cian ducrot

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Review & photos - Chris Nutton

Wall of Sound is back once again in Leeds tonight for Irish sensation Cian Ducrot, who performed at the O2 Academy in Leeds on his next stop on ‘The Dream Ship 2025 Tour’.

This was my first time at the O2 academy in Leeds and let me tell you, the venue was fantastic with organisation and delivery of a brilliant show, an old but historic building packed with bars, merchandise and plenty of accessibility points for the entire audience who were ready for Cian from the get go, with singing happening whilst I was talking past until I entered the building. With a decently sized open area and floor area, I expected a decently sized crowd to turn up on a Thursday. I was right in that, but we’ll get to the crowd later on. 

Once the crowd was in and settled, it was time for the opening act to come on. Cian brought Annika Kilkenny with him to open on his tour, and I thought she was fantastic. Opening up the show with some slow folk-led singles alongside her Canadian friend on guitar, I thought they delivered a perfect and emotional support performance which caught the attention and support from the audience from the rip. A brilliant reception from the Leeds crowd at the end of their 30-minute set, and it was now time for Cian.

Coming on a stage with a full live band, they opened up the show with a brilliant loop of trumpet and drumming excellence to introduce the main man of the night. Cian took to the stage and began with one of his newest tracks. Who’s making you feel it - a dramatic entrance set the bar high for the rest of the show, with Cian clicking his fingers as he walked onto the stage to a beat, accompanied by lighting that matched the rhythm, and the crowd chanting his name. The eager fans showed their signs of excitement for the night ahead, cheers and screams filling the venue. A saxophone and trumpet instrumental added a unique touch to the set, as it is rare for artists nowadays to have such instruments playing with them.

The second song, Little Dreaming, has a more solemn start, taking to the piano for an intimate moment with the crowd, but then the song takes a joyous turn in the chorus. With a drum closing and fans cheering, the night had only just begun, and fans were in for a treat.

After the first two songs, the set list I thought was well constructed, with a mixture of emotion and fun, poppy tracks by Cian - tracks just as Heaven, Shalala, Kiss and tell, What about love, Rock bottom, and many more. I feel like this left fans walking away from the show with a massive variety from his discography, which I thought was perfect for every kind of Cian Ducrot fan. 

Overall, Cian delivered a fantastic show in Leeds tonight - his excitement and energy on stage to get a crowd going was some of the best I’ve seen a while and his personal, but strong delivered of the tracks on his set list just made that performance for the fans abit more special - leaving them with a show they’ll remember for a long time! 

The Dream Ship 2025 Tour set list

• Who’s making you feel it?
• Little dreaming
• Heaven
• Shalala
• The book of love
• Kiss and tell
• No way to live 
• Can’t even hate you
• What about love 
• Hallelujah 
• All for you 
• Rock bottom 
• Part of me
• Your eyes
• See it to believe it.
• Thank god you stayed
• I’ll be waiting

Chuff Media

Review & photos - Liam McEvoy

On a festive December night in Leeds, Jools Holland & His Rhythm and Blues Orchestra delivered a spirited and joyful performance at the First Direct Arena that had the crowd on their feet and dancing long before the set reached its peak. The show — part of Holland’s winter UK tour — brought together his seasoned big band alongside an impressive roster of guest vocalists, including Imelda May, Louise Marshall, Sumudu Jayatilaka, and Ruby Turner, adding depth and variety to an already vibrant evening.

From the moment the keys echoed through the arena, it was clear this was no ordinary piano recital. Holland’s trademark boogie-woogie piano style powered the performance with relentless energy, while the Rhythm and Blues Orchestra’s full brass and rhythm section wrapped the songs in a rich, swinging sound that felt both classic and timeless.

Each guest vocalist brought their own distinctive character to the stage. Imelda May delivered commanding, high-energy performances infused with rockabilly swagger, while Louise Marshall impressed with her versatility and assured delivery. Sumudu Jayatilaka added a smooth jazz elegance that broadened the evening’s musical palette and highlighted the orchestra’s stylistic range. Closing the individual guest appearances, Ruby Turner took to the stage last, her voice commanding the arena with remarkable power and soulful intensity.

As the concert reached its finale, all of the guest vocalists returned to the stage together, joining Holland and the full orchestra for a rousing, celebratory close. The combined voices created a powerful, communal moment that felt both joyous and fitting for a December show, underlining the collaborative spirit at the heart of Holland’s performances and sending the Leeds crowd home on a euphoric high.

