the darkness

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Review & photos - Asa Medforth

Lowestofts finest exports The Darkness are back with their 8th album and a new tour, Dreams on Toast.

Justin Hawkins, Dan Hawkins, Rufus Tiger Taylor and Frankie Poullain exploded on to the  stage of the York Barbican with the opening track from the new album Rock and Roll Party Cowboy. From the first note it is unmistakably The Darkness. Fully embracing their Glam Rock-esque style and energy in their performance. 

Justin takes great pleasure in demonstrating his full vocal range in a Freddie Mercury like performance hitting those high notes that only some can. He soon had the packed audience hanging on his every word.  The entire performance is overflowing with energy, seeing the frontman perform the splits whilst doing a headstand on the drum risers is impressive for a man who turned 50 on the day of this gig!

The Darkness are true entertainers in every sense of the word, every song on the set list had the packed audience bouncing along. The tracks played from the new album (set for release on 28th March 2025) are rock at its finest. Whether you’re a hardcore fan or the band, rock or just great music played by talented musicians, this is one show you don’t want to miss. 

Note: A full review of their new album 'Dreams on Toast' will be online shortly here at Wall of Sound

Chuff Media

Review & photos - Mo Longfellow

*Disclaimer* I need to apologise. Normally I write notes as the gig plays to help writing the review, but, honestly? I was far too busy enjoying the set to get my phone out and start jotting stuff down, so if this review is a little lacklustre on detail, that’s why! 

Red Sky July brought their wonderful and often haunting harmonies to the Stage at The Greystones in Sheffield on Wednesday night.

The Greystones is a lovely venue and perfect for this type of gig. It’s intimate, and whilst yes, it’s about the music, this gig  was also about the storytelling behind the songs and interaction with the audience and this venue allows for that which I loved. Musically, It was as engaging a performance as I’ve seen in a long time. I don’t think a single person will have left that gig without having had their soul soothed - whether it needed it or not. 

The band, comprising of Ally McErlaine (ex Texas guitarist), Shelly Poole (ex Alisha’s Attic), and Hayley Glennie-Smith-Smith (singer/songwriter extraordinaire), brought their blend of lush harmonies, introspective songwriting, and soaring melodies in abundance.

Shelley and Hayley’s harmonies, which never missed a beat, were amazing and absolutely on point. Their voices blended together, almost like they were one, creating a rich, textured sound that is both exciting and calming. It’s hard not to just shut your eyes and let them take you with them, wherever it is they’re going, when listening to these two. And that’s exactly what I did - no notes, remember?! 

Both Ally and Hayley played acoustic guitar with Shelley breaking out a shaker every now and again, but what really gave the set a lift was Ally’s lead guitar, solos woven in and out of the numbers to bring depth and, if possible, even more feeling. 

One thing that struck me was just how much these three enjoyed playing their set. There was on stage chatter between them and the audience, and a feeling of genuine love for one another. 

They played numbers from their new album ‘Misty Morning’, released February of this year and also their previous works. They even chucked in a few covers, Black Hawk (Emylou Harris) and a really cool acoustic cover of Bruce Springsteen’s Dancing In The Dark. 

They did an encore of Morning Song which the crowd sang along with in great form. 

As the night drew to a close and the gig ended, the band members hung about to sign albums and chat with the many members of the audience who stayed back to converse. 

It really was a truly wonderful evening and I can’t recommend this band (both studio and live) enough.

Republic Media

Review James Fortune-Clubb

As a longstanding and unashamed fan of Blur and their various musical offshoots - it was great to see The Waeve on their inaugural tour back in 2023 at The Brudenell in Leeds. I wasn't familiar with their first album at the time and didn't know any of the songs they played, nonetheless it was a great gig despite my lack of familiarity - which is always a testament to the standard of the material and the performance.

Fast forward then and amazingly enough, it's now almost exactly 2 years on from that gig at The  Brudenell and we're here to see The Waeve again at another great venue - this time it's the Sheffield Leadmill. It's now almost 5 years in and 2 years since their eponymous debut album, The Waeve are back touring their latest album, last year's 'City Lights' as well as hot off the press new three track EP - 'Eternal'.

Unsurprisingly It's a capacity gig and a very  expectant crowd tonight at Sheffield's Leadmill - one of the countries best small live music venues and unfortunately the subject of lengthy recent legal battles concerning closure/takeover.

First up though are support act 'White Magic for Lovers' - the latest project of Thomas White (ex Electric Soft Parade and currently touring drummer with The Waeve). They provide a meandering, relaxed, sometimes soporific and dreamlike set of songs, which don't really go anywhere, but in a way that doesn't seem to matter. What the guitar and vocals duo deliver is close vocal harmony, multi-layered with echoes of The Beach Boys, White Album era Beatles and generally the sound of the east coast circa 1967-ish.

It's all very chilled and laid back, including the band being seated for their set (fine for the first few rows of the audience, but giving no sightline whatsoever for those anywhere from row 4 back, frustrating). Whilst White is a hugely accomplished and experienced musician, this is only 'White Magic's' third ever gig and from that perspective alone, it's an impressive as well as enjoyable outing.

"Its'nice to be able to see whites of your eyes" - is  Rose's opening comment, more used to playing bigger venues, whilst Graham apologises for not being able to see his guitar to play well, because of low level lighting... before then proceeding to absolutely deliver his frenetic and usual amazing guitar playing, tonight he's absolutely on fire.

On record, The Waeve is essentially co-singer/songwriter partnership Rose Elinor Dougal and Graham Coxon - veterans of The Pipettes and Blur respectively, as well as both having significant solo careers. And whilst tonight may be primarily the Graham and Rose show - they are very ably supported by their touring band of Joe Chilton on bass, Thomas White (of aforementioned support band White Magic for Lovers) on drums, as well as Charlotte Glasson on violin and saxophone - boosting their live sound.

And what a great sound they make too - tearing through a set which is pretty much a straight split across both albums as well as two tracks from the great new EP. Rose throws the shapes and drives the songs forward, whilst Graham switches, seemingly with ease from guitar to mandolin (apart from initial tuning problems) harmonica, sax and back again... impressively.

