numerous performances across the country, from Brixton to York, and Manchester to Hull, goes a significant way in proving just how formidable this five-piece is. The effort freely combined qualities reminiscent of Pixies, The Cure and The Cranberries into their distinctly moody sound, entertaining a tent which was overflowing with eager spectators. It is a shame that their billing position in the line-up meant that they were not treated to the biggest audience they could’ve possibly performed to, but Velkro were truly a highlight of a dazzling lineup. 

Aside from the given task of entertaining the crowd, the undoubtable secondary task of the lower-billing artists is in the setting of an energetic standard for the rest of the day’s proceedings – a secondary task that I’m not sure Scottish-indie-effort Vistas accomplished. As the first act of the day to grace the main Cockpit stage, the standard is undoubtedly high, and as the droves of festival-goers herded through the gates and in- front of the main stage, a disappointing amount were convinced to stay and watch Vistas performance. For a crowd that wanted to be brought on side, to be energised, and to ultimately listen to engaging music – Vistas’ nasal vocals and simple guitar stings simply didn’t do in this case.  

I don’t know if the band simply fell victim to an unfortunate billing spot, or it was simply the fact that the music itself was reminiscent of an indie era long past (and not the good kind – the 2016-shallow-but-shiny-copied-guitar-riff-kind) – but Vistas ultimately provided a performance which was well and truly mild. There were definitely those who were visibly enjoying the performance, but in all honestly, these individuals seemed few and far between. But fear not disheartened festival-goer, plenty more acts are in store. 

Where Vistas failed to capture attendee attention and boost crowd energy, I believe Anthony Szmierek succeeded greatly. Szmierek’s high-octane indie-hip-hop tunes, and charismatic stage presence which sounded out across the event space effectively drowned out other acts with a much-needed injection of effervescence (that was noticeably lacking until this point). Under CLASH’s navy big top, the singer remarked that he had not long woken up before his 1:20pm set, yet for someone who may have still been rubbing the sleep out of his eyes, he still managed to deliver a thoroughly energetic set for the crowds flocking from the Cockpit stage towards the audible cheers. The great British all-day festival demographic was summed up in the attendees surrounding me – a dad in a suit jacket, shorts and a fedora embarrassing his young children by parading around the area; a group of 16-year-olds with glittered faces, donning bucket hats and North Face shoulder bags; and a woman with a ‘Karen’ haircut waving a full wine bottle in the air. Leeds, how I love you. Szmierek music, which I hadn’t listened to prior to this performance, balanced indie-influenced stream-of-consciousness lyricism with a definitive dance hip-hop undercurrent which served to unite the diverse audience which had gathered – which is certainly no mean feat. 

In another display of light-hearted humour, pointing to a small girl on her father’s shoulders, Szmierek details how he had censored himself in the previous song after noticing her presence – changing from the work ‘fuck’ to ‘damn’. The people’s hero. Living up to his recently granted moniker as one of Radio 6’s ‘Artists of the Year,’ Anthony Szmierek was truly a treat to watch. As an artist who is amidst a definite rise, Szmierek’s performance assured all in attendance that this rise is founded and will only go on to continue. 

As the temperature waned, and the slow realisation that the summer clothes we had donned may have been a display of wishful thinking began to set in, we headed to the DIY stage to seek solace in the warmth conjured by Cosmo Pyke. Cosmo Pyke’s set was as soul-warming as it was refreshing, bringing with it an invigorating divergence in genre from an otherwise indie-pop heavy line-up. As a fan of Pyke from the beginning of his career, it was a true gift to get the chance to finally witness his artistry live. 

My solidly favourite act of the day was Leicester-born musician Billy Nomates. Nomates’ was one of, if not the only, solo performer to take to the stage, which may seem an unthinkable and exceedingly difficult task – yet as she marched and stomped in time with her ferocious lyricism under the navy canopy of the Clash Big Top, the singer quickly managed to prove herself as a truly formidable artist. Barefoot and clad in a black two-piece suit with metallic silver fringe, the musician came to the festival armed with all the energy of a woman scorned – reflective of her album ‘CACTI,’ Nomates presented a performance which was equally parts prickly as it was sincere. The whole set that was delivered was a treat to witness, but standout highlights from this set included: ‘black curtains in the bag,’ ‘same gun’ and set-closer ‘spite’. If you haven’t had the privilege of listening to Nomates’ music before, I would urge you to devote some time to an exploration of her musical catalogue.  

