dead posey

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Reviewed by Andi Bridges

Dead Posey are a Californian duo consisting of Vocalist Danyell Souza and Guitarist/Multi-instrumentalist Tony Fagenson known as Tony Nova (former drummer of Eve 6). In existence for just under 10 years and over here, on a short The Damned and The Dead tour, to promote their debut album – Are You In A Cult? I caught them at the Camden Underworld.

Live, they line-up just like their videos, being augmented by a drummer, who also appears to control bass and other musical sounds via a laptop and an Alesis sample pad. During the 12-song set we get all the album and a couple of earlier songs from the EP’s they have released, namely Holy Roller and Parasite.

Opening with Sorry I’m Not Dead, Tony stage left dressed in regulation black battle vest, black combats and boots. Danyell sings “Do I make you feel uncomfortable?” and despite the heavy Goth image, what is immediately obvious is just how friendly Danyell is. She spends the majority of the set rushing around the edge of the stage engaging all parts of the crowd. Foot on monitor leaning into and over us, touching outstretched hands, stroking faces and letting us sing along into the microphone. A remarkable number of people seem to know most of the words to most of the songs. It really is joyous. 

Whenever she isn’t connecting with the crowd she is hurtling across the stage like a cross between Iggy Pop and the late Stiv Bators. I wrote ‘slinky’ in my notes. In contrast, Tony doesn’t get to move about too much due to needing to be close to his pedalboard, keeping his effects laden guitar sound. 

Zombies, ups the tempo. A crazy drum pattern and dual vocals really issues a statement of intent. It takes a band with big cajónes to take a classic song like Blue Monday, drag it down a dark alley and give it a right royal industrial kicking, so it emerges pumped full of steroids. It is all the better for it.  Darkside comes over all atmospheric, very (whisper it) Sisters of Mercy. A slower groove propelled by washy cymbals and a throbbing bassline.  Russian Roulette employs the classic quiet verse, loud chorus trick “Pull the trigger I’m going insane, Spin the chamber feel no pain”

For - Can’t Take Me Down, in an act of Girl Power, Danyell invites some young women from the crowd on to the stage and although there are a number of signs dotted about the venue warning of ejection for anyone stagediving, Danyell encourages them to launch themselves into the throng at the front of the stage. For the next number – She Went Bad, she takes it a step further and invites six women on to the stage to dance and sing along. They all seem to enjoy their moment in the spotlight. 

A little over 50 minutes later they play Welcome To The Nightmare, a bouncy sing along slab of poppy-goth and then they’re gone. Dead Posey? 

Nah mate, this is authentic American Goth. 

Noise Cartel

Review & photos - Huw Williams

Zoe. Shali. Summer. Emmy. Reanna. 

Remember those names, as I think we are about to hear a lot more of them. 

XO completed their first ever tour selling out Headrow House in Leeds, following stops in London, Glasgow and Birmingham. The queue snaked out from the doors long before they opened, young fans eager to get to the front. 

Groups of friends crowded in front of the stage, some already wearing the band's merch, some bringing homemade artwork, signs, flags to catch the attention of the five piece girlband as they took to the stage.

The 9-song set flies by, and although there are only 2 tracks on streaming services, there is no shortage of girls singing along to every tune. 

From the second XO walk on to the stage, they look like the finished article. Styled, choreographed, polished, it seems like they've been performing together for ages. In reality, they came together at the end of 2024, and have been working hard to perfect their look, sound and moves. 

XO is the epitome of go big or go home. On their EP, ‘Fashionably Late’ (dropping on November 14), production duties come from John Ryan (One Direction, Fifth Harmony) and Mattias Larsson (Taylor Swift, Selena Gomez) while Charli XCX lends her songwriting clout to ‘Real Friends’. Speaking to their manager he said “This is pop music. You've got to give it everything!” 

They have thrown everything at this band to give them a great foundation for success. 

Live, XO is a bundle of energy. Each member gets their moment to shine, introducing themselves to the handful of people in the room who don't know who they are. 

Sharp dance routines and some outstanding harmonies on the “acoustic” version of Real Friends prove they have the chops to become a big deal. For all the styling and production, the band enjoy the spontaneous interaction with their young fans. Borrowing and holding up the homemade signs, complimenting outfits and wearing a fan's sunglasses, they're instantly likeable.

After the show, they spend a long time posing for photos, signing shirts and making the days of many of the fans, putting in the hard yards early on to build a fan base that will grow with them.

With another tour coming next year, expect many more Xs and Os for XO.

Chuff Media

Review by James Fortune-Clubb

Wall of Sound is in Leeds tonight at The Brudenell for Swiss industrial rock pioneers and stalwarts The Young Gods.

