Leeds festival

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Review & photos - Liam McEvoy

Leeds Festival 2026 arrived with a sense that things were going to be a little different. Taking place at Bramham Park from Thursday 27 to Sunday 30 August, this year's festival represented something of a new chapter, with a major overhaul of the site, new stages and, most significantly, live music beginning on the Thursday. 

The festival had traditionally treated Thursday as the opening day for campers rather than a full day of headline entertainment, but 2026 changed that with Kasabian becoming the first-ever Thursday night headliner.

Thursday therefore felt like a genuine festival day rather than simply the prelude to the weekend. Arkayla had the honour of getting proceedings underway on The Grid, bringing a youthful indie energy to a gradually filling arena. Their appearance felt particularly appropriate for an opening slot, with the band making the most of the opportunity and immediately giving early arrivals a reason to head towards the main stage.

Next came The Lathums, whose melodic indie-rock fitted perfectly into the Leeds Festival landscape. Their set helped increase the atmosphere as more and more people made their way into the arena, before the anticipation inevitably turned towards the evening's historic headline performance.

Then came Kasabian. Having previously headlined Leeds in 2012 and 2017, the Leicester band returned to make history, taking the first-ever Thursday night headline slot. It was an inspired choice: familiar enough to draw a substantial crowd, but energetic enough to make the first Thursday feel like a proper festival night. Serge Pizzorno and the band delivered a hit filled performance that embraced the occasion, with the crowd singing along to the band's biggest songs. 

The fact that the weather stayed dry throughout their set, despite earlier concerns about thunderstorms, only added to the feeling that Leeds Festival had successfully opened a new chapter.

Friday demonstrated just how much variety Leeds Festival could pack into a single day. Holly Humberstone brought a more introspective and emotionally charged side to proceedings, followed by Julia Wolf, whose contemporary pop sound provided another change of pace. Over on The Grid, Blossoms delivered one of the day's standout performances. Their polished indie sound and collection of instantly recognisable songs made them a natural fit for the main stage, with the audience responding enthusiastically.

Elsewhere, Violet Grohl represented one of the festival's most talked-about emerging names. Performing on the new Canopy stage, she demonstrated why the festival continues to be an important platform for the next generation of artists. The Canopy was specifically introduced to showcase new music, and performances from artists such as Grohl showed the potential of the new space. 

Wisp brought something completely different to the Ballroom, with her alternative influences providing a darker, heavier contrast to the indie and pop performances elsewhere. Kneecap then turned up the intensity, bringing their confrontational, irreverent brand of hip-hop to The Gallery. Their performance was precisely the sort of unpredictable festival experience that can turn an already good day into a memorable one.

As darkness descended and Chase & Status took over The Grid. The duo have become synonymous with enormous festival performances and Leeds was no exception. Their combination of drum and bass, electronic production and live instrumentation transformed the field into one enormous dancefloor. They were the perfect act to close Friday, with the energy continuing well beyond the traditional headline set thanks to the festival's late-night programming. The official schedule placed them on The Grid from 9.30pm, following Florence + The Machine. 

Saturday arguably provided the widest musical spread of the weekend. Skye Newman was among the younger artists making an impression, while Villanelle, fronted by Gene Gallagher, demonstrated why the new Canopy stage was becoming one of the festival's most interesting destinations. The stage was designed specifically around emerging artists, and Villanelle's appearance fitted that remit perfectly. 

Unpeople provided a heavier alternative edge, while 4AM Kru brought jungle and drum and bass influences to The Gallery. The latter was particularly effective for those looking to escape the traditional guitar bands and immerse themselves in something more dance orientated as they delivered a set with relentless energy from start to finish.

The build-up to the evening's biggest performances eventually led to Charli xcx, who arrived in Leeds as one of the weekend's most anticipated headliners. Her headline performance was suitably ambitious, blending pop, electronic music, attitude and elaborate production. The performance demonstrated why she has become such an influential figure in modern pop, while still giving fans the huge festival moments they had come for.

