Everyone’s Favourite Hippie Dad: Beans On Toast Live Review

Written by Maddie Nash Edited by Millie Cain

To celebrate the mammoth achievement of releasing his sixteenth album, ‘The Toothpaste and the Tube’; cult folk figure Beans on Toast embarked on his new UK tour doing what he does best: playing intimate, community-led venues to spread his message of positivity and hope. With a new album released every year since 2009, it is a testament to the success of his beloved hippie-uncle image that his shows constantly generate a raucous, feel-good energy.

What characterised the venue room of Brudenell Social Club that night was the sloshing of beer and dad laughter, rhythmically rising and falling together; the room that has seen so many different acts was transformed into the cosy familiarity of a small-town pub. As Beans on Toast steps out, his run-of-the-mill-hippie-dad persona was greeted with a warm and particularly rousing welcome, the majority older crowd hailing him with applause.

Debuting songs from his new album took the crowd by storm, less acoustic focused than his more popular work; it was these songs which had everyone dancing. In keeping his signature homely, honest vocals, lead singer Jay McAllister mixed the funky backing of his band with some incredibly catchy choruses such as ‘Back out on the Road’, which leave you singing along, even if you’ve never heard it before. It seems impossible that the band were formed especially for this tour and met on the way to their first gig. The instrumental meshed together seamlessly, with tracks such as ‘What would Willie do?’ defying genre categorisation. It is apparent to me that Beans on Toast is an icon of cult folk due to his ability to lace his music with rock, country western, and jazz so successfully. 

Part of what made this gig so successful was the intimate feel of it. It was obvious that he loved the crowd with a genuine earnestness, and they adored him back for it. From counting in a rousing chorus of ‘Yorkshire!’ to singing happy birthday to audience members, every interaction felt deliberate. One of the most important elements of folk music is in grassroots tradition and community; it’s the music of the people by the people, from historical working-class national songs to the folk of today. Beans on Toast is such a successful folk figure as he understands this perfectly. Such a strong sense of community banded around the room, linking us all together. The support acts were internal, various members of the Beans on Toast band getting an opportunity to solo, from the silky keys of pianist King Killership to the spoken word poetry of Bassie Gracie – a set that started off humorous and ended with some surprisingly striking and powerful images, capturing the trippy, disorientating feeling of Beans on Toast’s music by shrinking the line between song, poetry, and art.

The acoustic set still works just as well though, and the softer melodies don’t fall flat due to the crowd singing along making it sound almost like a lullaby or a hearty campfire retreat depending on the song. This simple storytelling works as the writing is so personal, a particular standout being ‘The Album of the Day’, his adoration for his daughter shines through this beacon of fatherhood fantasy. The positivity and sentiments of the songs are reflected in the crowd, displays of friendly affection and love are everywhere I turn my head. The simplicity of his hippie protest songs is balanced out by how well they land – maybe easy protest songs are exactly what is needed right now. ‘Life won’t be wasted on me’ and ‘I believe in a world worth saving’ are his battle cries. The focus is on seeking music that makes you feel good in this lively and loving celebration of positivity and the small things in life.

Kaiser Chiefs Return Home: A Night of Nostalgia and New Beginnings

Written by Joseph Nozedar, Edited by Millie Cain

Being a Leeds band with an incredibly devoted following and a string of legendary gigs, (including an immense performance at Leeds United’s Elland Road in 2008, a monumental moment for the band with several members being Leeds supporters) Kaiser Chiefs have become some of Leeds favourite sons. They join the ranks of The Wedding Present, alt-J and Gang of Four to name but a few of the alternative rock bands birthed from the rich West Yorkshire independent music scene. 

But of all the Leeds bands, perhaps none have graced the sticky floors of indie discos and Hyde Park house parties more than the Kaiser Chiefs. The post Britpop five piece originally known as Parva, quickly found favour on the local gig circuit. However, it was after rebranding themselves as Kaiser Chiefs that the Leeds lads found mainstream success. The band’s Mercury nominated debut, Employment (2005), sold over 2 million copies and its number 1 follow up, Yours Truly, Angry Mob (2007), went twice-platinum in the UK alone. The band has since achieved 3 Brit Awards, selling over 8 million albums, not surprising with their irresistible sound and relentless energy. 

With the release of their eighth studio album titled, Easy Eighth Album (2024), a monumental achievement for any band, and their subsequent UK tour all but sold out, it was announced by Crash Records that the band looked to test the waters with an intimate album launch show. Taking place at one of Leeds’s newest music venues, Project House, it seemed like a no brainer to be there.