Showcasing her newest album, ‘Black Rainbows’, Leeds-native Corinne Bailey Rae was next to grace the main Cockpit stage. The first sentiment that the singer-songwriter expressed was her heartfelt gratitude at being able to perform to such an immense crowd in her hometown, which was met with significant reciprocal love from the pint-wielding masses.  I am a fan of the ambitious nature of the album, and the seeming divergence it represents for Bailey Rae’s musical career – yet a combination of the set being almost twenty minutes late, and several technical difficulties meaning that no sound could be heard by the audience, unfortunately saw the crowd dispersing to their chosen elective from the other choices of acts and stages. The wings of energy of the album, and Bailey Rae herself, were effectively clipped by purely circumstantial events of the day and ultimately, the crowd was not on side with the set. 

Next to the stage of the CLASH Big Top was a man who I am convinced had to have been a town crier in another life, Baxter Dury. Combining a sporadic bout of poses with a brash and forceful ranting vocal styling, Dury’s set walked the line between an agitated rally, and a critically reflective existential spiral. The self-described ‘posh and unwashed budget nepo baby’ entertained the masses gathered underneath the navy canopy by providing surface-level danceable grooves but dare to look (or listen) closer and a lyricism is revealed that is both consistently witty and self-critical. Dury shares many of the same motivations as IDLES in my view – both posh, and both attempt to make effective satirical music – yet Dury succeeds in doing so, where IDLES do not. By actively maintaining an intellectual level-ground with listeners, as opposed to infantilising and insulting listener intelligence as IDLES do, Baxter Dury’s music functions as a thoroughly self-aware, inherently scathing and fully realised stream of poetry that is as beneficial for the artist as it is to the audience member. 

Image Credit: Jacob Flannery / @jacob_flannery_

Next to grace the Cockpit stage, was real-life Spice Girl – Melanie C, in archetypal cross tattoo and sports bra get-up. Though her solo music received significant positive reception from the gathered crowd, there was an undeniable nostalgia-fuelled craving for some of her older tunes. As the beginning notes of ‘Spice Up Your Life’ sounded out, every woman above a certain age either squealed where they were stood or leaped up from their spots on the grassy banks to partake in the 90’s-nostalgia-fest. A seasoned veteran performer, Mel C then sprang into an energetic sprint of several Spice Girls’ chart toppers, before assuring the crowd that ‘it was okay that she was their second favourite Spice Girl,’ obviously only narrowly dethroned by Leeds-native Mel B. 

A person holding a microphone

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Image Credit: Georgina Hurdsfield / @tinyraindropphotography on Instagram

From Spice Girls to Sea Girls – as the indie four-piece took to the stage of the Cockpit, the crowd that now gathered was significantly younger and spritelier than those who had congregated for the previous act. Evidently, from observing those around me, there was a palpable love for the band amongst the festival’s Gen Z attendees – but Sea Girls were definitely not for me as it felt like starter-indie-pop music with simple lyricism and repetitive fills. Listening to this type of music was undoubtedly a phase that I went through as a fresh-faced 16-year-old, but I can now say that I am firmly out of this phase at this point. 

Following Sea Girls at the Cockpit stage was Declan Mckenna – which from crowd reception alone seemed to be the day’s most anticipated act. Greeting the crowd with his instantly recognisable and quintessentially ‘Declan Mckenna’ kitsch costumes and visuals, the singer was welcomed by the loving crowd as though he was an old friend. 

With the crowd chanting the singer’s name to the tune of the familiar thump of the White Stripes’ ‘Seven Nation Army,’ it didn’t take long for McKenna to unfurl into his offbeat and quietly confident persona. Reflective of his widespread popularity, the singer spared little time for menial crowd interaction, instead using the allocated time to blaze through various consecutive hits charting the course of his almost-10-year-long career. 

A person holding a guitar and a microphone

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Image Credit: Georgina Hurdsfield / @tinyraindropphotography on Instagram

I couldn’t help but admire the commitment of some of the crowd members, (most of whom donned Declan McKenna tour t-shirts) but my attention was piqued by two guys who had worn Brazil football t-shirts, arming themselves with Brazil flags in preparation for McKenna’s most commercially successful, and perhaps best-loved single. The love for Declan McKenna on behalf of the crowd was both palpable and electric, with the musician’s charismatic and passionate performance proving just why this was the case. I also never thought I’d be in a ‘mosh pit’ to some of Declan McKenna’s singles, but I guess there’s a first time for everything! Highlights from this illustrious set included: the politically charged anthem ‘British Bombs,’ the existential ‘The Key to Life on Earth,’ and obviously the indie staple ‘Brazil’ (throughout which I couldn’t see McKenna, instead having to see the backs of people atop shoulders.) 