Despite the arena setting, the performance retained a welcoming, almost club-like warmth. Holland’s easy banter, playful introductions, and evident affection for his musicians helped create a sense of intimacy, drawing the audience into the performance and reinforcing the communal feel of the night.

The Leeds date proved to be a festive highlight — a confident, exuberant celebration of rhythm and blues delivered by musicians at the top of their game. With its blend of virtuoso playing, charismatic guest performances, and Holland’s unmistakable enthusiasm at the piano, the concert reaffirmed why he and his orchestra remain such a cherished presence on the UK live music circuit.

As they celebrate an incredible three BRIT Awards nominations and what has been an undeniably career-best year for the seminal British band, Wolf Alice are overjoyed to announce a huge homecoming show at North London’s Finsbury Park on Sunday 5 July, their biggest to date.

Currently rounding off a global tour that has taken them across North America, Europe, Asia and now Australia and South America, Wolf Alice are excited to be returning to home turf to have fun in a field with fans once again this summer. The huge outdoor event will feature very special guest performances from The Last Dinner Party, Lykke Li, Rachel Chinouriri, Keo and Florence Road.

Tickets go on pre-sale on WEDNESDAY 28 JANUARY at 10AM GMT and on general sale on FRIDAY 30 JANUARY at 10AM GMT HERE.

The release of the band’s fourth studio album, The Clearing, in August cemented their place in global music culture. An album bursting with ambition, ideas and emotion, it was received with huge critical acclaim, reached #1 on the UK album charts and was shortlisted for the coveted Mercury Prize – their fourth nomination across their 10-year career, making Wolf Alice the only band in Mercury Prize history to achieve a 100% nomination rate across their discography. 

This year has also seen them nominated in three categories at the BRIT Awards: Alternative / Rock Act, Group of the Year and the biggie – Mastercard Album of the Year.

PRAISE FOR THE CLEARING:

“Wolf Alice are the kind of band that keep on getting better with every record and, here, they raise the bar on themselves once again”

NME 5*

“Another perfectly pitched stepping stone to edge them even closer to full-on legendary status”

DIY 5*

“Massive, flagrant, high-heeled rock music performed with zero self-consciousness, built on the belief that spectacle and substance not only can coexist, but must” 

DORK 5/5

“A crisp, often emotional pop experience; it’s a break with the past while remaining utterly true to the precepts that Wolf Alice forged their success by” 

CLASH 8/10

“On The Clearing, the best new British band of the past decade find a comfortable new home in a new sound that’s more confident than ever” 

ROLLING STONE UK 4*

“The London quartet’s grandly expansive fourth album is a show of undeniable strength”

THE TIMES 4*

“These tracks eschew snarling aggression for airy, gauzy harmonies, ruminations on love and some truly excellent melodic hooks” 

THE LONDON STANDARD 4*

“Throughout, singer Ellie Rowsell is a compelling presence, and the result is Wolf Alice’s best yet”

MOJO 4*

“It’s hard to think of another band of their size who have managed to upend expectations so successfully” CLASSIC POP 4*

Review & photos - John McEvoy

On a rain sodden winter evening in Leeds, fans from far and wide gathered at Leeds First Direct Arena Arena, buzzing with anticipation for Jason Derulo’s much-hyped ‘The Last Dance’ tour. 

I have to say that the stage design was nothing short of spectacular: huge LED screens framed by an intricate lattice of lights provided a feast for the eyes, and as the opening chords of “’Sexy For Me” boomed across the arena Jason Derulo bounded onstage with trademark energy, flanked by an impeccably synchronised dance troupe. From the very start, the audience was on its feet, swept up in the infectious rhythm and Derulo’s undeniable charisma.

What sets Jason Derulo apart as a live performer is his ability to blend slick choreography with live vocals, never sacrificing one for the other. As he wanted to get through a huge back catalogue of material many of the tracks were mixed together and the first half hour involved a few set and outfit changes. 

He was able to effortlessly move from high-octane dance routines to soulful ballads, demonstrating impressive vocal range and stamina. Standout moments included a stunning rendition of “Marry Me,” with the stage bathed in a soft blue glow, creating an intimate atmosphere amidst the arena’s vastness. The crowd swayed in unison, singing along as Derulo’s voice soared above the sea of lights created by thousands of mobile phones and the increasingly popular light up wristbands that were given to the audience as they came in. 