Upon arrival, I encountered a bustling atmosphere surrounding the sold-out Project House on Armley Road. Fans formed a serpentine queue, stretching with a winding grace around the venue and entwining the surrounding industrial estate. Joining the back of the meandering line my anticipation began to build as the queue was quickly and efficiently whittled into the venue. 

It was my first time at the venue, and I was impressed by the clean, minimalist design and excellent facilities, including a great stage, bar, and toilets. A sea of Leeds shirts underscored the strong bond between the city and the band. Amidst the white Leeds United apparel, a few fans stood out in tangerine Kaiser Chiefs Football Club shirts. The club, one of Africa’s biggest teams, subtly nodded to the band’s origin story and the inspiration behind their name.

As the loyal masses gathered, their dedication to the band was unmistakable, it created an elbows-out, territorial atmosphere that spoke volumes about the deep-rooted connection between the Kaiser Chiefs and their hometown. After a few pints of the aptly named house larger I took my place amongst the faithful and stood in collective anticipation. Slightly later than expected the lights dimmed and the opening riff of Dire Straits’ ‘Money for Nothing’ rang out through the PA. 

As it came to a crescendo, the band, led by the ever-charismatic Ricky Wilson, entered the stage and wasted no time jumping straight into their new synthpop tune ‘How To Dance’, the first single from album eight. With Daft Punk influence and catchy pop hook, it immediately warmed up the crowd. Next up was the raucous track “Every Day” from their debut album, just one of the hits that those lucky enough to bag a ticket were treated to. 

The set continued with a stream of new tunes, starting with the somewhat forgettable “Beautiful Girl” and the elegant pop ballad “Burning in Flames“, featuring rising strings that captivated the audience. However, the standout was “The Job Centre Shuffle“, my personal favourite among the new tracks. With politically charged lyrics and a groovy bass line from bassist Simon Rix, it skilfully bridged the gap between the band’s early albums and their current musical exploration. This genre-bending anthem instantly resonated with the crowd, becoming a hit in the moment.

Overall, the new songs went down well, yet amid the new material, there lingered a sense of detachment from frontman Ricky Wilson. Quoted earlier this year expressing his priorities as a parent: “I’m not 20 years old anymore and, it sounds bad, but it’s not my main priority because I’ve got kids.” With a couple of the new songs missing their mark with the crowd and Wilson’s occasional reliance on lyric sheets and candid admission that he hadn’t fully mastered the new lyrics, it underscored the challenges faced by a band navigating the evolving landscape of the music industry.

Yet, as the night unfolded, the timeless hits like their infamous UK number one “Ruby” demonstrated that Wilson’s emotive delivery and passion for the classics has never wavered. The crowd revelled in nostalgia, swaying, and bouncing to the familiar tunes. “Never Miss a Beat”, “I Predict a Riot”… before a brilliantly elongated… rendition of “Oh My God” that sent the crowd home with a lasting impression of an unforgettable intimate performance that defined the Kaiser Chiefs’ journey over the past two decades.

As an ardent indie listener and a devoted fan of the Kaiser Chiefs older albums, the evolution of their sound on the latest release brings about a touch of melancholy. Yet amidst their eighth album and nearly twenty years in the industry, it’s entirely reasonable for a band like the Kaisers to seek a breath of fresh air. Collaborations with legendary hitmaker Nile Rodgers and producer Amir Amor have undoubtedly injected new life into their musical journey. In an era dominated by streaming services, shuffled playlists, and a TikTok culture that favours catchy hooks over complete album experiences, the Kaiser Chiefs are bravely navigating the changing currents of the music industry. As they continue to defy the conventional boundaries of age in rock, they stand as a reminder that growth, both personal and artistic, is an integral part of a band’s longevity.

The newest tracks, while perhaps not an instant match for the cherished tunes of yesteryear, hold much promise. With a bit more time to delve into the intricacies of these evolving compositions, there is a chance for the album to metamorphose into a resounding success.
Following the gig -a great evening extended beyond the confines of the stage, with an enjoyable afterparty that solidified the sense of community shared among the fans. DJ’s mixing 7-inch vinyl singles, an abundance of house lager, all enjoyed amongst the friendly staff at Project House ensured that the celebration continued late into the night. A brilliant selection of tunes, including hits from the Kaisers, created the perfect conclusion to a memorable night, leaving everyone immersed in the spirit of Leeds and the enduring legacy of Kaiser Chiefs.