Ironically, against the setting of a piss-wet-through field, the band whose most successful single refers to ‘T-Shirt Weather’ could not have been scheduled to perform at a less appropriate time. Circa Waves were unfortunately treated to a weaker, and significantly soaked crowd – with most of those in attendance choosing to see The Cribs who were conveniently performing underneath the shelter of the CLASH big top. It was at this point where the heavy rain began to push out a considerable amount of the festival’s guests before some of the headlining performances. Lucky for us, those who remained seemed in higher spirits than those who began to pile into their cars to head home. Not getting any drier, those gathered at the Cockpit to witness the last act of the day resigned themselves to make the most of the bad weather in true British fashion. Who needs to be dry, anyway?  

By the time that headliners The Kooks took to the Cockpit stage, the rain ponchos were out in full-force – or at least for those veterans who brought them as an insurance measure. For those unluckily not clad in weather-preventative clothes, the reality of the colds of the near future began to settle in. A dazzling jewel in the crown of the British music scene and arguable litmus test for an individual’s ‘Britishness’, The Kooks beamed through their impressive discography balancing their older material with newer singles. With sun-bleached and optimistic singles like ‘Junk of the Heart (Happy)‘, The Kooks brought a much-needed warming quality to an otherwise dismal setting. There was something so thoroughly moving about hearing the first song I remember loving as a small child, (the monolithic ‘She Moves in Her Own Way’) performed in such a way which was indistinguishable from the 18-year-old studio recording. Also, it was equally as moving to see a congregation of thoroughly sodden attendees abandoning all sense of inhibition and shamelessly unite for the last act, even if any movement of the feet meant kicking up wet mud with each step. The last song of the day fittingly came in the form of the band’s undeniably most popular single, Inside In/Inside Out’s (2006) scorned track ‘Naïve.’ As the crowd belted out the line ‘Hold on to your kite / Just don’t let me down,’ the four-piece were almost inaudible on account of the audience’s fervour and palpable love for the single. 

A group of people on stage with microphones and drums

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Image Credit: Danny Payne / @dannypaynephoto

And with that, the 2024 festival season begins with a huge crash, mammoth bang and a gargantuan wallop. This year’s instalment of Live At Leeds in the Park had it all – a dazzlingly impressive roster of acts, electric performances from firmly established fan favourites, cordial introductions to your next musical obsession, mosh pits and dad-dancing, and of course, a healthy dose of rain (because what’s a British festival without some unfortunately humbling British weather.) 

Live At Leeds in the City takes place on the 16th November 2024 in various venues across the city. Find out more information here: https://www.liveatleeds.com/ 

Album Review: All for Something by Tiny Habits

Written by Lucas Assagba. Edited by Millie Cain.

‘We say the same phrase at the same tempo, as we get out the back of a man’s Toyota.’
A dose of metafiction opens Tiny Habits’ debut album, All for Something.
Circling’ is a song the harmony trio sings together in the green room before
every show, described by vocalist Maya Rae as ‘the perfect song to start off the
record.’


This same metafiction is reflected in the album’s cover, a simple shot of the band
spinning in a circle; ‘everything’s circling around us, promising a lifetime of love.’
Novelty is the ever-present crux of any Tiny Habits song; that warm feeling you
get when you realise, you’re hearing something unlike anything ever made. The
band have been going strong since their formation at Berklee College of Music in
2022, and this novelty isn’t showing any sign of fading.


Maya describes track two as a ‘rock banger’; with cunning production courtesy of
Tony Berg and Will Maclellan (Boygenius, Taylor Swift), ‘People Always Change
sees the trio on an ever-cool indie-rock wave. With third single ‘I Don’t Have The
Heart’ bringing a similarly high energy; it’s almost satirically dance-able. As singer
Judah Mayowa muses, ‘Why does this feel like the upbeat? / Waiting to fall into a
groove again.’ Both songs are a refreshing turn away from their usual solemn,
folk-driven atmosphere.


All for Something isn’t starved of this atmosphere by any means, however. Tiny
Habits are at their best when they’re at their most candid. ‘Flicker’ was first
written by Judah while the band were on tour in 2023. After taking it to Maya, and
to Cinya Khan, the three transformed the song into something that feels at home
on a joint record, described by Judah as ‘one of our favs.’ A strong point of the
album for me, ‘Flicker’ contains some of its simplest, but most poignant words; ‘you like
keeping me around / ‘cause I’m easy to have.’


Songs like ‘Malleable’ are a reminder that, at their core, Tiny Habits are a group
of friends, sharing a connection and propping one another up, just as a harmony
serves a melody. Written by Cinya in the aftermath of a damaging relationship,
and ultimately driven by her, the song painfully asserts that ‘It’s just impractical /
to be a fraction of myself for you.’