Alongside the headline spectacle, Fontaines D.C. provided a completely different flavour, bringing their brooding post-punk sound to the festival. Their ability to create atmosphere in a huge outdoor setting was particularly impressive, and their appearance reinforced the strength of the rock and alternative side of this year's line-up.

By Sunday, the familiar feeling of a festival weekend coming to an end was beginning to creep in, but there was still plenty to see. Niko B brought his relaxed but charismatic style to the festival, while The Lilacs provided another dose of guitar led indie. Sombr was one of the day's most intriguing performers, appearing on The Grid before the final headline performances. His inclusion demonstrated just how quickly emerging artists can move into major festival slots.

Cruz Beckham and The Breakers were another talking point. Performing on The Canopy, Beckham's appearance attracted plenty of attention, but ultimately the important thing was the music, with the band taking advantage of a major festival platform to introduce themselves to a much larger audience. The Canopy once again proved its worth as a place to catch artists who could potentially become considerably bigger in the years ahead.

Jamie Webster brought his distinctive northern storytelling and working class songwriting to the festival, while Josh Baker provided a very different experience, keeping the electronic side of the weekend alive.

Then came Dave, tasked with bringing the main stage proceedings to a close. Dave's performance had the scale and confidence expected of a festival closer, combining the biggest moments of his career with the emotional weight that has become such an important part of his live shows.

Ultimately, Leeds Festival 2026 felt like a festival undergoing a genuine transformation. The introduction of Thursday night live music was the most obvious change, with Kasabian making history as the first Thursday headliner, but the wider overhaul was just as significant. New stages such as The Gallery, The Warehouse, The Ballroom and The Canopy created more distinct identities across the site and gave audiences greater choice.

There were enormous headline performances from Kasabian, Chase & Status, Charli xcx, Fontaines D.C. and Dave, but some of the weekend's most rewarding moments came from discovering artists further down the bill. From Arkayla and The Lathums opening the festival to Violet Grohl, Villanelle, Wisp, Unpeople, The Lilacs and Cruz Beckham and The Breakers representing the next generation, there was a constant sense of new talent waiting to break through.

With four days of music now established at Bramham Park, Leeds Festival 2026 felt less like simply another edition of the event and more like the beginning of a new era. The Thursday experiment worked, the new stage configuration gave the festival a fresh identity and the strength and variety of the line-up ensured there was something for almost every musical taste. 

Review & photos - Huw Williams

One of the hottest and busiest bands around just now, The Molotovs played an electrifying set in Leeds Beckett. 50 years on since punk first rocked this country, this is a band that is keeping the scene alive and well. 

Just a glance around the venue showed that, while there are some younger fans connecting with the sounds of the young London duo, there are plenty of punk and mod scene veterans, judging by the vintage of some of the tour t-shirts on show. This is perhaps the fourth time they’ve played Leeds this year, either headline or support slots, but it epitomises their attitude to just getting out there and rocking an audience as often as they can. 

Their reputation is built on being on stage and delivering experiences that others will struggle to match.

There was genuine excitement in the queue and inside the student union - Leeds Beckett was packed out for this one, a testament to that hard work. Originally slated for The Wardrobe, this is a serious venue upgrade and there would still have been those who were disappointed not to have got tickets to another sold-out show. Matt and Issey confidently and calmly emerged from backstage, to a roar from the crowd. It’s the calm before the storm. 

Opening with Johnny Don’t Be Scared, they’re very quickly into their stride. Matt, sharp and stylish with a mod look, delivered the lyrics with attack and urgency. Issey adds a unique visual element alongside her accomplished bass licks, dancing, posing, posturing constantly through each song. The pair rattle through an 18 song set in a little over an hour, mixing songs from their well-received debut record Wasted on Youth and their highly anticipated follow up Welcome to Urbia, which is due out next April.

The set list demonstrates the momentum that’s building behind them. We’re only really getting to grips with the explosion of this band on to the scene, while they’re already looking ahead to what comes next. A cover of Bowie’s Suffragette Citycloses out the main set, acknowledging their influences before re-emerging with a couple of belters - 2025’s No Time To Talk and Come on Now - which leave the crowd wanting more. There’s surely no better way to leave a show, wishing you could stay in that moment for just one more song. It just means you have to make sure you get a ticket next time around. 