Frank Carter and The Rattlesnakes Invade Leeds with The Mysterines

Written and Edited by Millie Cain

Surrounded by bald heads and beards, leather jackets and dyed red hair, with my 17-year-old sister in tow (who is far cooler than me), we arrived at the hive of excited chattering that was 02 Academy on 13th February. Perhaps it was the adrenaline of pancake day fuelling the crowd, but the atmosphere was blinding from the first moment.

Dressed in all black, grinning, The Mysterines took the stage. Lia Metcalfe’s sultry voice captivated the whole room, with an effortlessly cool attitude as they broke out into opening track, an unreleased fan favourite ‘The Last Dance’. There was a real feel of a hive mind within the band, they seemed to move in a haze around each other as if they had their own gravitational field.

Their short support set left a poignant mark on the rest of the night, the alternative Wirral-based 4-piece packed a punch, with a mixture of tracks from their previous discography and upcoming album ‘Afraid Of Tomorrows’ which is out June 7th. The band released a total of 7 songs across two EPs on their own Pretty Face Recordings label before signing to Fiction Records in March 2021 and releasing their debut album ‘Reeling’, the following year.

During standout track ‘Stray’, Lia held the crowd in the palm of her hand, holding an impenetrable gravitas under the smoky red stage light, she faced the crowd arm outstretched and let us be consumed by the sounds of the lead single of their upcoming album. ‘Stray’ was written after The Mysterines “re-indulged” in the music that shaped their childhood and was inspired by 2022 film Meet Me In The Bathroom, which explored the New York scene of the ‘90s and ‘00s through bands like The Strokes, Yeah Yeah Yeahs, LCD Soundsystem and Interpol.

“It’s almost feels like it would have made more sense if our albums were released the other way round,” Metcalfe told NME, with ‘Reeling’ focussing more on massive hooks and big singalongs while ‘Afraid Of Tomorrows’ sees the band leaning more on their psych, grunge and alternative influences. This album follows their UK tour supporting Arctic Monkeys, “That was the most surreal experience ever,” Metcalfe admitted. “It still feels like a fever dream we all had. They really looked after us and it was really inspiring to see a band from the North of England in their position. As huge and respected as they are, they’re so grounded and humble.”

“Because they were so relaxed and had so much fun with every show, that loosened us up,” Metcalfe added. “It allowed me to enjoy how mad it was that I was playing stadiums with my mates. It was also a good reminder that nothing has to be super serious all the time.”

With the honesty that comes with their music, there comes a shining light on sexism in the alternative music industry. Female songwriters are constantly having their songwriting credentials questioned, something the rest of her male bandmates are not victim to. Even after being invited to contribute lyrics to Paul Weller’s album, and a number 1 single, Lia still attests to the scrutiny she receives on such a higher level than the men in her genre.

To this crowd though, they had nothing to prove. A truly exciting, mesmerising performance which built an incredible ambiance with final track heavy rock hitter ‘Hung Up’ before Frank Carter and The Rattlesnakes dived onto stage.

The fiery orange stage light opened the soft piano, a single poetic spotlight, he needed no introduction, the instantly recognisable Frank Carter stretched out, and the Rattlesnakes lit up behind him.

In a sharp suit, he dressed up for the occasion, slicked back Bond villain hair and launched into incredible vocals for the opening ballad ‘Can I Take You Home’ for Act I ‘Cloudy & Pink’ of their show, which contained 3 songs from their new album ‘Dark Rainbow’. Without pausing, the lead singer and guitarists alike were climbing the speakers, leaning so close to the crowd they nearly touched their noses as they launched into heavier track ‘Brambles’. The crowd of the 02 reached out to try to grasp the dark silhouettes on a red stage as they introduced themselves, with so much energy I thought Carter might take flight. “Who’s ready to dance Leeds? Because I fucking am!”

His point was proven – it wasn’t long before the suit jacket was off, pristine white shirt untucked, Carter was shaking his hair out, head banging along to the music. The whole band shared this intrepid current of excitement that bled through their music as they broke into Act II – ‘Like Lightning’.

A heavier, punkier part of the set that buzzed of feverish clapping, bouncing and general thrashing around to iconically beloved fan favourites such as ‘Devil Inside Me’ and ‘My Town’. They lit the stage with blue lights, even had heavy rain sounds preluding their tracks, the crowd was filled with whispers of people trying to predict upcoming songs, and wondering how big the mosh pit would spread.

The answer is huge. The fans were possessed, it felt like everyone in the room knew every word, Frank Carter was preaching to his own choir, and genuinely at times the crowd nearly drowned out the band themselves. Not that they seemed to mind – Carter gleefully twirled around his mic stand and pointed his mic out to the crowd to hear them singing back to him. For ‘Crowbar’ he crouched low, arms and legs in the air, throwing his body around the stage like a doll.