It's a great set followed by a fantastically pitched brilliant two song encore.

What a night - one of the best gigs I've been to in quite some time. If you do ever have the opportunity - don't miss The Waeve live, thoroughly recommended.

Set list:

Love is all pain

Broken Boys

City Lights

Undine

You Saw

Over and Over

Eternal

Song for Eliza May 

Sleepwalking

Drowning

Moth to the Flame

Kill Me Again

Sunrise

Encore:

Can I Call You

Druantia

Review & photos Phil Wright

This was no April Fools night, but two 90’s legends on one stage. 

Kicking off with the psychedelic Indi Pop sensation ‘Kula Shaker’, who reformed last year for a new album. With a backdrop of swirling vibrant colours and the Indian mantra sounds, this had all the marks of a great night. Lead singer, Crispin Miles, belted out Indian chants to some amazing music. This was the perfect opening to the night, with plenty of hits including ‘Tattva’, ‘Hey Dude’, ‘Govinda’ and ‘Hush’, which is always a crowd pleaser.

Now was the time everyone was waiting for. ‘Ocean Colour Scene’ helped pave the way for Brit-Pop with their ‘Mod-Rock’ sound. With a slightly more sedated backdrop of old videos of the band, ‘Ocean Colour Scene’ treated us to hit after hit including ‘The Day We Caught the Train’, ‘Lining Your Pockets’ and ‘You’ve Got it Bad’. No Ocean Colour Scene set would be complete without ‘The Riverboat Song’ of course. Simon Fowler’s voice was on top form but, for me, it was about how tight the band was and the harmonies.

The mood was slightly killed by the all-seated City Hall, but this was no fault of the band. The boys from Brum did a belting job. 

I had taken my mate’s son along and, at only 24, he wasn’t around in the early days of both bands, but his words were, “They don’t make music as good as this today uncle Phil. These are legends. Today’s bands are crap in comparison.” I think those words pretty much sum the evening up.

Planet Earth Publicity

Review & photos - Mo Longfellow

Neil Jones (acoustic guitar & vocals) and Neil Sheasby (bass guitar & vocals) from Stone Foundation played a stripped back gig at The Vinyl whistle in Headingley.

Sometimes, when you go to a gig like this and it’s 8 band members reduced to 2, you wonder how it’ll work or even if it’ll work, and that’s exactly what I was thinking. I can, however, happily report, it really works! 

There was a smallish crowd of people who were all eager to hear what they had to offer, all in good spirits, having had a few boozes and having (probably) perused the plentiful selection of vinyl on offer in store. 

Neil and Neil walked onto the small stage near the front door and told us they were going to play a selection of songs from their new album ‘The Revival of Survival’ and some older numbers.  And that’s exactly what they did, and did it amazingly well. 

They had such a great connection with the audience, creating an engaging experience for everyone watching. There was back and forth with the crowd and individuals who were brave enough to speak up. 

They admitted a few times that they didn’t know a particular number very well or hadn’t played it for ages, but you really couldn’t tell, the sound was incredible. Neil Jones’ vocal is so powerful, you could easily have taken the mic away and have heard him regardless, but he’s not shouting or bellowing, it’s controlled and with so much feeling, it gave me goose bumps. 

The guitar playing is great but it was Neil Sheasby’s bass that I thought was really impressive. Subtly giving each tune that much loved feeling of soul, funk and disco that we all love…even if more subdued than usual. 

Seeing them both on stage, you can see that it was these two who formed the band some 25 years ago. They have a chemistry that is unbreakable, a friendship, it seems, that will never end, a relationship that only the love of music and writing & playing music together can forge. 

Neil snapped a string on his acoustic and while this meant the last song, it wasn’t the end of the evening.  They both hung about to sign albums and chat. 

Two thoroughly nice blokes who are incredibly talented, making and playing amazing music. I’m gonna shoot the full band later in the year at The Brudenell, Leeds and I cannot wait! 

Do yourselves a favour, buy the album and book a ticket to see them live!! 

Review & photos - Anya Weston-Shaw

Frank Turner delivered a triumphant, feel-good set at O2 Academy Leeds, leaving the crowd buzzing as they excited.

The band’s enthusiasm was infectious, with fans passionately chanting back classics like Photosynthesis and Recovery as all members of the band danced and ran around for the almost 2 hour set. Thatcher F**** The Kids, made its way onto the setlist after a spontaneous soundcheck choice to sing the song sparked it’s surprise addition, of course it was met with roaring approval.

Turner’s ability to reignite the crowd post-acoustic set was masterful. During Do One, he swapped the original track’s singalong for a rousing “Yorkshire” chant, setting the stage for an explosive encore featuring Get Better and Four Simple Words, where he had the entire audience spinning like ballerinas.

As fans spilled out into the night, their excitement made one thing clear—this gig was a total triumph. I overheard one person saying to those he was with that next time they had to bring another friend, saying that he may not know the songs but that doesn’t matter as the night out is amazing regardless. 

Sonic PR

Review & photos - Huw Williams

Divorce’s debut album Driven to Goldenhammer has been well received and it’s this record that brings the band to Brudenell Social Club in Leeds tonight.The album is genre-spanning, from tracks like Karen - which builds from the sound of a pretty ballad to incredible grunge-fuelled intensity - to sweet Americana-sounding Parachuter.

Brudenell is sold out tonight and the queue is long around the car park as people vie for the best position in the sold-out Main Room, up close and personal with their favourite band.

Since they burst onto the scene just over 2 years ago, with the accomplished EP Get Mean, they’ve become one of the most exciting bands to watch out for. 

Supporting tonight is Dug, Irish-American folk with a healthy dose of humour. Conor O’Reilly and Jonny Pickett make an interesting duo that still have the feel of buskers on Grafton Street in Dublin. Their folk tales draw on family life, new takes on traditional American songs and the greed of venue promoters. The pair look genuinely surprised that a) so many people have come down early to see them and b) that everyone seems to be having a bloody good time! Their set ends with a ceilidh-inspired circle dance which dissolves into some freestyle partner swinging and a joyful conclusion to an excellent set.