And there will be a next time. The show is relentless, their rise is similar. Their work ethic, even more so. With more than 600 shows under their belt, they have developed a live act that is hard to beat.

Outside Organisation

Review & photos - Levi Tubman

Lesbian Bed Death, a horror-tinged gothic rock band from Stoke-on-Trent, and yes, the name does seem to be the first thing everyone asks about. Formed back in 2004, they've spent over twenty years mixing the macabre-obsessed attitude of the Misfits with the swagger of Kiss and the dark glamour of The Sisters of Mercy and The Cult. 

Having seen them as a support act, I’m looking forward to seeing them as a headliner for the first time. 

Opening tonight are Vulva, who I originally thought were a duet, but no, just enough smoke to hide away a drummer at the back! A few technical issues, with strings wanting to pop out of place and threatening to snap, are taken in comedic stride, with said strings being cursed with cheers from all. The perfect amount of audience interaction, while the bass player jumped and spun without missing a note. Backed up with a heavy, catchy sound, they’re a band I definitely want to see again. 

Up next were Gaydar. Loud, intense, grungy punk, they’re definitely heavy on the political and light on being subtle. It’s a great sound, and they have some interesting merch, but I’m not too sure they’re a fit for the night for me, losing the fun elements of the other acts. My opinion wasn’t shared by many, though; they had a decent-sized following in the crowd and went down really well. 

Every member of LBD is dressed in black, as everyone should be! Even singer JJ’s sling, after she fell in the car park after a gig and dislocated her shoulder, is black, because just because you're injured doesn’t mean you shouldn’t be stylish. A downside to only having one arm is having to wrench the mic out of the stand, as it can’t be held, resulting in the 3D-printed snake’s skull flying off the stand and bouncing off my head. A first for me, but definitely my new favourite way to start a gig. 

There’s a fair whack of new material tonight from their latest album, Satan’s Cellar. And it’s a cracking album; it might even be my favourite, and it clearly goes down well with everyone else too, starting the night off with a solid chunk of the new songs. They hit the highlight of the night early on for me with The Midnight Horror Show, also my favourite of the album. Big guitars and even bigger anthemic choruses — it’s what you want to get the night going. 

Musically, their melody-driven grit sounds exactly as a horror punk band should live: loud and dirty. The twin guitars are thick without turning to mush, with the bass holding down the bottom end and the drums driving everything forwards, with JJ’s vocals screaming through the mix. Above all this is a sense of fun and a party atmosphere. I have to say, Ali Vicious has to have the biggest grin of any guitarist I’ve seen. 

Rhythm guitarist Mr Peach gives a warning for young musicians writing silly songs with their friends, because they might go viral and then you're stuck with it. Goth Girls Are Easy might be their biggest, most well-known song, but with the band at their cheekiest, it’s fun, so damn catchy and so easy for the whole crowd to sing. 

I love how close the fanbase can be, as band members wave at people in the crowd, go to the front for a hug or accept gifts. It’s a nice break from the separation you can get at some gigs. The stage doesn’t feel like a barrier. It feels more like everyone is part of the same party. Albeit a party that loudly chants “Satanic Suicide Death Cult!” 

Between the new songs, the classics, the party atmosphere and a crowd that knew every word, it was exactly what a horror punk night should be: loud, theatrical, a little silly and a lot of fun. Even with a band member down to one working arm, nothing slowed them down, and I left with my ears ringing and a story about a flying snake skull. If they're playing near you, go. Wear black, and maybe keep an eye on the mic stand. 

Review & photos - Levi Tubman

It's rare I get to review the same band twice, especially in the same year, but I'm not sure Man/Woman/Chainsaw are the same band I saw back in February. At the end of winter, I caught them at the Trades Club in Hebden Bridge, tucked away in the Calder Valley. It's a legendary venue, but it holds a little under 200 people, and the band were already planning tonight's gig. Fast forward half a year and they've sold out the Brudenell, this time to over 400. 