Formed in 1985 with their eponymous debut and seminal album surfacing in 1987. Forty years and eight more albums on (plus a handful of instrumental and covers albums) The Young Gods are in the UK for a short (3 date) tour to launch their current aural assault...in support of their latest album 'Appear Disappear'

Still consisting of two of their three founding members Franz Treichler (singer, sampler, guitar) and Cesare Pizzi (sampler and computer) they are now joined by Bernard Trontin (drums and electronics).

I am admittedly only familiar with The Young Gods debut album, which is a strong and interesting one, I'm eager to find out how their brand of guitar, electronics and sampling based industrial rock translates to a live setting...

The Brudenell is packed out tonight, both rooms sold out and a clear and obvious divide between those on their way to see the Lancashire Hotpots...and the rest of us (NIN, Einsturzrnde Neubauten T-shirts aplenty) en route to watch The Young Gods.

It's a sold out gig tonight and there's a lot of love in the room tonight for YG, many are long time followers and have travelled from far and wide to catch tonight's gig. There's no support tonight and Geneva's finest stroll on to the stage to a very enthusiastic welcome.

Being the Brudenell, the sound quality is great and YG get things off with a powerful driving start...laser guided precision industrial drumming courtesy of Trontin (somewhat reminiscent of Rat Scabies - possibly just in appearance).

Think, more interesting and a more rock version of late period Depeche Mode, mixed with Kevin Shields era Primal Scream along with some earlier electro driven sounds reminiscent of the likes of Deutsch Amerikanishe Freundshaft. It's on their faster, more industrial tracks where they excel and whilst there's brief and minor lull mid set with a change of pace, thinks soon pick up and the energy lifts again.

YG very occasionally sound a little dated and it does seem that YG have to some extent mellowed over the years since their groundbreaking debut album... although they are not averse to throwing the odd left field curve ball (see their album of Kurt Weill songs). Perhaps music and technology have caught them up in the intervening years since their somewhat ground breaking debut album?

It's apparently six years since YG played not only the UK, but the Brudenell itself and the crowd are clearly rapt - 16 songs including 2 encores and we're done, although there's clearly still an appetite for more from the adoring crowd.

The Young Gods clearly have nothing to prove and as such, there's a palpable and refreshing lack of pretention to their performance tonight. 

Tracks played tonight span YGs long career and the offerings from their latest album suggest that they've still got lots to offer - overall a great gigs and an impressive performance.

Tracks played tonight at Leeds Brudenell:

Appear Disappear

Systemized

Hey Amour

Blackwater

All My Skin Standing

She Rains

Intertidal

The Night Dance

Gasoline Man

Mes yeux de tous

Blue Me Away

Shine That Drone

Encore:

Skinflowers

L'amourir

Off the Radar

Encore 2:

Did You Miss Me

Review by James Fortune Clubb

Wall of Sound are back in Leeds again tonight at one of the best small venues in the country - the excellent Brudenell Social Club.

Tonight we're here to pay witness to the post rock / art rock instrumental cacophony of Japan's Mono. 

Comprised of Taka Goto, Yoda Suematsu - both on guitar and glockenspiel, Dahm Majuri Cipolla on drums and Tamaki Kunishi on guitar, bass, piano and unsurprisingly glockenspiel. Originally formed in Tokyo in 1999, Mono are now 12 albums (as well as many EPs) in and still thankfully going strong.

The only other time I've been lucky enough to see Mono, was one of the first gigs I went to post COVID lockdown at Leeds City Varieties (another great venue) where they gave an impressively loud and transcendent performance, described at the time by fellow gig attendee very astutely, as respectively - a "soundtrack to the end of the world" and "like watching a galaxy being born through the Hubble telescope" (I can't argue with that and couldn't have put it better myself)... consequently, expectations tonight are high...

It's a near sold out gig tonight (though surprisingly some tickets still available) at the Brudenell, which is the latest of a handful of UK dates and part of a lengthy European tour, as well as a 24 date North U.S. tour - Mono are clearly one of the hardest working bands on the touring circuit.

Tonight's support comes in the shape Glasgow's ambient drum and guitar duo Cahill//Costello...but certainly not the kind of ambient that's infused with whale song, helping you drift off peacefully to sleep... quite the opposite, the kind of ambient coming from Cahill//Costello is the kind that involves guitar feedback and fast, frenetic, complex, occasionally verging on drum and bass drumming - with a sternum rattling and trouser shakingly loud bass drum. Indeed it does feel that, although this is clearly a musical partnership, the drums are the the main drive and the main attraction here. It's a very solid performance, 30 mins straight through and well received by the Brudenell crowd.