Connection often serves as the driving force of the band and of the album,
whether that’s the connection between Judah, Maya, and Cinya, or between
them and their collaborators. Judah wrote ‘Planting Flowers’ with his best friend
and college roommate Stav McAllister (who featured the band on his own song, ‘Joker’), and ‘Broken’ was written by Maya and her cousin, Benjamin Millman (the
producer of their debut EP’s lead single, ‘Hemenway’).


Perhaps the most important connection is the one between artists and their
producers – and the sheer trust between Tiny Habits, Tony Berg and Will
Maclellan is palpable. Especially on ‘Small Enough’, a song with two distinct
versions. ‘This was the first song we worked on with Tony [Berg],’ Cinya said in
our interview, which you can read here. ‘We had our qualms with it, […] and it
stuck out in a really strange way. We thought it’d be nice to tweak it and make it
more seamless in terms of the record.’ Though I loved the single version, the
song on the album is streets ahead, and it feels so much more comfortable on
the record.


Penultimate track ‘Wishes’ was a highlight of mine; it was described by Maya as
‘one of the most special tracks we’ve ever created,’ and I’m inclined to agree.
Vulnerability and candidness run through every song on the album, but on
Wishes’ more than every other, and in that way, it feels emblematic of the entire
record.


Any discussion of Tiny Habits would be insufficient without talking about their
heavenly harmonies, and they really shine through on ‘Wishes’; they harmonise
with themselves and with each other, playing with dissonance in a way only they
can. The trio opens the door on their deepest wishes and desires, singing them
to the sky as one tosses coins into a well. It’s my favourite song on the album,
though it leaves us on a thematic low point; ‘I wish these wishes / weren’t all for
nothing / all the time.’


But, as we’ve learned, Tiny Habits are ever optimistic. Final track ‘Salt and Sand
is the turning of a new leaf in musical form; ‘We both got what you asked for /
That’s just the way it is / I hope you can forget this.’ It brings the album back
down to Earth as the three repeat, ‘I lose myself in time’ in the refrain.

All for Something is a pure joy to experience. Whether they’re singing to an
audience of hundreds in a packed venue, or to an audience of screens in their
college dorm, Tiny Habits serve to remind us that no expression of emotion is in
vain. From the simplest observation to the grandest proclamation, it’s all for
something.

Interview: Tiny Habits on Social Media, Folk Music, and the Art of Being Happy 

Written by Lucas Assagba. Edited by Millie Cain.

2023 was a year for trios. Boygenius made their big comeback; MUNA reached new heights; and with Tiny Habits’ debut EP releasing in April of that year, they proved that three is the magic number. On the aptly named Tiny Things, Judah Mayowa, Cinya Khan and Maya Rae cemented themselves as the future of folk, finding themselves part of Spotify’s ‘Juniper: Artists to Watch’ series. 

On May 24th, Tiny Habits released their debut album, All for Something; I caught up with the band two days before the album’s release, breaking down their key inspirations, creative processes, and more. 

One of the things that interested me about you guys is that you’re not the ‘traditional’ image of folk music; two of you are women, and two of you are people of colour. You intersect so many marginalised identities, but you’re thriving in the folk scene. Is this something that affects you, or something you think about when you make music? 

Judah: It’s on my mind almost every day, because most of the folk scene is white, but I think it’s awesome, especially because our fanbase and the people who come to our shows are really diverse. It’s very cool, but also a little scary. 

Cinya: It’s interesting to me that this is the first time that’s really been brought up in an interview! I feel like that’s because the music doesn’t really bring that up, as if it speaks for itself. I like the idea that it can be the fabric of who we are but not at the forefront. 

Yeah, that reminds me of Laufey, who you’ve collaborated with before – her song ‘Letter to My 13 Year Old Self’ is centred around race and gender, and what it’s like to be othered, but everything else is her just doing her own thing, I think it’s really cool you’re both doing that! 

Maya: Thanks! We love her! 

How do your collaborations generally come about? 

M: A lot of it happens through social media; that’s how we started out, just posting videos online, and it’s led to us collaborating with a lot of really cool people. Most of it is through Instagram and TikTok, like opening for Gracie Abrams and Noah Kahan. 

C: We actually met Kacey [Musgraves] in real life first; we played a show in New York where we were on the same bill as her, and we became friends.  

M: Social media is a very powerful tool! It has its pros and its cons, but it’s very powerful. 

So, the album comes out in two days! I’m reviewing it, and it’s all I’ve been listening to all day, I love it. When did everything start to fall into place? 

C: A lot of the songs have been around for a while, and we compiled them all together last summer. We flew out to LA to meet with Tony Berg, our producer, and that’s when it began! We had a couple of days with him, not recording anything, just singing the songs, and focusing on what the album needed to feel like a full body of work. We finished it in January, so it was a really long process. We were back and forth a lot 

M: We were touring in-between, so it was all recorded in different chunks, which was good. 