Of course, Derulo’s setlist was peppered with his chart-topping hits, each met with rapturous applause and enthusiastic singalongs. “Talk Dirty” brought the house down, with an extended brass section and a dance break that saw Derulo and his crew pulling off acrobatic moves that left the audience breathless. “Ridin’ Solo” and “In My Head” were performed back-to-back, sending waves of nostalgia through the crowd and confirming Derulo’s enduring appeal. 

The production values were top-tier throughout, with each song accompanied by creative visuals, pyrotechnics, and laser displays that enhanced rather than overshadowed the music. The sound quality was spot on and it was evident that every detail, from costume changes to lighting cues, had been meticulously planned, resulting in a show that was both musically and visually stunning. 

In summary, Jason Derulo’s ‘The Last Dance’ gig at Leeds Arena was a masterclass in contemporary pop spectacle, leaving fans exhilarated and newcomers thoroughly converted. 

If this truly is Derulo’s final curtain call for arena tours, he’s certainly gone out on a high, reminding everyone in attendance why he’s remained at the top of the game for over a decade.  

Leeds Arena has played host to countless big names, but on this night, it belonged wholly to Jason Derulo.

Set list:

Sexy For Me

Wiggle

Acapulco

Whatcha Say

Marry me

Ta Ta Ta

Who Hurt You

Swalla

Komasava

Tip Toe

It Girl

Complicated

Ridin’ Solo

Spicy Margarita

Take You Dancing

Jalebi Baby

Savage Love

U + I

Don’t Wanna Go Home

In My Head

Love Tonight

The Other Side

Cheyenne

Breathing

Solo/From The Islands/Dame Un Grrr/Secret Love Song/I Gotta Feeling

Trumpets

Talk Dirty

Want To Want Me

Reviewed by John McEvoy

On yet another dismal wintry night, it was good to see a busy crowd in attendance at the Brudenell in Leeds for the Westside Cowboy’s much-awaited gig. 

This iconic venue, famous for its unpretentious atmosphere and stellar acoustics, was the perfect backdrop for a band that embodies the spirit of gritty, honest rock and roll. From the moment the band took to the stage, it was clear this was going to be a good night. 

The band launched straight into their set with a cover of ‘Midnight Cowboy’ which went down well the audience and then it was straight into ‘Alright Alright Alright’ from their 5 track EP ‘This Must Be Something Great’ and infectious energy had the crowd bouncing along. 

‘Shells’ from the same EP was also given a run out which for me was a real highlight of the show with some great harmony work and thrashy guitar which oddly (and this is a compliment!) made me think of Coldplay. 

Having played the Brudenell late last year as support, it’s clear why they are now moving up in the world and headlining their own shows with their distinctive Americana/Indie sound, and are clearly a band on an upwards trajectory. 

It must surely only be a matter of time before this band release an album, but having 2 EP’s under their belt and several singles, they had plenty of material to play tonight, and the excellent set closer “in The Morning’ was a great way for Westside Cowboy to bring tonight’s gig to a close.

I confess that they were a new band to me, but it was a genuine pleasure to see them tonight and whilst their genre is well covered by many bands, they certainly have enough to stand out from the crowd and if there’s any justice they deserve to be successful. 

If you get the chance, get yourself along to one of their gigs, you won’t regret it!

Set list:

Midnight Cowboy

Alright Alright Alright

Can’t See

Drunk Surfer

Shells

Pinup Boys

The Boys

Slowly I’m Sure

Don’t Throw Rocks

Paper Chains

The Wahs

Strange Taxidermy

In The Morning

Review & photos - Levi Tubman

It’s bitterly cold tonight, well below freezing, with heavy snow and ice forecast, both already creeping in across the moors on the drive over. Despite the weather, the Hebden Bridge Trades Club is absolutely packed. Every one of the sold-out ticket holders has braved the elements. 

Opening the evening are London quartet Little Grandad. Known for their folky, American-indie leanings, they ease us in with a laid-back start but there’s a restless energy simmering beneath the calm. At one point, against cool, measured vocals, the lead guitarist drops to his knees, pressing a trumpet into his guitar pickups while his free hand dances frantically across a sprawling pedalboard. Meanwhile, the drums thunder away with a pace that feels at odds with the serenity elsewhere on stage. It shouldn’t work the slow and gentle colliding with manic bursts of sound but somehow it absolutely does. 

