leeds festival

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Review - Liam McEvoy

Photo Courtesy of Leeds Festival

Leeds Festival 2025 was a weekend of extremes—chaotic, euphoric, messy, magical.By the time the dust had settled over Bramham Park, tens of thousands of fans had been taken on a journey that spanned swaggering hip-hop, glitter-drenched pop theatre, nu-metal nostalgia and the raw electricity of modern heavy rock. It was a weekend where global stars collided with the next generation of festival heroes, proving that Leeds is still one of the UK’s most vital stages.

Friday opened with a pulse. D-Block Europe’s laid-back bravado and Sammy Virji’s garage-infused beats on the Chevron Stage had the fields bouncing from the off. All eyes, though, were on Travis Scott. His only European headline slot of the year came armed with huge production—fireballs, strobes, and his trademark sense of spectacle. And yet, the night ended abruptly: barely 50 minutes in, the music stopped, the lights dropped, and Scott was gone. Since the festival ended it seems a pyrotechnic mishap may have been the cause of the shortened set however. 

Elsewhere in the fields on Friday, magic was happening. Sea Girls delivered sing- along indie for the masses, Leigh-Anne stepped confidently into her solo spotlight, and Lancey Foux and Trippie Redd kept the energy simmering. Yet it was Anthony Szmierek who stole the day. With poetic storytelling, irresistible charisma, and a connection that felt intimate despite the crowd, his set wasn’t just a highlight of Friday—it became a highlight of the entire weekend.

Saturday was pure transformation. Chappell Roan, dressed like a neon fairytale come to life, drew the festival’s biggest crowd with a theatrical performance that blurred the line between pop concert and Broadway spectacle. Glitter cannons, costume changes, and euphoric bangers like Hot to Go! turned Bramham Park into her kingdom. In contrast, Hozier offered something deeper, more soulful. With his honeyed vocals soaring over a politically charged set—culminating in a goosebump- inducing Take Me to Church—he proved himself a master of creating intimacy in the grandest of settings. Beyond the headliners, Saturday was packed with familiar faces and festival staples: The Royston Club’s indie warmth, Bloc Party’s still-fierce energy, The Wallows’ laid-back cool, The Kooks’ nostalgic shimmer, and Rudimental’s euphoric dance beats. Together, they gave the day a lush and varied feel.

If Saturday was about heart and spectacle, Sunday was about pure firepower. Limp Bizkit’s set was a swaggering blast from the past—Fred Durst may be older, but the chaos remains undimmed. Example brought back the rave, Becky Hill owned the Chevron Stage with vocal power that had the whole field belting along, and Enter Shikari fired off their genre-splicing chaos like a sonic Molotov cocktail. Newcomers Mouth Culture added fresh grit, and Glasgow’s VLURE became the weekend’s most exciting discovery, fusing synth-driven drama with post-punk urgency in a way that had the crowd hooked instantly. And then came the finale: Bring Me the Horizon. 

Their headline set wasn’t just a gig, it was an experience—a dystopian video-game world brought to life with crushing riffs, dazzling visuals, and enough pyro to light up the Yorkshire sky. It was a closing statement as theatrical as it was feral, and the perfect end to a festival that thrives on intensity.

Leeds 2025 will be remembered not just for its spectacle, but for its contrasts. Travis Scott’s abrupt exit may have left questions, but Anthony Szmierek’s heartfelt breakthrough answered them with something more profound. Chappell Roan and Hozier gave the festival its emotional core, while Limp Bizkit and Bring Me the Horizon delivered the kind of chaos and catharsis that define Leeds at its best. And somewhere in the middle of all that, new names like VLURE reminded us why this festival remains such an essential proving ground.

Review & photos - Liam McEvoy

Sharon Van Etten’s return to Leeds on August 29th was nothing short of electric. The Leeds O2 Academy pulsed with anticipation even before the lights dimmed, thanks to a stirring opening set from Angie McMahon. Her soul-bearing voice and heartfelt songwriting perfectly set the tone for the night ahead, leaving the crowd quiet but eager for the main event.

When Sharon and her band, The Attachment Theory, finally stepped onto the stage and launched into “Live Forever,” the evening took an unexpected turn. A medical emergency in the crowd brought the show to a halt, and Sharon’s concern was palpable as she perched at the edge of the stage, refusing to continue until she knew the fan was safe. Far from dampening the atmosphere, the moment deepened the connection in the room — a reminder of the empathy that underpins her music.

Once the show resumed, Sharon unleashed a set that merged intimacy with raw power. With The Attachment Theory behind her, the songs bristled with a new urgency. “Idiot Box” became a driving, post-punk slow burn, while “Somethin’ Ain’t Right” throbbed with a David Byrne-like groove. Her voice, rich and commanding, soared on “Afterlife,” drawing cheers as it filled every corner of the venue.