And so to the headliners...

The stage is set, glockenspiels, guitars and drums in place and at the ready..

And somehow the Brudenell stage feels way too small to accommodate a band of such power and a band that create the level of noise that Mono do...

And then without any pomp, they are upon us. After a simple polite greeting, Mono start their set and as with many of their tracks, their opening number begins quietly, slowly and is a considered start building ever upwards and outwards until we're practically knocked sideways by the power and scale of their perfectly manicured wall of sound. Whilst Mono may inhabit the same musical field as the likes of Mogwai, Godspeed You Black Emporer et al, they very much plough their own furrow.

The crowd are a very well behaved one, somewhat reverential, in awe of the performance and quite rightly so, whilst Mono are playing - whilst the end of each track is received rapturously. They play eight long and glorious tracks tonight, with a set that just continues to build, they are transcendent, playing music that is driving, joyful, uplifting, yearning, moving, life affirming and surprisingly even more. It feels very much like a journey.

Mono are so good tonight, they make me unconsciously pull the kind of faces that nobody should ever have to see.

Mono are so good tonight, they make me want to run away, grow my hair long and form a Mono tribute band...even though can't play an instrument and I really don't like tribute acts.

And finally they hit us with a blistering encore of 'Recoil' ....thundering like a huge herd of wildebeest, driving us on to a stroboscope Valhalla.

So in summation, you hit the nail on the head last time Dave - when you described Mono as sounding like a "soundtrack to the end of the world" and "like watching a galaxy being born through the Hubble telescope" (descriptions so good, I've had to include them twice in my review).

What else can I add to that? Ain't no party like a Mono party? You're damn right.

Setlist:

Run on

We All Shine

Innocence

Pure as Snow

Hear the Wind

Ashes

Time Goes By

Encore:

Recoil

Ogino Design

Review & photos - Chris Nutton

Wall of sound are back once again in Leeds tonight to review the best rock band in the world, as many of their fans know them by and for good reasons - it’s the London-based rock band Sports Team who are currently on their 2025 UK tour at the brilliant Stylus events venue at Leeds University. 

Comprising lead vocalist Alex Rice, guitarists Robb Knaggs and Henry Young, bassist Oli Dewdney, keyboardist Ben Mac and drummer Al Greenwood, London-based collective Sports Team met while studying at the UK’s prestigious University of Cambridge. Drawn together by a shared love of ’90s rock and a desire to shake up their stale local scene, the six-piece began to develop their energetic live show with a shared focus across music and rebellious performance.

After performing the night before at their sold-out shows in Manchester, Glasgow and Birmingham, Leeds had a lot to prove for tonight’s show and let me tell you, it did not disappoint. Whilst the show was not sold out, the fans put on an amazing reception for Sports Teams and their two opening performances from the bands Kissing People and Formal Speedwear.

The show kicked off with the band Kissing People, who I believe are a fairly new band and one that I have never heard before, but they did not disappoint with their mixture of indie/ poppy melody of music, which the audience took to straight away, enjoying each song and vibing away across their 40-minute set list.

Next up, we had Formal Sppeedwear, who was a very different vibe compared to kissing people earlier, from their slow tempo of Alternative Indie music, but to no surprise the audience took to it straight away, grooving out to each song calmly before knowing that Sports team were coming onto the stage next. 

Finally, the main event Sports Team took to the stage with their introduction song of “The Game” At the gig before this moment the crowd was very well behaved and enjoying the two opening acts - as soon as Sports Team took to the stage, the entire building was rocking with everyone dancing, screaming shouting and having the time of their lives, especially down in the pit area where you could see a wave of people bouncing around from the front to the back.

A set that lasted about 1 hour, and the band left all their energy on the stage, which concluded a very successful show for the band, which, by the sounds of each show they’ve played so far, each show is getting better and better. 

The Leeds crowd, I believe, lived up to that expedition and pressure of delivering an energetic crowd compared to the previous nights on the band's tour, and that show at Stylus has set the bar even higher for the rest of their UK tour and beyond. 

GREAT WORK STYLUS!!!

Track list:

The game 

Bang Bang Bang

Happy (God's Own Country)

The Drop

Stations of the Cross

Long hot Webley

Subaru

Sensible

Camel crew

Kutcher

Pet sounds 

Medium machine

M5

Maybe when they’re thirty 

Encore - Fishing

Here the thing

Stanton

Chuff Media

Review - Chris Nutton

Wall of sound were kindly offered to witness the BBC Radio Anthems live show which took place at the Bradford live music arena in central Bradford. With the BBC Radio 1 Anthems live show making its debut in Bradford, the team couldn’t be picked a better facility then the Bradford live music venue to host the show, offering a great view wherever you sat or stand aswell as plenty of food, drinks and stunning architecture. Lit up like a Christmas tree, the venue could be seen for miles so it wouldn’t have been a struggle for fans visiting the venue for the first time. I believe the venue was a perfect edition to really get Bradford onto the music map.