Bands choose all sorts of entrances. Some walk on to applause, others opt for dramatic classical intros. But when Man/Woman/Chainsaw stride onto the compact Trades Club stage to 50 Cent’s In Da Club, it feels safe to say it’s probably the first time that track has echoed around this room possibly the first time in Hebden Bridge. 

Still a young band formed in 2019 when they were just 14 Man/Woman/Chainsaw have navigated a few lineup changes before settling into their current six-piece incarnation. They’ve been steadily building a reputation for their alternative rock, noisy post-punk sound, and tonight shows exactly why. 

With the minimal amount of pleasantries theyre off, launching into the high energy The Boss. High energy is the theme for the night, weather its playing or jumping and spinning about the stage, all 6 of them seem to struggle to contain it. Along with the usual bass guitar and vocals, flanking the stage they have violin and keys, the extra edge to their sound helping set it apart from another guitar band. Along with half the band taking on some of the vocal duties I found myself constantly looking around trying not to miss something. 

I’m a fan of bands who don’t take themselves seriously, and I don’t think these guys could find serious if they where standing on top of it, known for having fun and sets on the more chaotic side, and then they play Adam And Steve. This could very well be best song of 2025, and is complete proof that a band that can not take themselves seriously, have fun and embrace noise and chaos while still creating these wonderfully crafted songs, the song writing is taken seriously, and the playing is tight and spot on. With dual vocals working with each other taking turns perfectly complimenting each other with a sing song feel when a violin solo springs out taking the theme of the main melody and making it something new and bright, While they keys help underpin the music with little runs breaking through here and there. 

This continues through the whole set, the guitars work together, thick and distorted with heavy riffs, interspersed with frantic lead they would work on their own. Filling out the bottom end are the pounding drums, sometimes going for fast and frantic, other times opting for unusual rhythms and fills, while the bass rumbles along mixing long slides with thumping open strings and melodies. Sprinkling across the high end you have they keys, weaving in and out of the chaos, lending lighter sounds to quieter sections, before helping bring the noise home loud and tonal.  

And then there’s the violin searing, high, bright cutting clean through the mix. Sometimes it locks in with a guitar solo; other times it takes the lead entirely. It’s not a novelty addition it’s integral, and it’s part of what truly sets them apart. 

With so much happening, it would be easy for the sound to descend into mud. But it never does. Nothing gets lost. There’s no sense of studio trickery or frequency slotting just six musicians who know exactly what they’redoing. They rehearse enough to appear chaotic without ever losing control. 

From the loud aggressive intro to the opening track The Boss, to the delicate opening half of the closing Ode To Clio, its one of those gigs you don’t want to end, you want one more song, one more piano riff or solo. It’s easy to see why they’re selling out venues and building such a loyal following. This is a unique, thrilling kind of beautiful madness and right now, they might just be the most exciting live band around. 

Setlist: 

1. The Boss 
2. Adam and Steve 
3. Maddog 
4. Lizard Man 
5. Snake eyes 
6. F.O.T.W 
7. Get Up And Dance 
8. Something Else 
9. What Lucy found there 
10. Ode To Clio

Chuff Media

Review & photos  - Chris Nutton

Wall of sound is back once again in Leeds tonight, at the amazing Stylus student union music venue for Australian indie rock/folk rock band The Paper Kites on their 2026 UK/Europe Tour.

This tour comes after the band released their new album:  “If you go there I hope you find it” which was released on the 23rd January and seen as a massive success from their extremely loyal fanbase, with the album debuted at number 13 on the Australian ARIA Albums Chart after its release on 23 January 2026, marking it as their third top-20 album there. Swell as this it reached number-1 on the ARIA Australian Artist Albums Chart and placed well on the vinyl chart, indicating strong performance within specific segments, though exact unit numbers (sales/streams) were not published alongside those chart positions.

Anyways, back to the show. This was a sold-out show for the band and was going to be their 5th stop on the tour. The crowd was let in around 7 pm with more than enough time for people to settle in, buy some merchandise, and get ready for the band's opening support act - Bess Atwell.

Once Bess came onto the English indie folk musician began to settle the crowd with some of her most recent album ‘Already Always’, songs like CO-op, Time comes in roses, Sylvester, Nobody, and Release myself. I thought she was a great opening act for the show, offering that soft emotional vocal performance that the audience loved from minute 1 for the entire 35-minute set list that she performed.