Divorce takes the stage in front of a homemade backdrop: a red car, painted by Felix to represent the title of the album. Kasper Sandstrøm emerges first, taking his seat behind the kit, before Adam Peter-Smith, lead guitarist, heads out front with vocalists Tiger Cohen-Towell (also on bass) and Felix Mackenzie-Barrow (guitar).

The full set of album tracks feature in the show, telling well crafted stories of transformation and searching for meaning and progress. Felix and Tiger’s vocals meld beautifully, effortlessly as they connect with the audience. There’s a strong, if understated bond with the audience, evidenced by the gift that one fan has brought for Tiger - a copy of Nick Hornby’s Fever Pitch to go alongside the title of the opening number tonight. 

Moving through the new album tracks, Karen is a highlight matching, even surpassing the journey from vulnerability to intensity on the record. Jet Show continues the grungy-influenced theme, before a real change of pace with Antarctica. All jangly guitars and pretty harmonies, it’s a look into another side of the band, with a story of a break up, alongside the rescue of a newborn calf.    

Where Do You Go? showcased Tiger’s soaring vocal, while the alt-country style ballad Old Broken String is tender, sincere and heartfelt. Whether it’s these minimal moments or the heavier, more visceral sounds from the start of the show, the sound is rich and well constructed. 

Lyrically, they’re very strong, creative in their metaphor and it’s the kind of work that lends itself well to the record. It does take some concentration though to follow the stories in the live environment. It doesn’t encourage people to let go so much, and it’s a more cerebral atmosphere, fans studiously focused on the band, rather than getting brought into the euphoria that a live environment often brings.

It’s a quality performance - but I feel there’s more to come from this up and coming band. To some extent, it’s still early days for them, and their confidence will surely grow as the on-stage experience comes. The energy is calm and chilled, and maybe I just wanted it to ignite a little more and create something unforgettable.

Set list:

1. Fever Pitch
2. All My Freaks
3. Gears
4. Karen
5. Jet Show
6. Parachuter
7. Antarctica
8. Sex & the Millennium Bridge
9. Pill
10. Scratch Your Metal
11. Where Do You Go
12. Old Broken String
13. Eat My Words
14. Lord
15. Hangman

+++++

1. Mercy
2. Checking Out

Chuff Media

Review & photos - Huw Williams

“WE ARE SKUNK ANANSIIIIEEE!!”, lead singer Skin bellows at the top of her voice as the main set comes to a close. No doubt about that. 16 songs up to this point have blown the roof off the O2 Academy in Leeds and turned the people on the floor into a euphoric, sweating throng that ebbs, flows, jumps and moshes on command.

It’s 30 years since Paranoid & Sunburnt announced Skunk Anansie to the world, unleashing tracks like Little Baby Swastika and their hit Weak on to the airwaves. Angry, politically charged, visually iconic. 3 decades later, Skin, Ace (guitar), Cass (bass) and Mark Richardson (drums) still tread that same path, the years seemingly irrelevant to their ability to smash out the raw, emotional noise that became their trademark.

The Academy is sold out for this one and most of the 2,300 people made it down early to see the support act - So Good - warm up the crowd. They were good, but despite their angry, punky lyrics, and constantly giving the finger to the crowd, it felt slightly too “pop” in style. It left me feeling they were a bit too manufactured and manicured to be the “female version of Johnny Rotten”, as the lead singer, Sophie, likes to proclaim herself. 

Still, it’s high energy - certainly can’t take that away from them - and the pink balaclava-clad backing band, coupled with the 3 singers’ dance routines got everyone ready for the headliners - an undeniably authentic, ground-breaking band. 

Mid-90s, they pushed the boundaries as a multi-racial, gender-diverse group, with Skin being one of the first black women to front a major British rock band. Political, angry, full of energy - some things haven’t changed.  

Stalking around the stage to This Means War in a long black overcoat, she delivers her lyrics with menace - “this means war, f***ers!” As she snarls and leans towards the crowd, Skin breaks into her trademark smile, showing just how much she relishes being on stage and whipping up this crowd.

A friend of mine said to me the other day that Skin has one of the most relaxing voices on the radio, referencing “The Skin Show” on Absolute Radio. Nothing couldn’t be further from that perception in Leeds, as her power and intensity relentlessly lifts the energy in the room throughout the show.

Backed by the best stage set I’ve seen in the Academy in Leeds, full of black spikes and spiders climbing down the back wall, it’s an assault on the senses. Loud, furious, heavy guitar and some life-altering bass chords have the crowd vibrating, trying their best to keep up with the energy that Skin exudes on stage.

By the time we get to Weak, mid-way through the main set, Skin is on the barrier in control of everything before her. By the next song, I Can Dream - their second single from 1995 - Skin is in the crowd, a circle pit fizzing around her before lifting her up and carrying her back to the barrier, with sheer joy on her face. So much, in fact, that she’s back in there at the end, forming an all-female mosh-pit this time, another boundary being broken, smashing another stereotype.

It’s been a masterclass, from a band that performs with natural chemistry, built over the years, and the raw punk energy of the most iconic of singers. They came to tear it up, and Skunk Anansie certainly left their mark on the crowd in Leeds. 

Review & photos - Levi Tubman

Marisa And The Moths have been making a lot of waves recently, and a band I’ve been wanting to see for a while, and tonight they’re at one of my favourite venues so it’s already looking positive before the doors even open. 

Up first tonight are HCK9, a 3 piece who rely on a backing track for the rest of the band, something that’s becoming more popular with varying degrees of success. Theres no worry here though as the sound is tight and solid with a real energy, especially from local vocalist James Brown, no not that one, who finishes the set saying come see us when we’re headlining, I don’t need to be told twice! 

Following them up another power trio, Black Orchid Empire. A little more frantic with wild drums the frenetic guitars and rumbling bass fill the room again with the sound of a band who can’t be far off headlining themselves, another perfect fit for the tour. 

During both bands, Marisa herself is out in the crowd, cheering on the bands, filming and photographing and joining in with the crowd. It’s a nice little touch showing the singer isn’t full of ego. 

The audience are certainly hungry for it when the band take the stage with a pushed surge in the in the usually calmer venue. Taking a gentler start to the night its Needy, starting with slow palm muted guitars and soft warm vocals, it’s a fantastic track that swells up and down bringing out Marisa’s phenomenal voice.  