That's a big step up in a short space of time, and a band growing this fast has to have changed along the way. 

Opening tonight are Uncle Junior, a fairly last-minute addition from what I gather, and a band I knew little about. Halfway through the first song I realise I haven't taken a single shot. I'm just watching. They look unassuming as they walk on, like a run of the mill alt rock band. Then they start playing, and it's loud and fresh. Vocalist Oli has the look and dark brooding of Ian Curtis, while the band sound like 70s era The Clash mixed with Nirvana, with the polish stripped away and only the raw dirt left behind. They're one of the best new bands I've seen this year. 

I love an opening act that's hard to follow, but I'd hate to follow these guys. Having seen Man/Woman/Chainsaw before, I know they'll be up to the task, but they haven't been made to have it easy. I can't wait to see Uncle Junior again on a headline tour of their own. 

The Brudenell has a bigger stage, but the six-piece still fill it as they walk on to their usual intro, 50 Cent's In Da Club. With keys and violin alongside guitar, bass and drums, they need the space. 

I love their energy and dynamics, and not just in how they move and dance around the stage, though violinist Clio seems to be standing on a hot plate! With lead vocals shared between guitarist Billy Ward, keyboard player Emmie-Mae Avery and bassist Vera Leppänen, you have to keep an eye out for where the next song is coming from. They start strong with one of my favourites, and the crowd's, Only Girl. Built around the violin, its hook cuts through and leads the whole song. It's fun, singalong and catchy as hell, and it shows exactly why the band are in such demand. They already have next years tour planned! As well as hitting the states they’re playing Leeds Project House, in just over a year going from a venue of 200 to 1000. 

Next up is The Thing, sung by Billy. It's slower and heavier, with palm muted guitars, and the lightness drops away into a darker, more aggressive punk feel. It's hard to believe the two songs come from the same band, let alone the same album, and it shows they're far from a one trick pony. To drive the point home, Canyons follows. It opens gently, led by vocals with piano and light drums. It's a big step back for the band and lets Vera stretch her legs. As if that range wasn't enough, the song itself transforms, descending into distorted noise that carries the same theme, only grittier and heavier. Noisy, but controlled. 

All three are from their debut album, Cannonball. They've released a string of singles and an EP, but the album only came out last month. Between their rapid growth and a spot on NME's 100 Essential Emerging Artists list, they've probably not had the time! 

My favourite of the night isn't on the album at all. Adam & Steve is short and to the point, two and a half minutes of rock punch. Its dual vocal melody, mirrored by the violin, wraps up every part of the band's sound in one song. You can hear how the newer album tracks grew from it, just with a little more maturity thrown in. 

It's a loud night. The size of the band doesn't help, but they have a lot of energy to get out! Mixed in with the fortissimo, though, are beautifully gentle numbers like Snakebite and Still Angry. They give the band some breathing room, although Still Angry ends up loud anyway, keeping its core melody but turned up a notch or two. 

There's no filler tonight, just like last time. I'm not sure they know how to phone it in! They're not playing Leeds Arena, but it's still good to see a headline act out front watching their support. It's getting rare, and it's a nice touch. Like a few gigs I've been to here, it's sold out, but somehow, it feels fuller. When I move to the back to get some different shots, there are even people looking in through the doorway, like kids peering through a sweet shop window.  

When I saw them in February, I ended my review by saying: "This is a unique, thrilling kind of beautiful madness and right now, they might just be the most exciting live band around." I stand by it. You can see why they keep getting bigger, and they're bound to be all over next year's festival circuit, and not low down on the bill either. I can't wait to catch them again at Project House! 

