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.  

Review & photos - Mikee Downes

After its debut in 2024 Love To Be returns to Harrogate to deliver a full day of House music.  

If you like House music and you’re a fan of dancing for 11 hours solid, this is absolutely the festival for you.   With two tents multiples of DJ’s and live acts, Love To Be is Yorkshires premium house festival.  

This years Love To Be was headlined by the legendary Armand Van Helden.  On the build up to his set crowds partied away with club legends such as Tom Wainwright, The Shapeshifters, K Klass, Jon Pleased Wimmin, along with celebrity DJ Gok Wan, live music from Ultra Nate, and a multiple of local DJ’s spinning the decks the venue was buzzing. 

Love To Be has a fantastic vibe about it, whether you’re on a standard, VIP, or Ultra VIP ticket you’ll still have the best of times.  The VIP tent has it’s own DJ’s running throughout the day, keeping their tent pumping, it certainly feels like there’s advantages to the upgrade with more seating. 

However, with the two main tents a short walk from each other, you’re never missing the action, and unless you want to sit or have quicker access to a toilet, a standard ticket will serve you well.   

If you do require a break from dancing to the pumping house you’ll still be entertained, be it by posing with entertainers and grabs a fun photos, jumping in a bumper cars or on one of their thrill rides, or finding a spot to chill people watch and soak in the music.  There’s enough to keep you going all day.  

The only downfall of the event is that the tent doesn’t accommodate all, and should the weather not be sunny I feel the tent size will impact the event, all of which can be resolved by increasing it’s size, which I expect they will need to.  

Love To Be 2026 is already on sale, and based on the word of mouth from this years I expect it will sell out quickly.  

Tickets for 2026 here: https://www.lovetobeevents.co.uk/festival

Review & photos - Lewis Wolstenholme

Cian Ducrot kicked off his 3rd show of ‘The Dreamship 2025 Tour’ in Bournemouth this Tuesday, celebrating his sophomore studio album Little Dreaming. Featuring slightly more stripped-back versions of songs like ‘The Book Of Love’  and full band arrangements of his hits, Ducrot’s raw and energetic performances throughout gave me a greater experience than the album did on its own. Adding stories in between songs and showing the passion that he put into his work definitely brought a new level to the music he performed.

Ducrot’s show opener for Bournemouth was Pedro Santos, a singer-songwriter from the previous British boyband Here At Last. Now starting his solo career, Santos debuted his upcoming single ‘The Way You Do’ and renditions of his current releases ‘Someone I Don’t Know’ and ‘Lady In Red’.

Once Ducrot’s show had started, it was clear we were in for a fun evening. After his 6 piece band had walked on stage (featuring a trumpet and saxophone section), Cian opened the show with ‘Who’s Making You Feel It’. The band welcomed new additions to the songs and added a new experience for the fans who had only heard his music that’s available for streaming.

Some moments really stood out to me, helping to create that extra layer of connection with the audience. Cian brought a fan on stage to sing a rendition of ‘The Book Of Love’ to, there were moments where he talked to people in the crowd and a point during the set where he ushered everyone to not record as he was filming and sending it to the audience after the show (something I'd never seen done before!).

It's clear that Cian has a strong connection between his music and his fans, and his Leeds show (December 18th) on this tour is yet to come! So if you’re a fan of artists like Dean Lewis or Dermot Kennedy, or want to hear the hits, be sure to check the show out!

Setlist:

1.  Who's Making You Feel It

2.  Little Dreaming

3.  Heaven

4.  Shalalala

5.  The Book Of Love

6.  Kiss And Tell

7.  No Way To Live

8.  Can't Even Hate You

9.  Hallelujah

10.  Rock Bottom

11.  All For You

12.  Part of Me

13.  Your Eyes

14.  See It To Believe it

15.  Thank God You Stayed

16.  I'll Be Waiting

Chuff Media

Review & photos - John McEvoy

It is true you know…

Time really does fly by. 

I can’t believe that it’s 40 years since the masters of Brit Funk Level 42 released one of their finest albums in the shape of ‘World Machine’, but we find ourselves at the Barbican in York celebrating this fact with the band playing the entire album and it still sounds as fresh and relevant as it did back in the heady days of ’85. 

Obviously the lineup has changed since original members Phil and Boone Gould left the band back in ’87, but front and centre stands the king of the bass (no pun intended) Mark King and Mike Lindup along with Nathan King (Mark Kings brother) on guitar, Pete Ray Biggin on one of the largest drum kits I’ve seen in while all backed by a formidable brass section. 

Special mention has to go to tonight’s support ‘Roachford’ who still sounds as good as ever and ‘Cuddly Toy’ is still one of the finest singles ever. (Check out the extended remix of this if you get chance!) It was a short 8 track set from him, but confirmed just how good he still is.  

As mentioned at the top of this review, this gig was primarily a celebration of the 40th anniversary of the 40thyear since the release of World Machine and opening track ‘World Machine’ set the tone for the evening with a near perfect replication of the recorded material. 