Despite the awful weather on the night and throughout the week, the event pulled a brilliant crowd from across the country and made a brilliant atmosphere throughout the show. 

Anyways… enough about the venue the crowd , let’s get straight to the event. Radio 1 Anthems live with a stacked lineup across the night running from 6.45pm up until 10pm, hours of packed performances from the likes of Tinie Tempah and Pixie Lot aswell as some impressive DJ sets from Charlie Hedges, Dean McCullough and Maia Beth. 

The first act was Maia Beth who I thought was a perfect opening act for the show and to get everyone in the groovy spirit with her funky dance and pop music hits from the likes of Dua lipa, Harry styles, Florence and the machine and many more. My highlight from this performance was her mix of ‘You’ve got the Love’ with it sounding like you could hear the crowd from across Bradford. A brilliant first act to get the crowd warmed up for what is to come… 

Up next is the one and only Pixie Lot, with her long awaited return to stage after just recently giving birth to her new baby boy.  With a 30 minute set she rolled out some of her old classics such as ‘All about tonight’ and ‘Boys and Girls’ aswell as a new Christmas track called ‘first Christmas’ which was dedicated to her new baby boy who was present in the crowd, a touching moment to cap off a brilliant performance. 

Coming onto the stage after that we had Dean Mcculough, the DJ King of pop and what a show he put on for the crowd in Bradford, beginning his set list with the song Toxic by Britney Spears. For me, I thought Dean was the most entertaining out of the DJ sets with a near to perfect set list of bangers and classics that everyone from all ages could vibe and dance to alongside his incredible personality on stage and mixing with the crowd. 

After Deans set, it was time for the big one, the main event… Tinie Tempah who was just incredible. Making his debut in Bradford, even Tinie was shocked and stunned with the level and energy from the BBC radio 1 Bradford crowd tonight, knowing every lyric to every song which you could see to him meant something very special. I felt during his set that no matter how many shows he played, this Bradford show will be remembered for a long time by Tinie. He was the main headliner for a reason and for me delivered an incredible performance, covering classic tracks from the past with previews of his more never projects which I feel the crowd was not disappointed and was definetly worth the wait. 

Finally the night ended with Charlie Hedges who I thought was a perfect after party vibe set list for after Tinie Tempah, delivering house music classics for everyone to relax and vibe to which concluded a very successful night for BBC Radio 1 Anthems in Bradford. 

I thought the crowd in Bradford was excellent, especially when you consider the weather conditions from across the week and the night itself, I thought Bradford turned up amazingly , dancing non stop throughout the entire night and making the BBC Radio 1 debut in Bradford a special show to remember for years to come. 

GREAT WORK BRADFORD!!!!

Review & photos - Mikee Downes

Gary Numan’s Telekon tour arrives at the O2 in Leeds.

Telekon stands out as one of the most distinctive and compelling chapters in his long career, blending icy electronic precision with a surprisingly human emotional core. Although Telekon was released in 1980, the tour supporting it continues to be remembered as a definitive moment in the evolution of synth-driven performance. What made the Telekon tour so striking was not simply Numan’s growing command of electronic instrumentation, but the way he transformed those sounds into a fully realised stage experience.

Visually, the tour was a stark, futuristic spectacle. The strong red-and-black color palette—mirroring the album sleeve—set the tone before a single note was played. Industrial lighting rigs descended like mechanical arms, creating an atmosphere that felt halfway between a dystopian factory and a minimalist art installation. Numan’s stage presence, cool and distant yet oddly magnetic, perfectly complemented the aesthetic. He moved with calculated restraint, letting the space around him amplify the emotional weight of each song rather than relying on showy theatrics.

Musically, the Telekon tour showcased Numan at a creative peak. The setlists were a powerful blend of material from Telekon alongside hits from The Pleasure Principle and Replicas. Tracks like “This Wreckage” and “I’m an Agent” gained an extra level of punch live, carried by the thick, analog warmth of Numan’s synthesizers and the hard-edged live percussion. The mixture of electronic and traditional instruments gave the performances energy and dynamism that contrasted beautifully with the cold, clinical textures of the studio recordings.