C: Yeah, it was helpful. 

M: Being able to sit with the music, and then come back to it and change things was really cool. 

I wanted to circle back to Tony Berg for a second; I’m a huge Boygenius fan, and I remember being excited when I saw his credit on ‘Small Enough’. How did your collaboration come about? 

M: It was our manager, Steve! He’s known Tony forever. Over the summer, we were shopping around for producers, and Tony came into the mix pretty early on. We had a conversation and pretty much said, ‘Let’s do it!’ and we made the whole record with him. 

This is your first time releasing music through your label, Mom+Pop. Is this a different experience to what you’re used to? 

M: It was interesting because we were making the record before getting the record deal; the reason why we chose them is because they’re so pro-artist, and all for creative liberty. It was an awesome experience! 

Why did you choose to call the album All for Something? 

C: It was the same way we named the band actually, just texting names back and forth. We went through so many names, one of them was A Little Bit Farther, the name of the tour. Humans Made This was another one. The end of our song ‘Wishes’ has a lyric that says, ‘I wish these wishes weren’t all for nothing,’ and I was like, ‘All for Something?’ Maybe everything we’ve done was necessary, all the hardships are for something, and that’s just what life is. It felt really fitting because the album’s themes circle around despair, and then hope. Or a hardship, and then a lesson learned. 

Contrasts and parallels are something I picked up on in your music, like how ‘Tiny Things’ and ‘Delay’ both talk about doing dishes; was that intentional? 

M: We had this question recently! There was no reason behind it, it just sounded nice. 

I’m sure as musicians you listen to a lot of music, what are you all listening to at the minute? 

J: The new Mk.gee record, Two Star & The Dream Police, is in my rotation a lot. 

C: We’re all listening to the new Flyte record, and I’ve been listening to a lot of Pine Grove. 

M: Deeper Well by Kacey Musgraves! 

C: Cowboy Carter too, that’s a bit more amped up. I’m usually in more of a chill mode, very tired and sleepy; we’re not really shaking ass! 

What were the key inspirations for the album? 

C: Leith Ross’s To Learn is up there, the first song on our album is very parallel to that. 

M: It’s all very Phoebe Bridgers-esc; naturally because Tony [Berg] worked on it with us, it’s very organic sounding. 

J: Ryan Beatty too, if you know who that is? 

Yes! I love him, ‘Cinnamon Bread’ is my favourite of his. 

C: Mason Stoops played guitar on that record, and he plays on ours too! Tony is so well connected and has such a historical mind for music: any time you’d have an idea, he’d have a song to show you. That sort of stuff inspired the album a lot; like, we’d listen to a Beach Boys song, and then put a Beach Boys-style harmony into a song. 

You’ve described ‘Mudroom’ as the perfect lead single for the album; what goes into the process of single selection? Is that fully in your hands? 

J: Yeah, it’s fully in our hands. ‘Small Enough’ was technically the first single, but we wanted to contrast that and show our gentle side. ‘Mudroom’ was the start of the album cycle, and we wanted to do something a little different. 

I wanted to talk about ’Small Enough’, because the album version is quite different to the single version. What made you want to go back and revisit it? 

C: That was the first song we worked on with Tony, and the turnaround was really fast because we had to put a single out. We had our qualms with it, and after we had the context of the other songs on the record, it stuck out in a really strange way. We thought it’d be nice to tweak it and make it more seamless in terms of the record. 

Maya, you mentioned earlier that you think social media has its pros and its cons, and I wanted to ask, as artists who got their ‘big break’ through social media, what do you think of how it’s affecting the music industry? 

M: That’s a loaded question, we talk about this a lot! 

C: It’s really cool for people to have access to so many different artists all the time, like on TikTok, but it makes things really difficult for artists to stand out because of how oversaturated everything is, and how many people are doing really similar things to you. The silver lining is the connections you can make with other people, and how easily you can find a fanbase. 

Do you guys have a big goal in mind? Whether that’s a collaboration, an award, anything! 

C: I want to buy a house, that’d be nice!
 

M: A Grammy would be nice too! Even to go to the Grammys would be cool. Ultimately, and I feel like I say this for all of us, being able to live comfortably, and support the people we love, while doing what we love, is the ultimate goal. Seeing the world, loving each other and everyone else in our lives, and being happy! That’s the dream! 

Leeds Festival Unveils New Stages & Local Artists

Written and edited by Millie Cain

With less than 100 days to go, Reading and Leeds Festival have unveiled plans for 2 new stages, as well as releasing local Leeds artists you can catch over the weekend at the BBC Music Introducing Stage. Catfish and The Bottlemen, this year’s long-awaited headliners started out in 2013 at Leeds BBC Music Introducing Stage, as well as the likes of Beabadoobee, Corella and Kid Kapichi who are all playing this year.

