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. 

Review & photos - Liam McEvoy

On 25 February 2026, Franz Ferdinand brought their sharp, dancefloor-ready indie rock to a packed out O2 Academy Leeds, delivering a set that threaded their vintage classics with their newer tracks.

The night kicked off with Home Counties, a new find for me and a very good one at that. Their twitchy, rhythm driven sound and confident stage presence made an immediate impression. There was a punchy, slightly electronic edge to their set that grabbed the room early, and by the end of it they’d clearly warmed up the crowd nicely. 

Franz Ferdinand wasted no time once they hit the stage, opening with “The Dark of the Matinée,” its jagged riff instantly igniting the packed crowd. From there, the band tore through a tightly paced set that balanced early classics with newer material seamlessly. “No You Girls” and “Michael” had the crowd bouncing, while “Walk Away” provided a rare moment for the crowd to take a collective breath before the tempo kicked back up again.

“Do You Want To” and “Take Me Out” unsurprisingly triggered huge singalongs, the latter delivered with the kind of precision and punch that reminds you why it became one of the greatest indi tracks of all time. “Outsiders” closed the main set in a wash of rhythm and noise, leaving the room buzzing for more.

The encore kept the energy high with “Darts of Pleasure,” “Bar Lonely,” and “Evil and a Heathen,” before the inevitable, explosive closer “This Fire.” But one of the most memorable moments came when as front man Alex Kapranso said the band went off piste with “Right Action” which wasn’t on the original setlist, yet after a fan request, the band obliged. The decision injected an extra jolt of excitement into the room, a reminder that even a well-rehearsed tour show can still feel loose and alive.

Overall, the Leeds date felt like a band fully in control of their legacy while still clearly enjoying themselves. Add in the discovery of an impressive support act in Home Counties and a surprise fan-requested gem, and it made for a night that was as unpredictable as it was electrifying.

Set List:

1.  The Dark of the Matinée

2.  Audacious

3.  No You Girls

4.  Michael

5.  Night or Day

6.  Evil Eye

7.  40'

8.  The Doctor

9.  Walk Away

10.  Black Eyelashes

11.  Do You Want To

12.  Love Illumination

13.  Take Me Out

14.  Hooked

15.  Outsiders

Encore:

16. Darts of Pleasure
17. Right Action (fan request)
18. Bar Lonely
19. Evil and a Heathen
20. This Fire

Review & photos - John McEvoy

Bad Boy Chiller Crew’s return to the shiny new Bradford Live (formerly the Bradford Odeon) felt less like a gig and more like a civic event—an eruption of hometown pride wrapped in bassline, chaos, and the trio’s unmistakable humour. For a group whose rise has been anything but conventional, stepping onto the stage of the newly revitalised venue carried a sense of full‑circle triumph. The crowd knew it, the band knew it, and the atmosphere crackled from the moment the lights dropped.

After a 3 hour warm up (yes really!) from various bassline luminaries, including the MC who must surely have set the world record for imploring the audience to ‘Make some f***ing noise’  the BBCC trio, GK, Kane, and Clive—bounded onstage with the energy of lads who’d never left Bradford, even though their journey has taken them through degrees of chart success, a reality TV series, and a high‑profile legal battle that stalled their momentum for months. Now free to release music again and newly signed to Conor McGregor’s Greenback Records, they performed with the hunger of artists who’ve been waiting far too long to let loose.

The setlist leaned heavily into fan favourites, each track greeted with the kind of rowdy enthusiasm only a hometown crowd can muster. “BMW” triggered the first mass bounce of the night, the floor shaking as thousands shouted every word back at them. Their bassline‑garage hybrid sound hit even harder in the cavernous space, with Bradford Live’s acoustics giving their punchy production a clarity that elevated the chaos rather than muddying it.

Between songs, the banter flowed as freely as the bass. Clive and Kane’s comedic timing—honed long before the music took off—kept the crowd entertained and reminded everyone why their personality has always been as central to their appeal as their music, and their pride in playing Bradford Live was clear for all to see. 

As the final bassline faded, one thing was clear: this wasn’t just a gig. It was a celebration of Bradford, of resilience, and of a trio who’ve turned local legend into a phenomenon without ever losing the spirit of where they came from.