Perhaps the most memorable aspect of the tour was the sense of tension running beneath the music. Telekon itself is an album filled with paranoia, isolation, and self-scrutiny, and Numan managed to translate those themes into the live environment without diluting them. At times, the shows felt almost confrontational in their emotional honesty, a surprising feat given Numan’s famously detached persona. Yet the moments when he allowed vulnerability to seep through—most notably in songs like “We Are Glass”—offered a glimpse of the complex figure behind the machines.

An excellent evening was had by all Numanoid

Set list:

This Wreckage
Remind Me to Smile
Remember I Was a Vapour
I Dream of Wires
Telekon
Sleep by Windows
A Game Called ‘Echo’
Photograph
Please Push No More
Like a B-Film
The Aircrash Bureau
I’m An Agent
The Joy Circuit
I Die: You Die
We Are Glass
My Shadow in Vain
Friends
Listen to the Sirens

Fear PR

Review & photos - Mo Longfellow

Leeds O2 Academy was buzzing on Saturday night as Cast rolled into town to celebrate the 30th anniversary of their seminal debut album All Change. The Liverpool legends treated fans to the album in full, followed by a set packed with classics and fresh cuts, proving their indie credentials remain as strong as ever.

The night kicked off with ‘Follow Me Down’ setting the tone for an evening of nostalgia and energy. True to the original tracklist, ‘Sandstorm’ arrived early and hit like a tidal wave, one of those timeless bangers that had the crowd bouncing.

‘Four Walls’ brought a change of pace, with John Power swapping to acoustic and leading a heartfelt singalong. Power’s easy charm shone through as he reminisced about the band’s first single, ‘Fine Time’ which sounded as vibrant now as it did three decades ago.

The acoustic vibes continued with ‘Walkaway’, a moment of pure indie bliss as the crowd swayed in unison. Instrumental breaks showcased the band’s tight musicianship, reminding everyone why Cast became such a defining force in the Britpop era.

When ‘Two of a Kind’ rolled around, the band unleashed a proper indie outro; drums pounding, guitars soaring, solos flying.  

Then came the ultimate ending: ‘Alright’ moved from its album-opening slot to close the main set with a bang. Phones were out, hands aloft, everyone clapping along as the drummer stood to keep the beat and guitars were raised triumphantly.

The big hitters ‘Fine Time’, ‘Alright’, ‘Sandstorm’ and ‘Walkaway’ all landed perfectly, sounding as fresh and vital as ever.

After finishing the album, Power thanked the crowd: ‘Thanks for coming to celebrate All Change with us. I’m singing these songs now with more intensity than when I wrote them’.

But the night wasn’t over. Cast shifted gears into new material from their latest album ‘Yeah Yeah Yeah’. ‘The Way It’s Gotta Be’ kicked things off with a Led Zep-esque groove, bringing the bassist to life, the song of the evening for me. ‘Free Love’, a band favourite and soon-to-be single, followed with infectious energy. Smoke filled the stage for a lively ‘I’m So Lonely’, before the band wrapped up with ‘Free Me’, leaving Leeds on a high.

From start to finish, Cast were everything you’d want; tight, passionate, and genuinely warm on stage. 

A special shout-out to the bucket-hat-wearing pit down front, which Power clearly loved. 

Thirty years on, All Change still feels like a celebration of indie at its finest—and Cast proved they’re far from done.

Fear PR

Review & phot by Andy Bridges

On a spartan stage, with just a large plain white backdrop, lit only in reds, greens and yellows and very little front lighting (making photo taking very difficult) Hugh Cornwell, bassist Pat Hughes and Windsor McGilvray on drums, all dressed in black, open with Nosferatu, from Hugh’s album of the same name. It is a low-key start and in fact the band proceed to play the whole Nosferatu album in its entirety, in sequence. 

This includes a cover of White Room, originally by Cream, but here bent out of shape and given a menacing turn. Bearing in mind this collection of songs was written in 1979 as a soundtrack for Channel 4’s restoration of FW Murnau’s 1922 silent classic of the same name. It seems an odd way to start a gig and for the casual punter hoping for some Stranglers tracks it was a challenge to sit through (Particularly the bloke behind me who called for Hanging Around for the whole evening!). The music plants its feet firmly in post-punk and is in turn lo-fi, angular, jagged and staccato. 

The rhythm section prove themselves to be to be outstanding musicians and as tight as a gnat’s crack, coping with the many twists and turns of the music and laying down a solid platform for Hugh’s trusty black telecaster to add the icing. Hugh is a brooding presence and there is no interaction with the crowd, hell there is very little interaction between the band members on stage. The exception being just before the fifth number – Rhythmic Itch, when both Pat and Hugh don hats. 