The bands vocalist and namesake has a huge vocal range with the tone and power to match. As good as she sounds on records and live videos its nothing compared to hearing her sing in person, especially down at the front hearing some direct from the source. As they rattle through the set, there’s minimal conversation between songs with the crowds, instead the crowd participation comes mid song.  

Marisa is constantly moving all over the stage, from end to end in a single song, getting down low to sing to fans of for photos calling out to people in the audience, while guitarist Alez is sticking his tongue out and pulling faces to the crowd for photos and dancing about. Not to be outdone Bass player Liam, after taking a fans phone who was filming him on to the stage with a close up of every member and the audience, leaving him with a veery unique video, dropped down into the audience walking around talking to people while still playing, although losing a battery and signal part way, it’s a fun twist by a band who seem to live to have fun! This is all rounded off by a crew member giving out glowstick bracelets, were all now in the 90’s festival mood. 

At this point the band start to leave the stage apart from bass player Liam who talks about a song he wrote over lock down when they did online live shows, picking up a guitar he threatens to release it one day and if we don’t like country then feel free to visit the bar. I’m saying this as a bass player myself, I don’t think a crowd has ever wanted to hear a bass players passion project, but were in tight were lot leaving. 4 minutes later the audience erupts with cheers and applause! Hi voice was born for country, it has just the right amount of gravel in his tone for the genre with a catchy melody and guitar work, its fantastic and we need this on a future album! 

Following this up Marisa returns to the stage for her own solo number, acoustic guitar in hand. Its gentle and quieter, it’s a song full of emotion and feeling, easily gripping the audience and holding them tight and silencing the room.  Both solo performances break up the set nicely while managing to fit neatly. 

Marisa is a vocal powerhouse, she seems to let her voice fly from quiet and low to screaming out massive high energy notes and back again with hardly any effort, you know it’s a vocal workout that’s taking a lot to perform over and over but live its made to look effortless with practiced skill. 

This is not a band that comes on stage relying on one member, Alez guitar work often following the vocals lends power to the sound, with is solos delivering the same pitch and energy while bringing it down when needed, really letting himself go especially on tracks like How Did You Get So Weak. Filling up the lower end, bassist Liam, while a professional musician, seems to be the bands humour, constantly laughing and making comments to the band and crowd, he’s there to have as much fun as he can but underneath that his bass lines run throughout the songs not missing a note and not afraid to go up the fretboard he adds a lot of dynamics the music. 

Behind these, drummer Alex is not a man to keep time with the classic rock beat of kick and snare, every song is full of fills with the toms getting just as much use as the rest of the kit while at times hitting the cymbals almost in anger, a lot of tonight’s songs would have lost something with a standard rock drummer. 

This is a band with so much talent and energy it’s easy to see how they’ve gotten popular but also hard to see why they’re no bigger than they already are. It must be just a matter of time before we see them in bigger venues with no doubt bigger and louder sets. It’s been a fantastic night of music from 3 different bands all of which deserved to be on the stage, it was a shame that there were a few audience members there on the creepier side, with more than a few vile comments and suggestions about band members and audience, but luckily true fans where in the majority.  

Set List :

1.  Needy 

2.  Skin 

3.  Tied up 

4.  Get it off my chest 

5.  Wither Away 

6.  Fake it till you make it 

7.  Borderline 

8.  Liams Solo 

9.  Maris Solo 

10.  Gaslight 

11.  Devil 

12.  Slave 

13.  How did you get so weak? 

14.  Choke 

15.  SAD 

16.  Just like me 

17.  Who are you waiting for? 

Review & photos  - Dave Flerin

Support for the Scream tonight is provided by Dylan John Thomas, and charming, whimsical songs are the order of the day with from this very talented, and (relatively) young Scot. He’s a phenomenal folk guitar player with an intense character and the sort of voice that makes you sit up and listen to whatever he has to say. 

He’s certainly a much more engaging one-man-and-his-acoustic performer than Ed Sheeran et al. He also throws in a solo cover of Fleetwood Mac’s “Big Love,” and Johnny Cash’s “Ring of Fire” with his four-piece band. In a morally fair world, Dylan will justly go on to have success.

At the anointed hour (around 9pm) Bobby enters stage left, dressed like a slightly skewed, off-his-tits alt John Travolta; white suit and black and red cowboy shirt. Primal Scream put down an early marker, opening with the unfeasibly groovy “Don't Fight it, Feel it”. 

This iteration of the Scream sound note-perfect; a brilliant live version of their recorded selves; and tonight they’re able to conjure up both subtlety and power with equal aplomb. 

They’re no longer a ragged indie band, they’re showbiz pros these days who know how to deliver a musical spectacle. With two spangly powerhouses on backing vocals, a proper femme fatale on bass, kick-ass drummer, Andrew Innes on guitar, and a multi-instrumentalist on sax and keyboards they produce a sound big enough to rattle the roof tiles of this old building.

Tonight, we get indie Scream, rock Scream, psychedelic Scream, and disco Scream; all immaculately styled out. They lose the crowd’s engagement slightly with a couple of slower numbers, but when you can casually drop “Loaded” into your set, you know you’re gonna be okay. An extended version of Country Girl follows, with Bobby leading audience participation with the f-word being the key component. 

The crowd is a bit nonplussed by the choice of encore, with “Melancholy Man” slightly pissing on the party mood. Lounge Bobby might have to reconsider that one for the rest of the tour, however well they perform it. Everything's made alright again with an uplifting “Come Together” in which the backing singers give it an almighty lift, bringing a massively soulful vibe to the music. And with a boisterous “Rocks,” the show is over. 

Given their ages, I’m unsure how relevant they are to the young, but as experts in reinvention and with a back catalogue like theirs, they should rightfully be around for a while longer.

Dawbell

Review & photos - Mo Longfellow

I first saw The Pogues many years ago and they were amazing so I was really excited to see them again at the same venue, The O2 Academy, Leeds.  I did wonder if I’d enjoy the gig as much this time around as there are some obvious differences; no MacGowan standing at the main mic, Chevron and Hunt departed…and only 1 pint for me instead of the many I consumed all those years ago!