Note: 

It must be said that the rescue of this famous old venue which was criminally neglected for many years just might be the shot in the arm that the centre of Bradford desperately needs to bring about a change in fortunes. 

God knows it needs it!!

Review & photos - Liam McEvoy

Leeds’ live music scene was in full force on 6 March as rising alternative rock band Keo headlined a packed show at Leeds University Stylus. With a growing reputation for emotionally intense songwriting and powerful live performances, the band delivered a set that confirmed why they are quickly gaining attention across the UK’s alternative scene.

Before the headline act appeared, the evening began with support from Tooth. Their set provided the perfect introduction to the night, combining energetic guitar work with punchy rhythms that immediately engaged the growing crowd. As more fans filled the venue, Tooth’s confident stage presence helped build anticipation for the main act while establishing a lively atmosphere inside Stylus.

When Keo eventually took to the stage, the room erupted with excitement. From the first moments of the set, the band delivered a dense wall of guitar driven sound, blending elements of alternative rock with darker, grunge influenced textures. The performance felt intense and immersive, with each track building on the energy created by the last.

Frontman Finn Keogh stood at the centre of the performance, delivering vocals that balanced emotional vulnerability with explosive power. His raw delivery gave the songs a sense of authenticity that resonated strongly with the audience. Throughout the night, the crowd responded enthusiastically, singing along and reacting loudly to the band’s heavier moments.

Songs such as Fly and Young demonstrated the band’s ability to combine atmospheric build-ups with powerful choruses, while Thorn and I Lied, Amber were met with some of the biggest reactions of the night. The band’s chemistry on stage was clear, with tight instrumentation allowing them to shift naturally between quieter moments and high energy bursts.

One of the most striking aspects of the show was the connection between the band and their audience. Despite being relatively early in their career, Keo already command a loyal following, and the intimate setting of Stylus helped amplify that connection. Each chorus felt larger as the crowd joined in, creating an atmosphere that carried through to the final song.

By the end of the night, it was clear that Keo are a band steadily building momentum. With a strong support performance from Tooth and an intense headline set that kept the audience engaged from start to finish, the show demonstrated exactly why Keo are quickly becoming a name to watch in the UK alternative scene.

Set List:

1.  Hands

2.  Be Happy

3.  That’s Me

4.  Young

5.  Thorn

6.  Spaceman

7.  Spent On You

8.  Only We Know

9.  Fly

10.  Stolen Cars

11.  Black Dress

Encore:
12. The End (cover of a song by The Doors)
13. Crow
14. Kind, If You Will
15. I Lied, Amber

Chuff Media

Review & photos - Levi Tubman

Formed in Belfast in 1977, just as punk was reaching its peak across the UK, Stiff Little Fingers emerged singing about the Troubles and the realities of growing up there. They wrote about what they knew, channelling their anger, frustration and emotion through the raw, visceral energy of their music. With the band approaching their 50th anniversary next year, and the once angry teenagers now long past those early days, the question is, how well does the performance hold up today? 

Having seen the Fingers several times over the past three decades, they remain one of my all time favourite bands. That said, nostalgia doesn’t earn them an easy ride tonight. I know just how good they can sound live, so the bar is set high. 

Opening tonight are The Meffs, a duo I hadn’t come across before. Hand picked by the band, they clearly must have something about them. It quickly becomes obvious why they were chosen for the slot. Their set is lively and they have no trouble getting the crowd going, with songs that tackle the deterioration of societal, economic and mental wellbeing in the UK. Tracks like Broken Britain, Broken Brains align perfectly with the themes that have long run through the headliners’ music.. Mixed into their own songs we get a superb cover of the Xray Spex’s Identify and the Prodigy’s Breath. I’d love to see these guys headlining. 

As Go For It starts to play over the PA the band take to the stage, one of the UK’s longest running punk bands looks as unassuming forever. Having never embraced the ripped jeans and wild hair, they could just blend into the audience. A quick double check of the tuning and were off, starting the night with the classic Tin Soldiers. An anti war song, about young working class men being misled into joining the British army, in a different army in a different decade, it feels like its as relevant as ever with the crowd shouting the lyrics back to the band. 