Throughout the evening, the drummer is triggering some odd sounds and minimal keyboard parts via a sample pad. A little visual joke during the last number of the first set is when two dolls are hauled up the backdrop whilst the band play Puppets. And Hugh beating his chest, Tarzan like before departing the stage. 

After five minutes the band are back and what a transformation. Whatever was in Hugh’s tea, I want some. He immediately starts interacting with the gathered mass. As the band launch into Sweden {All Quiet On The Eastern Front), from the Black And White album. Pat’s bass doing a more than admirable impersonation of JJ Burnel’s bass sound and tone. Hugh’s growl is still in place. 

The other two band members helping on backing vocals. Despite the Stranglers being very keyboard heavy, this power trio line up handles the songs convincingly, giving a chance for the structures to shine. He follows this up with Black Hair Black Eyes Black Suit, the title track of his 1999 solo album. This pattern sets the tone for the rest of the set, a Stranglers song, including some deep cuts, followed by a solo selection. With a career starting in 1974, he has 16 years of Stranglers material and 35 years of solo material to pick from. 

We get Duchess and an encore of Golden Brown, which is a lot rockier in this format, and Hugh sings the keyboard solo part. They follow this with Coming Out Of The Wilderness from his Moments Of Madness album and end with Tank from Black And White. This really was a gig of two halves and on reflection the second set edged it.

Set 1: 

Nosferatu, Losers In A Lost Land, White Room, Irate Caterpillar, Rhythmic Itch, Wired, Mothra, Big Bug, Wrong Way Round and Puppets

Set 2: 

Sweden (All Quiet On The Eastern Front), Black Hair Black Eyes Black Suit, Dead In Los Angeles, Beauty On The Beach, Who Wants The World, Moments Of Madness, Souls, I Want One Of Those, Duchess, When I Was A Young Man, Bring On The Nubiles, The Most Beautiful Girl In Hollywood 

Encore: 

Golden Brown 

Coming Out Of The Wilderness

Tank

Sonic PR

Review & photos - John McEvoy

On what felt like a wintry sub zero evening in Leeds, the legendary Brudenell Social Club played host to one of British soul’s brightest stars, Celeste.

The pre gig blurb advised people to not be late and get there when the doors opened at 7pm. So, it was a packed crowd by 7:15, but surprisingly Celeste didn’t turn up until 8:15!

That notwithstanding, there was a real sense of expectation at what was a paired down show to celebrate the release of her new album ‘Woman of Faces”.

Moving in from the side of the venue Celeste took her place, not centre stage, but centre of the venue, standing somewhat bravely and precariously on a small chair, surrounded on all sides by the crowd, and in almost total darkness. 

Her opening track ‘When Dreams Are Made Of Gold’ is as yet unreleased but set the tone for the evening with her distinctive sultry voice and smooth jazz tones accompanied by a string trio and keyboard player who was somewhere in the gloom!

Of course the main purpose of this low key set was to play several tracks from her new album, all of which were well received by audience, and she quickly endeared herself to the crowd talking about the time she recorded a track when in Leeds with local band Gotts Street Park and throughout her set she showcased her ability to blend vulnerability with power, drawing the audience further in with each tune. 

The 12 track setlist was a well-balanced mixture of tracks from her new album and more well know tunes, but there was enough there to suggest that the future is bright for Celeste and reaffirmed her status as one of the UK’s most compelling vocalists and songwriters. 

For those fortunate enough to be there, it was an unforgettable night in one of Leeds most famous venues. and if you get a chance to catch her live, you really should go for it. 

Set list:

·  When Dreams Are Made Of Gold

·  This Is Who I Am

·  Lately

·  Everyday

·  Time Will Tell

·  Both Sides Of The Moon

·  Hear My Voice/Tonight Tonight

·  Keep Smiling

·  Fathers Son

·  Woman Of Faces

·  Strange

Chuff Media

Ahead of their visit to the Brudenell in Leeds on the 28th Nov, Carl Marsh from Chuff Media caught up with the Stereo MC's for a chat. 

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Pioneers of UK hip-hop and electronic dance, Brit Award winners Stereo MC’s are gearing up for a major return to the road in 2025, announcing a brand-new run of UK and Ireland tour dates that will see them reconnect with fans across the country and beyond.

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Q - You recently played The Tonight Show Starring Jimmy Fallon — what was that experience like, stepping back into an American spotlight?

Rob Birch [Stereo MC's]: It was great to play a live TV show again, especially in front of a real audience. We were genuinely honoured to be doing it with The Roots — we've been fans of that band and of Questlove for years. So that was a big privilege and a real pleasure. It's a total trip being on a stage like that — the big TV cameras, the lights, the buzz from the crowd — it's just amazing. And it was snowing outside too, which I loved. It made the whole thing feel kind of surreal and magical.