As the tempo increased for ‘Cupid’s Arrow’ his smile was so wide it could’ve split his face in half. The band themselves were so tight, ridiculously clean, for all their years of performing it really shows how polished a band of their experience should be.

For ‘Wild Flowers’ they announced, “this song is for some very special people tonight, this mosh pit is ladies only, if you want a mosh in a safe environment” and Carter couldn’t be more correct when he cried out that “You’ve never seen a happier mosh pit in your whole life!”.

By now we belong to the band, the cheeky and charming (without being cocky) Carter and effortlessly talented Rattlesnakes. It was a true shared -and sweaty- experience, watching trainers and doc martens float above heads as crowd surfers dived over and over into the air.

The band leeched off this energy, Carter himself dived in before screaming “this song is about how i kissed your boyfriend” and seemed to teleport straight back up on stage for the opening of ‘Honey’. Which was quickly flipped into ‘Parasite’ about your boyfriend, “who thinks he’s a comedian” , a furious number with big drops and an angry back and forth.

The band swung smoothly from these booming punk anthems into soul-crushing ballads, letting the crowd rise and dive with them every step of the way. There was a feeling of familiarity, I don’t doubt many people in the room had probably seen them over and over, but for me, on my first encounter with them, they drew me in as if I always had.   

“Leeds you’re beautiful as always, thank you so much for having us play” they constantly reached out, chatting away, letting the crowd chant back, listening to their people just as much. Carter crooned, threw himself into the passes, his vocals were immense, and he had some truly poignant moments to himself, but never hesitated to let his bandmates shine with him. 

Depeche Mode bring Memento Mori to Manchester

Written by Eszter Vida, edited by Millie Cain

After a fascinating and expectedly dark comeback with their 14th album Memento Mori as well as a period of lament over the passing of keyboardist Andy Fletcher; Dave Gahan and Martin Gore prove they are still the biggest alternative synth-pop duo that the 1980s new wave scene ever produced. Contrary to the statement behind their album’s title, translated as ‘remember you must die’, Depeche Mode also remember their history as a group, playing a setlist that only strengthens their musical legacy for their diverse range of fans.

I attended the concert with my older brother, with whom our formative musical worlds as two very different musicians were deeply influenced by the group’s ominous sounds and flamboyant dancing, courtesy of a great frontman like Gahan. For me, they have always been a band close to home, having blasted the entirety of Black Celebration during late night road-trips, or better put, carpool concerts as well as receiving Facebook birthday posts from my parents, who would then tag the song ‘Little 15’ to match the appropriate age I was turning. This band has penetrated my upbringing in all sorts of ways. 

Before I was even born, their music connected my Hungarian parents, going to the same new wave club nights where they eventually met one another at the local youth disco ‘Petofi Csarnok’ in 1980s Budapest. Due to the Soviet’s censorship laws preventing Western music entering the borders of Hungary, the 1980s new wave scene was a glimpse at liberation, with Depeche Mode trailblazing as the kings of the genre. People like my parents were desperate to get their hands on catching up with the new romantic trends of rock and synth-pop. In short, Depeche Mode became one of these symbols of freedom for the 80s youth. There is now even a bar called ‘101 Klub’ dedicated to the legacy of fan clubs that were set up for the band, with the current owner being a long-time friend of my dad’s (great for discounted pints, but not that you’d need that when visiting Eastern Europe). 

You might say I’ve always had a ‘Strangelove’ for them, or that it was inherited by blood to listen to them. Therefore, after seeing their other contemporaries such as OMD, New Order and The Cure live with my family, to finally see them live was a full circle moment. We got there in time to catch the support Nadine Shah, a set that felt fitting for a support with the lead singer’s sultry and enchanting stage presence. As frontman Dave Gahan took to the stage, the entire room resonated upon the first note he sang; it was genuinely incredible.

Despite not being the most vocally trained singer, his voice is so distinct that it really wouldn’t be Depeche Mode without him. There is always a tone of surrender and carpe diem in their music and these messages that progressed throughout the decades are aptly depicted from the extravagances set up on stage. The looming M as their stage design acted almost as a Big Brother of their discography, as they took us through all their different eras. Embellishing the rest of the display was the dual synthesisers and drums, the only instruments arguably necessary.

The breadth of talent and artistic albums they had produced over their career is astounding to keep up with. Whether it’s the early refreshing sounds of synth-pop with Speak and Spell, my personal favourite dark ambience of Black Celebration or the heavy grungier Ultra, Depeche Mode are the producer’s musician and pioneers in the age of the synthesiser. 