There are of course the surviving members leading the charge in Spider Stacy, James Fearnley, and Jem Finer and they were  joined by special guest vocalists and musicians, including Daragh Lynch, Iona Zajac, John Francis Flynn, Lisa O'Neill, and Nadine Shah. But, did they do the do and give us that Pogues experience? 

They absolutely did, and more…

From the off, this was as honest a gig as I’ve  ever seen. The stage was packed with a compliment of ridiculously talented musicians who if I’m honest felt like they had an air of nervousness about them in the beginning (this was the first Pogues gig in 13 years)!, but this soon dissipated as they marched through the first number, The Sick Bed of Cúchulainn. A different ensemble to all those years ago maybe, but undoubtedly the same spirit, the same high octane energy and that same atmosphere, that same excitement and a buzz that you could cut with a knife. 

This was their first gig in their 2025 mini tour which marks the 40th anniversary of their second studio album Rum Sodomy & the Lash released 5th August 1985. 

Now, We’re not here to debate their best works, but let’s face it, Rum Sodomy & the Lash is their best album (!) so to hear it live and in its totality was nothing short of awesome.

The crowd, as you might expect, were well and truly up for it, there were too many times to mention when the whole room erupted in to song, singing along in fine voice. It has to be said though that Dirty Old Town was probably the one to really raise the roof, to the point the band gave up singing and just played instruments while the crowd carried it to its conclusion. 

A Rainy Night In Soho was another stand out moment for me with Iona Zajac singing on this one and frankly smashing it out the academy, both the song and her were utterly brilliant. 

I can’t put into words just how brilliant the whole band was, to hear such incredible musicianship across a multitude of instruments was humbling to say the least. 

The encore was 7 numbers strong including their cover of Irish Rover. The band were enjoying themselves that much that just to stay doing what they love and allowing us to listen to what we love they did a second rendition of Sally MacLennane for us to finish the show. 

Is this the start of more tours to come? Who knows, but one thing I do know is that I wouldn’t risk missing it this time round if I were you. If there are tickets near you, just go see them. 

Review & photos  - Dave Flerin

After an unfeasibly long wait to get inside, we’re treated to a pummelling from shouty two-piece support, Big Special. It’s difficult to avoid the Sleaford Mods comparison (drummer and vocalist playing over a spikey backing track), but they manage to spew forth some really engaging tunes. 

Vocalist Joe Hicklin can sing, swear, and captivate; at one point giving off distinctly Phil Daniels/Blur vibes on one particularly ace number. “Shithouse” is another standout, and they deserve acclaim for the title alone. At one point they ask the crowd for a thumbs up or down, and it's mostly up.

Shortly afterwards, the Pixies are on us, and I’m a bit in awe as Black Francis towers right above me, casually supping from a mug prior to strapping his guitar on. The big guns are out after the opener, with “Here Comes Your Man” and “Debaser” dispensed like two perfectly pulled pints of Guiness in an Irish pub. Unfortunately, for every “Here Comes…” there's one or two sludgy songs which are largely devoid of tune and… chutzpah, which is a bit of a shame. 

Predictably the crowd lose a bit of focus but they're dutifully avoiding checking their notifications. Thankfully, their setlist isn't as punishing and brutal as the last time I saw them here, and when they hit a melody, they really are as good as anyone in the biz. “Mercy Me” from their gentler 2024 album is a downbeat highlight, with Black Francis rocking an acoustic guitar and Joey providing a great backdrop for Black and Emma to croon and shout over. And, as everyone knows, he can shout as good and as loud as anyone alive. A beautifully tuneful “Death Horizon” even prompts a young couple in front of me into having a right indie-romantic dance; it’s awkward and funny, but fits the moment to a tee. 

A great set is brought to a close with an "Into the White" rock out. And with a collective bow and a few smiles, they're done for the night. One to remember for the punters. Indie-alt-rock perfection.

Dawbell PR

Review & photos - Phil Wright

Saturday, the 24th of May took me to the ‘Ritz 02’, in Manchester, for one of the final shows of the ‘From The Jam’s’ Setting Sons tour. This was to be my last show with the legend Bruce Foxton. Unfortunately, due to health issues, Bruce was unable to play, but this did not detract from the night.

Kicking off the night was ‘Ruts DC’, a band that I had heard of but never listened to or seen before. I was not left disappointed. What an amazing three-piece band these guys are with their blend of Indie rock, sometimes also giving a Ska vibe with a hint of Reggae. 

After doing a bit of research, I found the Ruts were formed back in 1979 when they had their biggest hit, ‘Babylon’s Burning ‘, which was a big crowd-pleaser on the night.

Now for the headline act. As the lights went down, the capacity crowd all cheered in anticipation of what was to be a remarkable night. As From The Jam entered the stage, and the lights came on, the first thing you noticed was a 10-foot poster behind the drummer. The poster displayed a photograph of the late great Rick Butler who sadly passed away a few weeks ago and will be hugely missed.

Russell Hastings then walked up to the mic and had the task of letting the crowd know that Mr Bruce Foxton was unable to perform in the show. I was gutted. This was to be my last opportunity to photograph Mr Foxton.

With that said Gary Simons, who had some very big boots to fill, did an amazing job. Gary has been doing most of the Setting Sons tour covering for Bruce and he just goes from strength to strength.

As the band worked their way through the Setting Sons album with hit after hit including ‘The Likes of ‘Eaten Rifles ‘ ‘Wasteland’ and a brilliant cover version of `Heat Wave’. Russell also took time out to talk about Rick with a moving tribute to what was the powerhouse behind The Jam. The crowd applauded with respect.

This night, seemed so special as everyone in the venue never stopped singing along to all the hits and jumping and dancing around even joining in on some new material from the new album by Hastings of Foxton called ‘Butterfly Effect’.  This album just cements the foundation of ‘From the Jam’. And no concert of theirs would be complete without the long-standing hits of ‘Town Called Malice’, ‘Going Underground’, and ‘That’s Entertainment’.

As a huge fan of The Jam, this was a night to remember. I will always look forward to seeing these guys in the future. Trust me if you ever need a good pick me up on a night out look out for from the jam you will not be disappointed.