Reading and Leeds have announced that they always have and will continue to champion new and upcoming artists with the North of England being ‘full of talent that speaks across genres and generations’. With the following local artists playing:

Delilah Bon hailing from Barnsley is a force to be reckoned with blending elements of hip-hop, nu metal, and riot grrrl ethos into her signature “Brat Punk” style. The self-described Rage Queen excitedly announced how she ‘can’t wait to bring my girl rage to the stage at Reading & Leeds this year, was such a surprise being chosen to represent BBC Introducing, so so honoured. So excited! Been wanting to play this festival for so long. Girl power!’ Her music serves as a fierce anthem for marginalized communities, particularly women, non-binary and the LGBTQ+ community. 2024 promises to be a monumental year for Delilah Bon, with a highly anticipated album slated for release in September.

Indie-pop artist Ellur from Halifax will bring her youthful energy and guitar anthems to BBC Introducing this year. Her self-detrimental love letters to herself celebrates and reflects on relationships, womanhood & growing up. After being named named by Clash Magazine as one of the ‘Five Sets That Defined Live at Leeds In The Park’, and with her new festival-ready anthem ‘Boys’ released, she’s one to catch. Especially if you haven’t got the chance to see her at her sold-out headlining shows in Leeds.

Sun King are coming off the back of touring with Wunderhorse and Deadletter to play Leeds Festival this year. The five-piece band from York, are on the rise, notably by blending sounds from the past and present with an electric feel. SunKing’s live shows have gained themselves a fierce reputation as ones to watch this year, describing how ‘We’ve always wanted to play R&L. Having all been as punters throughout the years, it’s high on the list of festivals to play for us. It’ll be nice this year to roll up and plug in the amps. We are very much looking forward to it.’

Jodie Langford‘s passionate message as a unapologetically Northern spoken word artist quickly became the go-to voice for the youth within her hometown of Hull. She’s known for exposing the injustice and plight of young people across the city and further across the north. With dry humour and lyrical content that tackles everything from downing pints, dead-end jobs and the government’s treatment of young people to more personal relationship issues. Working to carve a sound that darts between thrashing Post Punk sensibilities, feverish Techno rhythms and Drum & Bass chaos. She’s known to become a force of nature when she performs live, hypnotising audiences with ferocious, confident, thought-provoking shows and has been described as one of Hull’s best new artists to keep an eye on.

Exclusively debuting this year is groundbreaking new stage: The Chevron. Positioned in the main arena of the festival site, The Chevron is an immense 40,000 capacity open-air venue, with the world’s first floating video canopy made up of hundreds of thousands of programmable LED lights. The exclusive structure, promises an immersive show environment, raising the bar for dance music and hip-hop fans and artists alike. The legends themselves, The Prodigy will be playing here, along with techno artists Sonny Fodera, Nia Archives, and Skrillex.

Reading and Leeds have also unveiled The Aux, a pioneering live stage for digital creators, for the first time at a music festival. To highlight some of today’s most popular and culturally relevant personalities and providing a new platform in the live sector. The site has described The Aux as the place to bridge the gap between the digital world and live entertainment, with the likes of The Chunks & Filly Show, The Useless Hotline, Antics With Ash, In Ayamé We Trust, The M1 Podcast and many more acts to be announced.

Full Lineup Below:

Fontaines DC: Sonic Singles & Switching Singers

Written and edited by Millie Cain.

Do Fontaines DC ever sleep? Now onto their 4th album, following almost unbroken touring in the last few years, with another set to come this winter following their array of summer festival appearances, I can only wonder how they have the time. But, with new single ‘Starburster’ continuing to accelerate Ireland’s most vulnerable post-punk band, we evidently have much to look forward to with their upcoming album Romance.

Not to complain, as nearly everyone is in agreement that their upcoming album has potential to be their best work to date. Huge shoes to fill after the critical acclaim of Skinty Fia (2022), Fontaines DC cemented their place as the current powerhouse of their genre. If you, like me, haven’t been able to get the industrial, post production grit of new single ‘Starburster’ out of your head, then you’ll be holding out for a very high standard for their new record. Undeniably talented, unparalleled in their cult-like fanbase, bringing in new sounds and swapping member’s roles, I believe Romance could be the one. 

Notably, Fontaines DC have certainly spun onto a whole new marketing wheel, which begs the question, is it ironic or just cringe? For a band so self-aware, I can only presume we are seeing an acid green alt-pop characteristaion of ‘wet wipe’ artists, such as Yungblud, who are hyper fixated on a more childish, hyper-pop aesthetic. While a reach into far nu-metal is understandable, Chatten himself has cited an influence from Korn and a new bigger budget label pushing their releases, the Y2K style is questionable at best for a respected band in their 30s – but we can hold out hope for irony. 