Ironically, I hadn’t really considered just how dark yet strangely versatile all of Depeche Mode’s songs are. Martin Gore’s solo moment singing ‘Somebody’ brought a tear to my eye. For a band that’s so disguised by flashy synths, this and the special stripped back rendition of ‘Strangelove’ bore so much vulnerability and pure emotion. This also includes the remaining member’s duet of ‘Waiting for the Night’, (pictured above) as they extend their intimacy by reaching for the hands of their fans and connection. 
The fun in Depeche Mode is that they will always carry a legacy that represents experimentation and artistic freedom. The indescribable feeling of singing ‘Enjoy The Silence’ together with thousands of other people is unmatched, transporting us back a decade that will forever be remembered as one the synth-pioneering band ruled and continue to rule beyond.

Industry Plants – How the term damages the resurgence of female fronted rock bands like The Last Dinner Party 

Written by Eszter Vida, edited by Millie Cain

Industry plants: artists that music nerds love to hate and point out within seconds of hearing new bands that break through unexpectedly. Arguably, London-based indie rock band The Last Dinner Party became the centre of new music hype as well as a lot of unwarranted criticism for their unanticipated success, along with other bands like Manchester’s Picture Parlour and in the past, even Wet Leg. The key theme of these accusations? They’re somehow always women.

It’s no surprise why the average listener would accuse the music industry of wanting to take advantage of this gap in the market and creating what they would recognise as ornaments of progressiveness in the music industry. Female fronted bands barely scrape the line-up for traditional rock festivals and there’s no doubt always been a gender gap in the industry.

(Image Credit: Eszter Vida)

But I think it’s important to remain nuanced when approaching conversations on industry plants and consider the geographical and economic factors on whether a band makes it beyond a local status. It’s mutually agreed that since most record labels have always been based in London or getting your foot in the door would rely upon a complex network of connections or nepotism, a band like The Last Dinner Party may have been gifted the advantage of finding themselves in the music scene’s capital. Arguably, if you want to pass this judgement towards someone more suitable, there are surely other male indie rock bands with famous dads that wear shades and like to forefront themselves on social issues and equality; that is if the nepotism label sabotages your ability to simply enjoy music that much. 

I managed to catch The Last Dinner Party at Live at Leeds this past October. What I saw was not a plastically manufactured line up of industry puppets that were jumping to sell you corporate messaging and to fill their own pockets, but rather a band with a sisterhood quality, incredible talent and clever aesthetically pleasing image. The band present themselves as some fantastical quintet, catering to the girls who want to live out the romance of a pastoral renaissance novel, in the backdrop of living in our confusing modern world. They are certainly not ornaments for anyone’s gaze, except for the audiences they have since captivated. 

Lead singer Abigail floated around elegantly in her white Austen-esque dress, addressing the crowd like the host of a dinner party eponymously as she released guttural screams in ‘My Lady of Mercy’, among the presence of roaring guitars and booming synths. I personally sense a lot of influence from the likes of Siouxsie Sioux, Patti Smith and Stevie Nicks: all veteran trailblazing female figures. What defines their image should not be that they’re all 5 women-presenting musicians but that they are truly a group that work in harmony and greatness. In alignment of this, it was extraordinary to see them tone their set down by way of singing a choral chant and was empowering to experience live.

The Last Dinner Party have been formulating this image as early as 2021, judging from the beginning of their Instagram account. They themselves have come to defend their origins as 18-year-olds who met during freshers week and got signed, as any university band ever dreams. I was quite shocked to learn that back in 2022, they were even on the line up to play alongside Northwest local acts like Seb Lowe and Pixey on the smallest stage of my hometown’s festival Neighbourhood Weekender in Warrington before I had even learned of their existence. For female artists, constructing an identity to prove their relevance and the pressure to have outstanding marketing has somehow survived as this unkillable shadow since 1950s girl groups have been around to be recorded and exploited by greedy music bosses. I’d like to think that we are beyond the age of female passivity.

I’m relieved when bands like these women break into the mainstream. Whether you believe they are industry plants or marketing geniuses, one thing is true that the image of the band is beyond captivating. You shouldn’t leave their gig or finish enjoying their music by saying ‘I didn’t expect them to be THAT good’ or promote them later how ‘they ACTUALLY sounded decent’. Nails can be heard on distant chalkboards when I hear someone’s preconceived judgments; they are sadly not welcome into both band’s expanding musical worlds that should be treated with patience if you’re expecting some longevity. That’s the true renaissance of female acts in a male-dominated genre of rock.