Setlist :

1.  Only Girl 

2.  The Thing 

3.  Canyons 

4.  Adam & Steve 

5.  Snakebite 

6.  Get Up and Dance 

7.  Goddamn, Lizard Man! 

8.  Still Angry 

9.  Scab 

10.  Flick of the Wrist 

11.  Lighter 

12.  Ode to Clio 

13.  Something Else to Give 

14.  Cannonball 

15.  Nosedive 

Chuff Media

Review & photos - Huw Williams

Anthony Szmierek has a gift for finding poetry in the most unlikely places. A heron on the banks of the Mersey, a flight simulator, an angling superstore in Bolton. Those ingredients might not suggest the most spectacular night of live music, but then Szmierek is known for taking the more unconventional route. Poet, educator, songwriter and advocate, he occupies a space somewhere between literary classroom and the dancefloor.

At the O2 Academy in Leeds, he shows just how effectively that combination works. There's an easy charm to Szmierek onstage, but an undeniable presence, too. Standing on a raised platform above the band, he makes himself visible to everyone, using it as a launchpad to throw himself across the stage, strike poses and reach out over the pit. Part poet, part dancefloor ringmaster, he has the audience in the palm of his hand.

His delivery is immaculate. The flow is effortless, the lyrics cascading with the cadence of a natural storyteller. Poetically, he's a formidable talent, but there's no preciousness about the way he presents his work. These are songs to think about, certainly, but they are totally songs to dance to.

Chalk sets the tone before The Heron provides an early highlight. Inspired by Szmierek's repeated encounters with a heron beside the River Mersey, the song transforms an everyday occurrence into a meditation on patience and finding perspective amid the relentless noise of life. The reassuring refrain, “You'll never be alone again, my love,” lands with warmth. It's a reminder that we could all benefit from taking time, looking around and reflecting the natural world, the real world, rather than the AI driven artifice we can sometimes sink into on our screens.

Yoga Teacher and Seminal keep the momentum going before Bookie's Favourite brings back the brilliant support act Ellur. It's a great collaboration, and the Yorkshire singer-songwriter is welcomed enthusiastically back to the stage following her impressive opening set.

Flight Simulator, his self-declared favourite track from the new album. That familiar feeling of trying to navigate life without having received the instruction manual is smartly articulated and again, beneath the humour sits a recognisable anxiety, delivered over music that turns that uncertainty into communal joy.

Dave's Angling Superstore is a perfect illustration of Szmierek's ability to use humour to dig beneath the surface. 

Inspired by a real fishing shop in Bolton with a swingers' club hidden behind it, the song takes the apparently mundane and reveals something unexpected lurking beneath its unremarkable exterior. Szmierek understands that ordinary places often conceal extraordinary stories, and that the gap between appearances and reality can tell us plenty about human nature. What looks ordinary from the outside might be truly extraordinary on the other side of the door.

Between the songs, Szmierek takes time to appreciate what’s going on in front of him. It’s the opening night of the Decoding Birdsong tour, and you can see he’s metaphorically pinching himself. “Things like this don’t happen to people like us” he says. But he’s earned every minute on this bigger stage. I’ve seen Szmierek from the cosy confines of The Wardrobe in Leeds, through last year’s show at Stylus and now, graduating to the more substantial Academy. 

Each time, the show has become more polished, the atmosphere more euphoric and the performer more accomplished. He’s right at home here, and as he draws the main set to a close, the audience are feeling that too.

He returns for a welcome encore. Before The Words to Auld Lang Syne, he draws everyone together, arms around friends and strangers alike as we ring in a new year. Of course, it’s only mid-October, but Szmierek’s love for a metaphor means he always takes the opportunity with this track to remind us to renew and refresh. It may not be 31st December, but we count down from 10 and shout Happy New Year like we’re watching the fireworks on the banks of the Thames. 

This humour isn't simply decoration; it's a way of getting beneath the surface and exposing the humanity hiding behind our routines. He is eccentric without becoming obscure, and funny without losing sight of the feeling beneath the wit.

Leeds leaves having danced, laughed and perhaps thought a little more carefully about the world outside the venue. In Szmierek's universe, a bird beside a river can offer a lesson in how to live, a flight simulator exposes our deepest insecurities, and a fishing shop can reveal the unpredictable business of being human. Wrapped in the blissful swell of the music, it’s a night to remember.

Future Sound Group