Review & photos - Phil Wright

Sunday, the 27th May. 30,000 crammed into Sheffield United ground at Bramall Lane to witness an amazing afternoon of entertainment. Even though Sheffield United had just lost promotion playoffs at Wembley the night before, everyone was in high spirits.

Opening the show were The Lightning Seeds. Photographers, unfortunately, did not get to witness the show as they had requested no photography. We could hear, (from outside the stadium), that the crowd were really loving it, even though the rain was pouring down. To be fair, I thought it was a bit harsh singing the Three Lions song ‘It’s Coming Home’, right after United lost out in the promotion playoffs the day before.

The time came for us to be escorted to the stage, in preparation for Shed Seven and what was to be the start of a brilliant night. The Sheds opened their set with ‘Getting Better’ and what a way to open. Rick Witter was his truly amazing self, dancing around the stage like a lairy teenager. 

Last year I had the pleasure of photographing the opening night of the Liquid Gold tour and, to think the guys have been touring now for several months, Rick’s voice was in fine tune with hits like ‘Talk of the Town’ and ‘Chasing Rainbows’, (quite apt as, just before the set, the rain stopped and a rainbow appeared over Bramhall Lane).  The downpour did not deter the 30,000 audience members from dancing, singing and cheering along. It was an amazing sight to see.

Now it was the headline act, Mr. Paul Heaton and Rianne Downey. Unlike the last time Paul played in Sheffield at Tramlines in 2023, the rain stopped and the sun shone. 

Everyone was treated to a barrage of hits stemming back to House Martins and Beautiful South days and, of course, with Jackie Abbott. Hits like ‘Old Red Eyes is Back’, ‘Five Get Overexcited’, along with some new tracks from the new album such as ‘Fish and Chip Supper’ and ‘Small Boats’, the top crowd pleasers were also in there, ‘Happy Hour’, ‘A Little Time’ and ‘You Keep It All In’.

All in all, this was an amazing event at Bramhall Lane. It made me smile when Paul sang the Beautiful South hit ‘Perfect 10’, as Sheffield United had lost 10 playoffs for promotion. I didn’t think he would have actually sung this one but it made everyone chuckle. What a way to end a gig. Listening to 30,000 people singing ‘Caravan of Love’, it was an absolutely magical moment.

Review & photos - Dave Flerin

Reviewing can be a thankless task, but when the Wall of Sound editor hands out the assignments, you take the good with the bad. It’s a dirty job sometimes, but someone has to do it for you guys, so into the fray... 

The very likeable singer-songwriter Katy J Pearson and her band are out to warm up the Wet hordes with her particular brand of hook-laden pop. She's straight to the point, melodic, and delivers her music with the minimum of fuss. In fact, her tremulous voice is enough to prompt me into setting my phone off downloading her last album to sample later on the way home. She's also won everyone over with her between song banter. Officially, the nicest person in Leeds tonight, without question. 

The hors d’oeuvres having been dispensed with, anticipation of the arrival of Wet Leg is hanging well heavy in the air. And here they come, against a bizarre stairway-to-heaven-in-a-cave backdrop, and straight into a sweaty, energetic “Catch These Fists”. As tonight’s Queen of Leeds, Rhian owns the centre stage. She's emerged from the chrysalis of album #1 a full-on mega indie pop star, and being the focal point of everyone's attention looks like water off of a duck’s back for her. It’s all in a good way though, cos she still feels like one of us, despite the wind machine and superstar looks. 

The crowd are the twelfth man tonight, providing backing vocals right from the start to the ones they know, which are interspersed with tracks from the yet-to-drop new album. Hester's taken up her customary position at rear stage left, while Rhian shares the rest of it with the lads in the band. Everyone's note perfect on this balmy Wednesday evening in Leeds, with every subtlety from songs like “Piece of Shit” interpreted to perfection live. The night’s award for the most randomly subversive and quiet act of defiance goes to Hester for her most un-indie 80s-rocker guitar, complete with pointy headstock. (Expect 34% of indie guitarists to have added one to their collection by next week.) 

There’s a brutal and powerful run through of one newbie I don’t recognise (“Pillowfart”), which is a definite mid-set highlight. That contrasts nicely with the next one, as Rhian croons all over future hit “Davina McCall”. And however much their star is rising, they still remember to give a well-deserved big-up to Katy J Pearson ("She's an amazing songwriter, right?").

And the hits keep on coming. “Ur Mum” is next, with the band stopping mid-song for the loudest crowd scream ever. “Too Late Now” starts off all angelic-like, before it jollies up like an out-of-control horse and cart careering downhill. “Jennifer's Body” is delivered with a lot of gusto, and swearing. Despite being so untouchable, Rhian shows she's affable too, with lots of "Thanks so much, guys". Towards the end of the show, “Angelica” sounds as s*** hot as you’d expect, and “Chase Longue” is just the sound of a massive, emphatic triumph. 

“CPR” is chosen as the closer, again off the soon-to-be-released “Moisturizer”; and it’s a meaty indie-stomper, with feral, chunky guitars all over it. Then it all ends with feedback, waving, and skipping off the stage, leaving everyone fully sated. The 11th July release of “Moisturizer” can’t come quickly enough. 

If you’ve got a ticket to see them, you’re very lucky! Catch them if you can.

Black Arts PR

Review - Liam McEvoy

With the long dark nights of winter finally over nothing says summer is coming like the start of festival season and what better way to start the season a day in Leeds at Temple Newsham for Slam Dunk Festival 2025. Set in the idyllic grounds of the Temple Newsam Estate Slam Dunk festival north attracted a whopping 40,000 metal heads to enjoy a phenomenal line up of some of the best rock acts around. 

First up was a trip to the Key Club stage to catch the Leicester based trio Mouth Culture. This is a band very much on the way up and the packed out tent was testament to this. The Bands energy was relentless throughout the entirety of their seven song set and the energy was felt by everyone in the tent as the whole place was bouncing from start to finish. 