Kings thunderous bass lines rumbled along providing the foundation for the rest of the band to do their thing and it was good to see that each member had an opportunity to shine at various times of the night. 

For me this album was always one of those increasingly rare things in music, all killers and no fillers, and it was a real treat to hear it played in its entirety. Whilst Mark King is undoubtedly a supremely talented bass player, the keyboard work of Mike Lindup throughout the set along with his vocal harmonies was always on point.  

In what seemed like a blink of an eye, they had played the entire album, and from that point on, it was full on bangers in the guise of ‘Running In The Family’ and ‘Lessons In Love’, amongst others, and I especially enjoyed ‘The Chinese Way’ taken from one of their earliest albums ‘The Pursuit Of Accidents’ originally released in ’82. 

It could be argued by some that Level 42 are very much a band who have had their moment in the sun, and now simply live on past glories, indeed the last time  they released any new material was back on 2006 with ‘Retroglide’, but you know what…

I don’t care!!

Level 42 for me are still one of THE finest exponents of Brit Funk, and whilst this genre may not be fashionable at the moment, there are still a lot of hardcore fans out there who love this band and frankly more power to them. 

‘Keep slappin’ that bass’!!

Set List:

World Machine

Physical Presence

Something About You

Leaving Me Now

I Sleep On My Heart

It’s Not The Same For Us

Dream Crazy

Coup D’etat

Lying Still

To Be With You Again

Running In The Family

The Sun Goes Down

Love Games

Starchild

Lessons In Love

Heaven In My Hands

The Chinese Way

Hot Water

Chris Hewlett

Review & photos - John McEvoy

If there’s one thing Deacon Blue have proven time and again, it’s their ability to captivate an audience with both their musical prowess and heartfelt connection to their fans. Their “Very Best Of” live gig was a celebration of a career spanning decades, filled with bangers, ballads and rousing anthems.

At the Leeds First Direct Arena, first up it was Turin Brakes with a charmingly low key acoustic set which confirmed again just how good this band are. Featuring a few tracks from their album ‘Spacehopper’ this was a great way to get the crowd nicely warmed up. 

Then it was onto Deacon Blue, who are currently in the midst of the ‘Very Best Of’ UK tour and from the opening bars of ‘Turn Up Your Radio’ this was a performance that was lapped up by the appreciative audience. 

Throughout the gig, Ricky Ross’s vocals were as rich and evocative as ever, effortlessly moving between energetic numbers and poignant moments, and his partner Lorraine McIntosh’s harmonies added a layer of soul that elevated each song, particularly during fan favourites like “Fergus Sings The Blues’ and “Dignity.”

The band’s musicianship was flawless throughout the evening. Each member had their moment to shine, with arrangements which breathed new life into well-loved classics and they had clearly given a lot of thought to the setlist with took the audience on a journey through their extensive back catalogue including material from their first album ‘Raintown’ released way back in ’87, through to their most recent release ‘The Great Western Road’ released earlier this year. 

Included throughout their 2 hour set were also some lesser-known tracks which were good to hear in a live setting, and powering through a total of 25 tracks tonight, Deacon Blue provided a timely reminder of just how good they were, and indeed continue to be as their new material affirms. 

Personally I was delighted that they still play ‘When Will You Make My Phone Ring’, which for me is still their finest moment and never fails to deliver.  

Whether you’ve been following this band band since the 80s or have only recently discovered them, it was a both a nostalgic trip down memory lane for some and an evening of discovery for others. 

But above all else, it was fun, and god knows, in these troubling times, we need that more than ever. 

Deacon Blue are touring through to mid Oct 25 so if you’re quick you can still catch them live. 

Tour dates here

Set list:

Turn Up Your Radio

Up Hope

Bound To Love

Fergus Sings The Blues

The Day That Jackie Jumped The Jail

Raintown

Mid Century Modern

That’s What We Can Do

Love’s Great Fears

How We Remember It

Chocolate Girl

Wages Day

Ashore

Your Town

Loaded

The Believers

The Great Western Road

When Will You (Make My Telephone Ring)

Late ‘88

The Hipsters

Real Gone Kid

Curve Of The Line

Dignity

People Come First

Keep Me In Your Heart

Chris Hewlett

Review & photos - Levi Tubman

Allegaeon strolled onto the stage at Leeds Project House with a casual wave, accompanied by an acoustic backing track. At first glance, they didn’t come across as the ferocious technical death metal masters their reputation suggests. But as soon as that first riff dropped, the illusion was shattered. 

The sound was huge, heavy, and razor-sharp. Guitarists Greg and Michael unleashed a beautifully unholy storm of riffs and solos. What stood out most was the clarity, even at blistering speed and crushing volume, every note and phrase cut through. Where some bands settle for sheer loudness, Allegaeon balance raw power with precision. The two guitar attack shifting sseamlessly between lead and rhythms delivering dynamic, finely crafted passages that elevated the performance beyond brute force helped on by an 8 stringed beast.  