After Bess Atwell's excellent performance, it wasn’t long to wait until the main event. The paper kites came out of the dark and gathered together in the middle of the stage, opening with their song Morning Gum, a calm but bold song that acknowledges the weight of the world — whether it’s worrying about the news or the inevitability of rain, quite ironic with events that are currently taking place across the world. After their opening track, they disbanded across the stage and moved to Change of the Wind, Till the Flame, and Everytown, songs that brought the uplift and energy to this packed-out Leeds show.

It was show that wasn’t judged by the energy but more the intense silence in the room as the crowd was so invested into the music, across the entire show, I felt like a didn’t hear one word or mutter from anyone across the audience as I made my way around to take photos of the band from different angles, the crowd was so invested in this performance and the delivery of it, leaving the audience to make the biggest around of applause after every song. Moving to the back end of the performance, Sam Bentley, Christina Lacy, and David Powys head into the crowd with a Chinese lantern to sing ‘Deep. ' As I mentioned earlier, the audience was so respectful and made the entire show a safe place for expressing emotion and listening to some incredible folk music.

Overall, it was a brilliant show and a prime example of an audience so invested in folk music, showcasing all kinds of emotion. The sold-out Leeds audience was absolutely fantastic, and the show became a safe, invested, and respectful environment with everyone being so happy to be there and listen to the band deliver an emphatic set list. Thank you once again to Stylus for having Wall off Sound, and we will be back soon for another review for you to enjoy!

THE PAPER KITES: If you go there, I hope you find it - tour 2026 set list

• Morning Gum
• Change of the wind
• Till the flame
• Everytown
• Black and thunder
• Dearest
• Paint
• Bleed Confusion
• Without your love
• Electric Indigo
• Walk above the city
• Shake off the rain
• Deep
• Give me your fire, give me your rain
• On the train ride home

Sonic PR

Review & photos - John McEvoy

Robin Smith’s live rendition of Tubular Bells, performed at St Georges Hall in Bradford confirmed the not only the enduring power of Mike Oldfield’s legendary album, but also to Smith’s own capabilities as a conductor, arranger, and interpreter. The show, which brought together a talented ensemble of musicians drew the audience into a world where nostalgia and innovation coexisted harmoniously.

However, before Tubular Bells, the first half of the show was a trip through Oldfields back catalogue, opening with Tubular Bells 2, which quickly moved straight into Moonlight Shadow which featured some great vocals and the dual lead guitarists. 

It has to be said that the 8 piece band which also included 2 drum kits and of course Tubular Bells, really were of the highest calibre and their energetic delivery throughout the night was a real high point. 

And so, after a 20 minute interval (they sold ice cream.. yes really!!) it was time for a faithful rendition of Tubular Bells. Originally released way back in 1973, time has not diminished the impact of this piece of work. 

From the moment the first delicate notes of Tubular Bells echoed through the venue, it was clear that this was not merely a replication of the original work, but a loving and invigorating reimagining. 

Smith approached the material with immense respect, yet he wasn’t afraid to inject new life into it. The arrangements were lush and expansive, utilising the full potential of the orchestra while staying true to the spirit of Oldfield’s masterpiece.

Again, the musicianship on display was nothing short of superb. Each performer brought their own nuance and flair, yet the ensemble remained tightly unified throughout the complex shifts in tempo and mood that characterise Tubular Bells. The iconic opening motif, instantly recognisable to fans, was delivered with precision, gradually building in intensity and depth as the piece unfolded.

One of the most striking aspects of the live show was its dynamic visual presentation. Lighting and projection effects were used to accentuate the music’s emotional contours, creating a multisensory experience that elevated the concert beyond a simple auditory event. The visuals were never overbearing; instead, they served to complement the music.

It was good to see that tonights show confirmed that this piece of music continues to attract the die-hard Oldfield fans to newcomers discovering Tubular Bells for the first time. Smith’s rapport with both his musicians and the audience fostered an atmosphere of warmth and inclusivity, making the performance not only a tribute to a classic album, but a joyous event in its own right.

In short, Robin Smith’s Tubular Bells live show is a elegant homage that revitalises a classic, blending technical brilliance with heartfelt artistry. Whether you are a seasoned admirer of Oldfield’s work or simply a lover of inventive live music, this gig offered something special, and if you get the chance you really should catch this tour.