Q - And wasn't this your first full U.S. coast-to-coast tour in over two decades — how did the audiences compare with the early days?

They felt really sincere, actually. I wasn't sure what to expect after so long, but our love for performing has only deepened over the years. We've become more experienced, but we still really enjoy doing it — not just out of habit, but because we genuinely love being up there. I think the crowds can feel that.

We played a festival in the States where it started raining right as we came on, and the whole crowd stayed put — no one left. They stood there in the rain with us, and that meant a lot. It wasn't like we were the big draw of the day, but the energy was real. I love when a crowd feels like a conversation — when you're all vibing on the same wavelength, trying to express what you think about the world without spelling it out too literally. Everyone just starts to feel alright together, and that creates a really nice energy.

Honestly, I didn't see much difference between any of the crowds. At the end of the day, we're all human beings. If we're not too caught up in divisive stuff, we can all sit in the same room and have a great time together.

Q - With fans spanning generations, how do you build a setlist that strikes a balance between nostalgia and current relevance?

We try to give a cross-section of our music from over the years, but we also road-test new tracks — if they work live, we keep them. Not every tune translates perfectly to the stage, and Nick usually decides what makes the cut. He's the filter. I'd probably sneak in a few of the more laid-back ones that I personally love, but he knows what lifts a crowd.

We've also done a lot of collaborations over the last decade with deep house and Afro house artists, so we weave a couple of those into the set, too. It keeps things fresh. And with some of the older tracks, we'll polish them up a bit — give them a new edge so they sound bigger and more alive onstage.

Q - "Connected" and "Step It Up" still sound as fresh now as they did in the '90s — what keeps those grooves alive for you?

Honestly, I've no idea — I just know I still love performing them. They still make me lose myself every time. I've never had that problem some artists talk about, where they can't stand playing their big hits anymore.

I feel lucky. Those songs connected with people, and if they still want to hear them live, that's a blessing. There's no way I'd ever get negative about that — not a chance.

Q - When you hear those tracks on the radio or TV today, do they still feel like yours, or have they taken on a life of their own?

Yeah, they've definitely found their own legs. That's what music's like — you plant these little seeds, put them out there, and they grow. Some become diplomats, some become artists, and some enjoy being in the garden. They all find their place in the world.

I try not to feel too much ownership over the music anymore. So many people and moments influence what you create — they're part of the energy around you. If I hadn't met certain people or been in certain places, those songs wouldn't exist. Music feels like it comes out of thin air sometimes — it's a gift. You have to keep the door open and let it flow through. I'm happy those tracks found their way, and I try not to overthink it. I just hope the journey continues and that I stay focused on staying creative.

Q - The Stereo MC's sound always blended organic rhythm with electronic edge — how do you keep that balance in 2025?

Nick runs an Afro house label, and I DJ monthly on Margate Radio, so we're constantly surrounded by new sounds — new and old. That keeps us learning. You'll hear something and think, how did they do that? It pushes you to experiment, the same way it did when we first heard Public Enemy's "Rebel Without a Pause" — that sense of shock and inspiration still drives us.

I'm always making music, but these days I'm trying to be more natural with what comes out. I write lyrics — sometimes more like poetry — and not everything has to be for the dancefloor. Maybe some of it can be storytelling, with music as the backdrop. I'm experimenting with that — telling stories from the heart.

At this point in life, I want to feel the impact of what I'm creating. If it feels right there, in the heart, that's enough. I'm not chasing whether it's a "banger" anymore. It's just about staying real and inspired.

Q - And on the flip side, with what you've just said — both you and Nick learning all the time — are there creative habits from the early years that you still swear by in the studio today?

I can't speak for Nick, but for me, it's still the same essence. If you wake up in the morning and feel excited about what you've been working on — and the first thing you want to do is switch on your gear and hear it again — then you're in the right place.

That spark, that sense of curiosity, is everything. If I'm not feeling that, something's off, and I need to change direction — or maybe just become a gardener instead!

Q - This new tour appears to be a genuine homecoming. What inspired the title True to Life?

That's actually a line from a tune we made called "Running", off "Deep Down and Dirty". Nick came up with the idea of using it as the tour title, and it feels really apt.

At this stage in our lives, it's about staying grounded in who we are. Touring's no joke — it's tough on the body, and looking at the schedule, I was like, this is for a 25-year-old! But it's also energising. I'm excited to be travelling again, connecting with people, and sharing music. I'm just keeping my fingers crossed that the bones hold up along the way.