Older favourites felt reborn in this setting. “Seventeen” was a cathartic high point, transformed into a towering anthem, while “Tarifa” cast a dreamlike spell over the audience. “Every Time the Sun Comes Up” was haunting yet oddly hopeful, the perfect blend of melancholy and wry humour that has become Sharon’s signature.

The setlist moved confidently between new material and long-time fan favourites. “Southern Life (What It Must Be Like)” swirled with goth-tinged atmosphere, her vocals carrying a touch of Siouxsie Sioux’s spectral elegance. “No One’s Easy to Love,” “Anything,” and “Serpents” all hit hard, a reminder of Sharon’s gift for turning vulnerability into strength. “I Want You Here” and “Comeback Kid” provided quieter, more personal moments that grounded the set’s intensity.

The encore was where the night turned transcendent. At a fan’s request, Sharon dusted off “I Don’t Want to Let You Down” for the first time since 2015, a moment that felt both intimate and historic. To close, Angie McMahon rejoined her on stage for a glowing duet of “Love More,” the two voices intertwining like a warm embrace.

This was more than just a gig — it was a demonstration of Sharon Van Etten’s evolution as an artist. The combination of vulnerability, reinvention, and sheer sonic power left the audience both exhilarated and deeply moved. In Leeds, 

Setlist:

Live Forever

Afterlife

Idiot Box

Comeback Kid

I Can't Imagine (Why You Feel This Way)

Somethin' Ain't Right

Southern Life (What It Must Be Like)

Trouble

No One's Easy to Love

Anything

Serpents

Every Time the Sun Comes Up

Tarifa

Seventeen

I Want You Here

Encore:

I Don't Want to Let You Down (first play since 2015)

Love More (with Angie McMahon)

Chalkpress Agency

Review & photos - Mikee Downes

Five days of music rolled into town as Sheffield Don Valley Bowl popped up the tent to welcome Queens of the Stone Age for two nights, followed by Bryan Adams, their very own Reverend and the Makers, finishing with indie favourites James.  

I spent Friday to Sunday soaking up what the festival is all about, and see how well it compares to others.  

What I found was one of the best set ups to enjoy nonstop music, be it for a day, or for the weekend.  On arrival the queue was short and fast.   As I exited security there was a warm or a bubbly welcome waiting to greet me from the entertainment team depending on what time I arrived, with fire charmers or jugglers and the bubble lady standing proud on top of spray painted units of which crowds gather around to get their first selfie of the day.  As my eyes soaked in the visual vibe the event promotes, my ear are immediate drawn to the music flowing from either the main stage, or the stage sitting to the right of site.  

The event is well set up, unlike other festivals where my step counter will be through the roof, here I don’t have to walk more than 50 meters to be in front of music.  With the main stage sitting centre under it’s giant tent, two stages sit either side outside of it, as the main stage stops the other two immediately start.  Whichever way you exit you're welcomed by a band you may know, or a new musical experience.    

Outside of the main stage running along from stage to stage there is a wide range of culinary delights to keep you energised throughout, and as festivals go I found the price to be reasonable based on the quality of goods received.   

The Rock n Roll Circus is for all ages, and they were all there, from babies with ear defenders to dancing Grans.   This years event has to be one of the most middle aged festivals I’ve ever attended, most possibly down to the headliners, which was a good thing, as from the outset they danced, they filled the tent out early for the acts they loved, giving each set a near headliner feel.  

The line up across all stages delivered a well rounded variety, delivering the opportunity for you to find new bands to fall in love with.  That’s not to say there wasn’t one or two which were heavily influenced by an era of 90s brit pop rivals, but all in all the majority of rising starts stood proud playing their style of indie, rock, pop.   Over three days of music it’s hard to pick out which acts stood out and all delivered exceptional sets.  My own highlights would be Melanie C, Bryan Adams, The Lottery Winners, Harriet Rose, Arkayla, Sonni Mills, and the two and half hours of Day Fever.

If you’re not the kind who wants to spend all day on your feet in front a stage, and if the sun is shining then this is a great festival for you.  Behind the food stalls sits a hill with multiple levels where you can sit and and soak in the rays as music washes over you.   And if that’s not your bag, you can relax with a drink on a picnic bench, or maybe you’d prefer to try out some circus skills, there’s plenty to keep you entertained.  

This weekend the sun mostly shone on the festival with some heavy rain landing Saturday, and this is where the festival came into its own.  Everyone there could fit into the tent, enjoying the music without getting wet.  I’ve been to other tented events where you’d be struggling to get in for the headliner on a sunny day, never mind just trying to stay out of the rain.  The Rock n Roll Circus  does not exceed its needs, but sells the right number of ticket so all who attend can enjoy their experience, I hope this never changes.  

So if you’d love a full day of rock music and staying dry, this festival is a must, and a bargain at around £60.00 for a day ticket.