I’m predicting the titular album track ‘Romance’ to hit us in June, with tinges of 90s Nick Cave and Depeche Mode seeping through, it’s clear they’re setting the score for the new album early doors. It’s likely we will see ‘Favourite’, a bright, jangly, shoegaze-esque number recently debuted at a show in Warsaw, Brooklyn to guide us through summer and into their late August album release with its looping guitar lines. The recently played new material has been devoured and rightly so. With bigger label XL recordings at their back, it is clear Fontaines DC are branching out and making changes for their new record.

Following Grian Chatten’s solo album Chaos For The Fly (2023), which was worked on a personal level and with his girlfriend Georgie Jesson supporting on some tracks, it has potentially given space for other members of the band to bring ideas of their own to the table. Guitarist Conor Curley is debuting ‘accidentally’ as lead singer for at least one album track, written by himself ‘Sundowner’; an exciting proposition after uncovering his previous own recordings on soundcloud (available here: https://soundcloud.com/conor-curley ), a great vibrato and jazz swing vocally could make for a really interesting switch in the song that has been described as an ‘ode to friendship’ by himself. Bassist Conor ‘Deego’ Deegan has also been stepping up with further influence, after finding love in Paris and taking time for personal growth, seemingly paid off with the addictive bassline on ‘Starburster’. One of which is a Ulysses reminiscent single ‘Horseness is the Whatness’ written by guitarist Carlos O’Connell, who has spent time producing for Peter Perrett, as well as becoming a father since the last album, and has brought in the mellotron heard on ‘Starburster’ and apparently building in strings for his album tracks. 

Other album tracks such as ‘Death Kink’ have been described as having ‘the ghost of Boys in The Better Land’ of Dogrel (2019) fame laid throughout. We’ll be surprised to see a more sensual tone to Chatten’s songwriting, something he openly admitted he ‘never had the confidence’ for and we will see in mid-album track ‘Desire’. But, fans of their previous work won’t need to worry too much – if the guitars on Romance are anything to go by, Fontaines DC aren’t altogether abandoning their Skinty Fia sound. Chatten’s songwriting isn’t something any fan can doubt, as a child, Chatten’s father bribed him with packets of football stickers to memorise poems – leading him to listen to and recite the likes of Bob Dylan and the Cure. In retrospect, he admitted even at a young age he was trying to reach beyond the banality of everyday life. One song especially, central track ‘In The Modern World’ appears to be a standout, questioning the spiralling of political strife and the detachment from capitalist society, along with ‘Here’s The Thing’, an anxious pitfall into an argument in between Chatten and O’Connell will certainly make for an interesting listen.

Chatten has admitted in interviews to having pulled influences for this album from Gorillaz and Blur, while fans speculate a delve into Prodigy and early Kasabian vibes on ‘Starburster’, the band have a vault of brilliant music to draw from. The band have been working with producer James Ford who has worked with these artists named, as well as the likes of The Last Shadow Puppets and Arctic Monkeys ( with Alex Turner himself being seen recently attending a Fontaines DC show in Brooklyn) there is sonic talent both in the studio and on stage for this record. 
Romance will be available on 23rd August 2024, you can catch them at Leeds Festival that very next weekend, or at First Direct Arena on 3rd December.

Leeds Locals Smash New Album: Yard Act’s ‘Where’s My Utopia?’ Review

Written by Jessica O’Brien, Edited by Erin Clark and Millie Cain

After making waves in the UK music scene and impressing their way through the summer
festival season with their phenomenal debut album, The Overload (2022)- Leeds-based post-
punk band, Yard Act’s second wind comes in the form of the highly anticipated Where’s My
Utopia?
(2024). I, like many other assured fans, was suitably eager to hear more after having
loved their previous album. 


The album begins with an ease into the mellow ‘An Illusion’, with the lyrics introducing the
main message of the album, soundtracking reflections on success and being away from
family with dreamy melodies. It soon returns to their upbeat style with ‘We Make Hits’, as
well as ‘Dream Job’, echoing the same high energy as their last album, and reinforcing the
band’s capacity as facilitators of a high-octane gig environment. ‘Down by the Stream’ then
takes the listener in a different direction, incorporating a hip-hop drum beat into the
album’s melting pot. This song captures the experimental nature of the album which largely
differs from their debut – and of which I am definitely a fan. Combining their usual post-
punk genre with hip-hop makes this an album acquired to a variety of tastes, with the
distinct sound of this particular tune merging a certain ‘StereoMCs’ vibe with their classic
spoken-word sound. 