Q - That was going to be my next question — how do you find touring these days: harder on the body, or more meaningful for the mind?

It's both. We've been playing live for so long that once you move past the fatigue, you reach a deeper space. There's a new kind of connection with the crowd — one that only comes with time.

For me, I want the shows to feel uplifting, especially in a world that can feel pretty hostile right now. When I'm on the mic, I try to be emotionally open and honest. If I mess up, I'll say so — I want it to feel natural, real. People respond to that honesty. We don't just turn up for the paycheck; we want to give people a slice of ourselves, something they can truly feel.

Q - And is it true, as I think Nick mentioned in a recent interview, that there's new material coming — something that mixes club energy with classic Stereo MC's?

Yeah, there are a few projects in the works, and some of them are quite experimental. We'll see where it lands. Personally, I want to make the record I want to make — not the one I think I should make.

If that surprises or even disappoints some people, I can live with that. I've got to stay true to what feels right. That's what keeps it exciting, and that's what keeps it alive.

==============

The core lineup features founding members Rob Birch (Rob B), Nick Hallam, and Cath Coffey, joined by drummer and percussionist Tansay Omar, a reunion that promises to deliver the unmistakable groove and live chemistry that has long defined Stereo MC’s.

Fans can look forward to a deep dive through the group’s catalogue spanning seven acclaimed studio albums with classics such as “Connected,” “Step It Up,” “Elevate My Mind,” and “Lost In Music” all expected to feature.

STEREO MC’S – TRUE TO LIFE UK / IE TOUR 

NOVEMBER 2025

27 – GLASGOW, St Luke’s
28 – LEEDS, Brudenell Social Club
29 – LIVERPOOL, Arts Club

DECEMBER 2025

4 – BRISTOL, Trinity
6 – MARGATE, Dreamland
7 – NORWICH, Epic Studios
12 – LONDON, Shepherd’s Bush Empire
13 – MANCHESTER, O2 Ritz
14 – BIRMINGHAM, O2 Academy 2

JANUARY 2026
30 – DUBLIN, Button Factory
31 – DUBLIN, Button Factory

Review - John McEvoy

Photos - Liam McEvoy

Live at Leeds in the City 2025 once again cemented its reputation as one of the United Kingdom’s premier metropolitan music festivals. Held across a variety of venues throughout Leeds city centre, the event on this year brought together a dynamic blend of new and established artists, offering an unforgettable experience for music enthusiasts and casual listeners alike.

Despite the lousy weather there were still large crowds wandering around enjoying the eclectic mix of bands at the many venues including The Wardrobe, Headrow House, Leeds Beckett, The Brudenell and many more. 

Now the thing about a day like this is as is always the case at any festival, dealing with the challenge of catching the bands you want to see and dealing with the inevitable clashes of performances. 

Years of doing this has taught me that often the best way is to simply stick to one area, others may prefer to drive/taxi about to the venues outside the city centre, but each to their own!!

As always the event was well-organised, with efficient scheduling that allowed allowed us to move between performances from the Wardrobe, up the Headrow and into the Uni itself. 

One of Live at Leeds strengths is that this day provides a great opportunity for featuring new and emerging talent and 2025 continued with this tradition and with the day kicking off at 12 noon, this ensured there were loads of new bands and artists to catch.  

Of course, there is always a headliner and this year it was Jalen Ngonda who played the Beckett and it’s surely only a matter of time before this ridiculously talented man who possesses a magnificent soulful voice reminiscent of Smokie Robinsone and Marvin Gaye breaks through to the big time.

One band who were new to me, but should surely have a bright future was Scottish Kuleeangee whose cool rocky guitar style mixed with a dance acid feel were an absolute treat for those who caught their set.  I swear that frontman Duncan Grant is Michael Hutchence re-incarnated, with his sound looks and the way he moved. 

Elsewhere we caught a low key but impressive set from Reece Bibby who looks about 11 (he’s actually 27) and his acoustic set quickly drew in a decent crowd at Headrow House. 

And this for me is the beauty of the Live at Leeds experience, the diversity in venue size and style allowed the audiences to choose their own themes for the day, you could go from the intensity of a packed venue to a laid back almost ‘lounge’ like atmosphere in other venues, which for a day festival is I feel quite unique and should be applauded. 

So once again, Live at Leeds in the City 2025 delivered on its promise of providing a platform for rising stars and offering gig goers fans a bit of a musical adventure covering all genres. 

Whether you’re a seasoned gig-goer or simply curious about the contemporary music scene, Live at Leeds remains an essential entry on the autumn calendar.