It's not all just noise despite the guttural sounds coming from front man Ezra Haynes, they have a melodic edge to their sound, slipping in clean passages of guitars and vocals, while still keeping up the ferocity and power where all too many melodic metals fail, at times bringing an almost symphonic sound to the stage. 

Towards the back of the stage with the drummer, maybe nodding his head in time to the music, is the bass player, I’ve certainly been guilty of that, but no one seems to have told this particular bass player. Am I more envious of his stellar bass face? The fact he plays a six string bass? No it has to be his playing. At times he’s just pummelling away on an open string for a few bars when his hands almost blur as he seems to be tapping and sweeping lead high up on the fret board with some even a few slapped notes all while screaming with his tongue out glaring at the audience. 

I know, doesn’t sound subtle and unassuming!  

Backing all this up, drummer Jeff stays true to the genre with a lot of double bass, its prevalent throughout the set, but as with the rest of the band, at times it drops away with some off beat hits and some fast but creative single kicks. Up top, its not just blast beats with some 4/4 snare and hi-hat, he makes sure every bit of the kit gets a hammering, running across the toms sprinkling in splashes and rides. 

Between songs and solos, Ezra, who rejoined the band a couple of years ago after taking a break from them, does call out to the crowd for noise and action, but mostly he just grins like he’s the only one getting the joke, or a wry smile, head off to one side as he conducts the crowd with one hand. Between the crowd control his vocals are just at home loud or quiet as the rest of the band, easily toning it down on a quieter section before laying on the power again, his tone and range work so well with the band I cant imagine seeing them with anyone else. 

After seeing a few disappointing metal bands of late Allegaeon where a breath of fresh air. Performance and songwriting where top notch, I was hooked from the first song and left wanting more when they finished their all too short set, they’re entertaining, will get your head going, and most importantly they don’t have to shout between each song to move about because of how good they are, they let their music do the talking,  definitely one to check out!  

Palmer Turner Overdrive

Review & photos - Dave Flerin

Project House provides the venue for wholesome Kiwi indie things, The Beths tonight. They’ve got a rather mixed, genteel audience to keep happy, and from my positivist, very scientific observations I’d describe them as young students, middle-aged indie-goers, and everything in-between. 

Friends of The Beths, Dateline open things up and what a great job they do. In an alternative universe they’re an indie band fronted by Suzanne Vega, and they kindly furnish the appreciative masses with a great 30 minutes of indie pop which, delightfully, verges on shoegazing territory in places. They’re full of guts, melodies and endearing between-song banter. “What Is It Worth” is their standout track, a perfect mash of ethereal whispering and full-on rock-out. Clearly, the alternative scene is STRONG down under.

Then it’s a slightly bizarre 10-minute interlude whilst “The” Beth, Elizabeth, and Jonathon, both wearing “Guitar Tech” hoodies, tune and set up their guitars on stage with their hoods up. Either I’m the only one who’s noticed, or everyone’s being terribly polite and carefully avoiding disturbing them. I love it that they’re doing their own roadie work; no airs, graces or egos here.

Anyhow, there’s not long to wait until they’re “properly” on, kicking off with the title track from their latest album, “Straight Line Was a Lie”. Current single “No Joy” is next, which is like getting an early birthday present this soon in the set. Same with earlier 2018 hit “Future Me Hates Me”. And bugger me if tonight’s performance is nothing less than a blissful experience and a great lesson in how to reproduce what you do on record, whilst actually improving it in a live setting. 

They prove themselves to be effortlessly adept in all the performance arts, including monologuing when they fancy a breather; the best being Jonathon’s about UK fried chicken, or was it Elizabeth’s on swimming against the current in a canal? Anyway, it nearly made up for the heartbreak of not hearing them playing “Happy Unhappy”, which, at the time of writing, I’ve finally forgiven them for. The majority of their set is predictably from the current album, and we get every shade of Beths there is tonight; acoustic numbers, jangle, introspection, and old school indie. I can even hear a bit of C86’s The Siddeleys in there too (look ’em up!), which almost brought a tear to this most hackneyed of hack’s eye. 

This is such a strong set, with lots of room for the band to shine; from three-part harmonies; to a great false ending in Not Getting Excited; Jonathon’s perfectly curated guitaring; the kick-ass drumming; luminous bass-playing; and sitting proudly on top, Elizabeth’s breathy girl-next-door vocals. To paraphrase Happy Unhappy, I could get lost in her voice, and I actually did. When they finally depart stage-right, the deafening applause is continuous and heartfelt;  and there’s no awkward crowd silence before the band embarrassingly shuffle back on. No, their return is rightly triumphant, returning with an in-your-face “Take”, performed with the brakes fully taken off.  They then take their leave, presumably for an early night to conserve energy for their run along the Leeds Liverpool canal in the morning. 

They confirmed they’re going left, towards Saltaire. Good choice. Seriously though, they deserve more success, so do your duty, sign up, catch them live if you still can, dig into their back catalogue, buy their records, put their posters on your wall, and all that stuff. 

The Beths - Kiwi indie perfection, since 2014

Roam Artists