As soon as you think you have their sound fusions nailed down, the next song ‘The
Undertow
’ rolls around, heralding with it an undeniable 90s brit-pop style. The album
evokes the sound of Pulp or Blur, with its familiar British sound and witty references
in the lyrics. However, as a nod to lovers of the band’s debut, ‘Fizzy Fish’ and ‘Petroleum
really returns to their original post-punk sound, with Smith’s spoken-word performance of
the lyrics. The heavy bass line of ‘Petroleum’ and ‘Grifters Grief’ bring a certain funk edge,
while incorporating obvious Ska influences. These two tracks echo the distinct Gorillaz-esque
sound, which can be attributed to Gorillaz very own percussionist and producer Remi Kabaka Jr. who co-produced the album – Gorillaz fans everywhere should be sure to add this to their ‘to-listen’ list.


Blackpool Illuminations’, to me, is the real highlight of this album – if you were to listen to a
singular song from this album, I would urge you to make it this one. Everything about it
makes it stand out from their usual upbeat, humorous songs. Since their debut, Yard Act’s
style has been defined by Smith’s rhymes over the catchy bassline and drumbeats; but
where ‘Blackpool Illuminations’ leads the listener is in an introspective and moving
direction, reflecting on Smith’s childhood memories and watching his young son visit the
same places, and experience similar things that he did as a child. The introspective nature of
the song forced me to think of the cycle of life, and how adults watch their children make
the same mistakes as them until it is their turn to do the same. Capturing the repetitive
nature of human life, Smith’s soft spoken word over the track beautifully resembles a poetry
reading:

“Because I know now I’m never gonna get my utopia
But if I can show you how to cope
And give you scope to grow beyond the moment of each new low
Then I know I don’t need utopia.”

Overall, Where’s my Utopia? marks a huge musical development for Yard Act. The album
explores the success of the band but still leaves frontman, James Smith, searching for his
own ‘utopia’, which underlines that success has not brought him the same happiness that his
family has. The album spans multiple genres, with clear disco and hip-hop influences,
making their album stand out from other post-punk artists and resonate with a wider
audience. 


Yard Act are soon to perform at Millennium Square, Leeds on the 3rd of August 2024.

Eminem Announces New Album: The Death of Slim Shady (Coup de Grâce)

Written by Jacob Payling, Edited by Millie Cain

On April 26th, Eminem (Marshall Mathers), released a trailer on social media teasing his new EP ‘The Death of Slim Shady’. In the crime documentary-style clip, a reporter discusses the mysterious death of Eminem’s bleach blonde alter ego, Slim Shady. The reporter points to Shady’s ‘rude lyrics and controversial antics’ as the potential cause of his demise. He later adds: ‘the murder has become one of the most infamous cold cases in American history’.

The trailer also features a cameo from one of Shady’s most famous associates, New
York rapper 50 Cent who describes the ‘blonde anti-hero’ as ‘not a friend’ and a
‘psychopath’. At the end of the viral clip, Eminem is revealed as a murder witness as he leans out
of a pixelated part of the screen. Not only this, he has ran an obituary in the paper edition of The Detroit News, describing how “His complex and tortured existence has come to a close”.

The album’s French subtitle, Coup de Grâce, which translates as ‘a final blow or
shot’, has incited hysteria amongst fans. His closest followers fear this could be the
final release of an illustrious 36 year career. Eminem’s ‘Slim Shady’ persona first debuted on his 1997 release Slim Shady EP. The record sparked the interest of West-coast rapper and producer Dr. Dre but failed to achieve any real commercial success.

Two years later, Mather’s released the track ‘My Name Is‘ as a single from his album
The Slim Shady LP. Despite its controversial lyrical content, the record won Best
Rap Solo Performance at the 2000 Grammy Awards and propelled him towards
stardom.

Eminem went on to dominate the noughties, producing hits such as ‘Without Me
(2002), ‘Mockingbird’ (2004), and ‘Not Afraid’ (2010). His brash attitude and
willingness to speak his mind captured the attention of teens across the world. His
intricate wordplay even inspired the likes of J Cole and Logic to pick up the mic and
spit.

Despite releasing some of the most recognisable rap verses of all time, recent years
have not been so kind to the Detroit native. A decade-long feud with rapper Machine
Gun Kelly involving several diss tracks has tainted his legendary status. Equally, his
surprise album ‘Music to Be Murdered By‘ (2020) received overwhelmingly negative
reviews.

Many internet trolls have decided he has ‘fallen off’, with some even calling for the
51-year-old ‘Rap God’ to put down the pen and retire.

The Death of Slim Shady (Coup de Grâce) will be released later this summer.

Let’s hope we’ll be able to lose ourselves in the music.