Following Mouth culture it was time to take a trip up to the Monster stage to catch The Aquabats!. Walking into the Monster stage felt very much like walking into a fever dream that got stranger and stranger throughout the set. Taking to the stage in their customary fantastic four style leotards and inflatable sharks bouncing around the crowd The band performed a storming set filled with their unique Ska infused rock. Throughout the set inflatable Pizza’s were introduced to the crowd and brought a huge cheer when inevitably someone rode on top of the inflatable pizza. This was a fantastic set and proved to be a brilliant highlight of the day. 

It was then time to head over to the Kerrang stage to catch the fantastic Noah Finnce. Following the release of his debut album Growing Up on The Internet last year this is an artist that is on a meteoric rise and delivered a brilliant set to a massive crowd. 

With no time to rest Hot Mulligan were starting their set over on the Main Stage West. Hailing from Michigan the band had an unbelievable energy that had the entire field bouncing from start to finish and saw a huge rection towards the end of their set when they played their massive tracks *Equip Sunglasses* and BCKYRD. Back over on the Kerrang stage Twin Atlantic formed back in 2006 in Glasgow Twin Atlantic drew in a huge crowd and could have easily played one of the larger stages at the festival. The band however played a storming set and had the massive crowd jumping. 

After this fantastic set it was then time once again to head over to the main stage west for New Found Glory and whilst this may have been a rock festival it is fair to say everyone loves a bit of Disney and the crowd were delighted when the band played albeit a rock version of the classic Little Mermaid song Part of Your World. Neck Deep were up next and the Welsh band stormed the main stage west with a phenomenal set that had everyone bouncing and prepared everyone in supreme style for the headliner that was up next. 

A Day to Remember took to the stage and opened with their massive hit The Downfall of Us All which had the crowd bouncing from the start. The Florida based outfit continued with a brilliant set playing some massive tracks like All My Friends, Mr Highway’s Thinking About the End and If It Means a Lot to You. A Day to remember closed out a day of rock music and the first festival of the summer in fantastic style. 

With a long summer of Music festivals ahead Slam Dunk festival was a phenomenal start to the season. For rock and metal fans in particular, this festival showcased some of the best talent around and will be a tough one to beat and I am sure people will already be looking forward to Slam Dunk 2026.  

Photo courtesy of Slam Dunk

Review & all photos - Liam McEvoy 

Kaiser Chiefs photos 

The Cribs Photos

Razorlight photos

With the perfect storm brewing in Leeds, the football team having secured promotion to the premier league and one of the cities finest bands celebrating the 20 year anniversary of their phenomenal debut album could there be any better excuse for 25,000 people to get together in the scenic grounds of Temple Newsham and celebrate such an occasion. The Kaiser Chiefs home coming gig was one of those moments in time were everything came together in perfect harmony and is a time were those in attendance can say I was there. But before they were able to take to the stage there was a full day of festivities to take in.  

Starting the day were two brilliant acts Ellur first another local Yorkshire based singer song writer who's  infectious indi-pop sound was a great way to start the day. Ellur was followed by Hot Wax a rock trio that are riding high following the release of their debut album Hot Shock and who brought great energy early in the day to temple Newsham. 

It wasn’t just the Kaiser Chiefs that were celebrating a twenty year anniversary in Leeds. The next band up, We Are Scientists are also celebrating the twenty year anniversary of their debut album With Love and Squalor. Originating in California in 2000 and with an extensive back catalogue this is a band that could be selling out headline tours in their own right and they played a phenomenal set to a crowd that was growing in anticipation. 

Following We Are Scientists was a band that were not celebrating an anniversary but are by no means less influential in the early 2000’s indi rock scene. The Coral played a set that had the swelling crowd bouncing. Another band on an impressively stacked bill that has an extensive back catalogue The Coral played all the hits and of course ended their set with their biggest hits In The Morning and Dreaming of you which only helped to increase the palpable sense of excitement. 

Next up were a band that were again celebrating a twenty year anniversary however this time of their sophomore album The New Fellas. The Cribs Stormed the stage and delivered an explosive set that caused mosh pits to break out surfing to begin taking the energy of the crowd to new hights. With the band playing their massive track Mans Needs to finish their set the crowd were ready for the main event. 

Before the Kaiser Chiefs however there was time for one more band. Another band who were massive in the early 2000’s indi rock era. Razorlight a band that are still going strong having released their latest album Planet Nowhere in 2024 came out swinging playing all of their biggest tracks including In The Morning, Golden Touch and Before I Fall to Pieces before finishing with all-time great track America. 

It was now time for the main event. Kaiser Chiefs took to the stage to thunderous roars from the crowd and with the yellow and blue flares lit the band opened their set with the mammoth tracks Everyday Day I Love You Less and Less, I Predict a Riot and Modern Way. As this was slated as Twenty years of Employment Front man Ricky Wilson informed the crowd that they would be playing the album in full. 

The Kaiser Chiefs Had plenty of Suprises in store throughout their hour and forty-minute set. When the band reached Oh My God Nick Hodgeson, a founding member of the Kaiser Chiefs who left the band back in 2012 joined them on stage for his first performance with the band since his departure. The Kaiser Chiefs tore their way through the rest of Employment however once they had finished the album the band were far from finished. 

The year has been a good one for the city of Leeds with Leeds United winning the Championship and gaining promotion back to the Premier League and as the band exploded into the a cover of the Ramones Blitzkreig Bop cover Leeds United’s Championship Trophy was brought out onto the stage. The connection with the football team was underlined when the band were then joined on stage for another rendition of I Predict a Riot by Leeds United’s Number 9 Patrick Bamford who played guitar with the band. 

The kaiser Chiefs kept the party atmosphere going right until the end of the gig playing all of their anthemic tracks including Never Miss a Beat and Ruby before ending with The Angry Mob which had the crowd bouncing right until the end. 

It is hard to believe that it has been Twenty years since the Kaiser Chiefs released their phenomenal debut album Employment but what a twenty years it has been. And what a brilliant way to celebrate the time with a scintillating headline set in their home city where it all began. 

Review & photos - Mikee Downes

The local boy comes back to town!!

Sitting and waiting in CO OP Live guest services area, it became quickly apparent that everyone from everywhere had arrived to see Morrissey.   The team behind the desk had an influx of visitors arriving with various issues, from not having smart phones, unable to connect to UK services, too just wanting a ticket or to move their ticket for a closer view.  As I listened to the accents of each person, ear dropping over their issues, it was clear none were local.  For me this small interaction as I wait for my pass shows how after 49 years Morrissey still has the power to draw a crowd from over the globe, made even more special due to it being a home coming show.

Morrissey staging is beautifully set, with a blend of photo and videos of theatrical artists complementing each song.  These run from the outset as we all wait this local legends arrival.  The build up and tension rises in the arena after each pause between songs, some will start to shout as they believe the time has arrived, as others quickly turn to face the stage like startled Meerkats, only to realise it’s just another track from the waiting playlist.  

All of a sudden the music pounds twice as loud and the band rushes into place.  Morrissey arrives with gladioli’s in hand to applause and cheers.  He soaks it all in, looking somewhat emotional as be crosses to the left and right of the stage bowing and thanking his adoring support, until he grabs the mic and blurts out “my god i’m here, my god my god”.  Taking a step back into the dark to compose himself the opening chords of All You Need Is Me rip across the arena and the distinctive baritone tone of Morrissey are released.  “You hiss and groan.  And You Constantly Moan. But you don’t ever go away.  And that’ because all you need is me”   And it’s true. Tonight all we need is Morrissey.

I felt that Morrissey absolutely delivered to his Manchester audience, and even though he has 13 studio albums in his locker with so many songs to build a setlist around, it’s still the ones from the Smiths which take the crowd to the next level every time one plays.   As great as the gig was, I do feel he could’ve popped a cherry on the top for the home fans by adding one or two more Smiths song to the playlist.      

Set List:

• All You Need Is Me 
• You're the One for Me, Fatty 
• How Soon Is Now? 
• I Wish You Lonely 
• Rebels Without Applause 
• Sure Enough, the Telephone Rings 
• One Day Goodbye Will Be Farewell 
• Black Cloud 
• I Ex-Love You 
• Bonfire of Teenagers 
• Everyday Is Like Sunday 
• I Know It's Over 
• Life Is a Pigsty 
• Speedway 
• The Loop 
• Scandinavia 
• Shoplifters of the World Unite 
• Jack the Ripper 
• I Will See You in Far-Off Places
  Encore:
• Last Night I Dreamt That Somebody Loved Me 
• Irish Blood, English Heart
  
  

However, the setlist received a mixed review from fans on socials, some felt it to be excellent, others wishing there was more Smith, and that that the gig fell flat at times,  “Honestly, I felt it was a bit flat. Morrissey is such an amazing performer, but there were a lot of lesser known and new songs. Sometimes give the audience what they want. People were singing Hector in the way out”  Sarah Lynch

“i totally get the set list as he is progressive, but would love to hear some more of his old bangers interspersed as well… other bands manage to fit them in to please everybody.. That said, the band was awesome and Morrissey was on form and his voice, as good as ever….”  Steve Lucas 

“Great set list..but i wish he would play more Smiths songs from there 1st album..that's just me !!!”  David Mcd

“I was there tonight, I was brought to tears so I'm obviously a soft touch.. it was epic and he sounded bloody marvellous and the band were fab, but my hubby said the play list not the best...bin him obviously??!!”  Kate Palmer

Being my first time seeing Morrissey live I really enjoyed it and would happily go again.  

Review & photos - John McEvoy

It’s summer 2025 and once again summer series of gigs The Piece Hall in Halifax which is rapidly becoming one of the most popular outdoor venues in the UK has kicked off once again. 

This year there are a total of 36 gigs throughout June, July & August with a truly eclectic mix of bands and artists and the fact that the majority of the shows have already completely sold out confirms the venues status. 

Tonight, it was the turn of Gary Barlow who of course is one fifth (or now one third) of Take That who are undoubtedly one of the most famous boy bands of the last 20/30 years.

This gig sees Barlow touring as a solo artist on his ‘Songbook Tour 2025’ which celebrates his 40 year career covering songs from his solo work and of course Take That. 

First up though was the truly wonderful Beverley Knight, the English soul singer who has been delivering high quality soul/RnB for 30 years now, kicking off her career with her first album release ‘The B-Funk’ released back in ’95. Her most recent album ‘The Fifth Chapter’ released in 2023 is evidence that Knight should still be regarded as premier league when it comes to quality output. 

This is backed up by her live performance with perfect vocals and a bands as tight as a drum. Being a support act can be a tough gig, but there were plenty of people who got to the Piece Hall specifically to ensure that they caught her set. 

Then it was time for Mr Barlow, who by the way is now also flogging wines, which apparently is quite nice as well!

With such a vast back catalogue to choose from, I imagine it was a challenge to pull together a set list, but as expected, there was a decent selection of both his solo and Take That material throughout the evening to keep the capacity crowd happy. 

Years and years of touring have made him the consummate front man, and his easy going, relaxed manner throughout the evening was appreciated by the crowd. 

As expected, of the 17 song set, 11 of them were Take That tracks, and I particularly enjoyed the ‘Sure/Everything Changes/Whatever You Do To Me’ medley, and of course the crowd were only too willing to join in given the chance. 

He clearly knows how to write a decent song and his solo material whilst not sparking the crowd quite as much as the Take That tunes was well received throughout the night. 

Needless to say, as a the consummate showman, he knows what an audience wants, and the final 5 tracks of the night were all Take That bangers which hit the target every time with the Piece Hall crowd, which interestingly was made up of all age groups. 

All in all, a great night was had by all with a quality headliner and support and as the happy and contented crowd headed off into the summer night, it was clear that this had been just one of the many memorable nights that are happening this summer at The Piece Hall!

Set list:

·  Open Road

·  Greatest Day

·  These Days

·  Let Me Go

·  Incredible

·  Sure/Everything Changes/Whatever You Do to Me

·  A Million Love Songs

·  Pray

·  The Flood/Since I Last Saw You/Reach Out

·  Patience

·  If There’s Not A Song About It

·  Forever Love/6th Avenue/Love Ain’t Here Anymore/Said It All/The Garden

·  Shine

·  Relight My Fire

·  Back For Good

·  Rule The World

·  Never Forget

Rhodes Media