Quickly followed up by Nobodys Hero and roots radicals rockers and reggae. The first calling on the listener to “Get up get out be what you are”  not to follow false authority figures, and to be individual, with Roots, using Bunny Wailer's lyrics, calling for unity across races and classes, and for peace and Justice. 50 years later the opening trio of songs feel they still resonate, helping with the bands longevity. 

Chatting between numbers, frontman Jake Burns jokes that, for some reason, people think they’re a political band, I wonder what could possibly give that impression? He starts by offering little insights into each song before quickly abandoning the idea with, “I shouldn’t start every song with ‘this song’s about…’ anyway this song’s about three minutes long!” Never overly confident on stage, Burns still carries a slightly reserved, almost shy presence even after all these years. 

As with many bands from the 70s, age inevitably comes into the conversation, and with it sometimes a few limitations on well-used vocal cords. Yet Burns still sounds remarkably like he does on the records. At times his voice cracks slightly, but it always has from the very first gig, its part of the character of his singing, its not from age. When they cover Doesn't Make It Alright by The Specials, the band stop dead at the end as Burns holds the final note longer than anyone expects, to a silent crowd, which then erupts into a huge cheer. 

They rattle through the hits, with decades of material to choose from. Each song is briefly introduced, including Bits of Kids, about latchkey kids like themselves growing up an issue that, like many of their themes, still feels relevant in modern Britain nearly fifty years later. 

A lot of that rattle comes from bass powerhouse, Ali McMordie. Delivering thick, punchy lines that rumble through the room. As always his playing is sharp and propulsive, but tonight the bass is pushed just that little harder, slightly dirtier, with a touch of distortion wrapped in a gorgeous tone from one of my all-time favourite bass players. Wearing an ever-present cheeky grin, he plays to the crowd with the occasional windmill or jump, yet never misses a single note. 

Offsetting his extravagance, guitarist Ian McCallum is as understated as they get, no wild movements, occasionally walking around the stage his playing is tight, moving effortlessly between casual upstroke reggae chords to chopped fast punk, its hard to put his quite demure together with the music. While at the back, drummer Steve Grantley drives the beat along, staring out menacingly into the crowd, never without gum in his mouth, there’s no basic 4/4 here, making full use of the kit rolling fills down the toms with a power that explains why there’s 2 spare snare drums on the stage. 

We get the usual thank you and good night, leaving the stage for a thankfully short encore break, with not enough time to have someone check and tune everything up, the band come back to the stage tuning their instruments up while we get a little drum solo. Not for the first time at the Academy, now its isolated, you can hear how buried in reverb the snare is, even the sound deadening of the room can handle that. 

Finishing up the set with their popular cover of Bob Marley’s Johnny Was, leaving the one obvious song left. Letting the first stripped down chord of Alternative Ulster ring out just a little longer than the record as the crowd screams out as if we all didn’t know what the final song of the night would be before the night started. Its their most known and biggest song, it’s the obvious closer for a night where for 90 minutes Burns is back as a teenager back in Belfast and the crowd get to forget about the day jobs for a few hours.  

No doubt next year they’ll be back out on the road for a 50th anniversary tour, with no sign of slowing down yet and still sounding as good as they always have there’s no reason to! 

Review John McEvoy

You know you’re getting old when you go to a 35th (yes 35!!) anniversary celebration of Thrills Pills & Bellyaches from the Happy Mondays, an album which still sounds as good as ever, and with The Mondays they weren’t just a band to go see, people were there to be reminded of a time and a feeling. 

And so it was that the O2 in Leeds was packed with people ready for exactly that, with The Farm warming the room up before Happy Mondays took over and turned the place into a loose-limbed, grin-heavy singalong.

Got to be said that The Farm were an inspired choice of support: punchy, no-nonsense and built for big choruses. Their set leaned into the bright, northern swagger they are known for and were the perfect band before the main course! The crowd didn’t need much persuading to singalong and by the time they wrapped up, the floor was already dancing, always a good sign.

Happy Mondays hit the stage to the kind of roar that suggests Leeds has kept a soft spot for them through every reunion cycle and reinvention. From the opening bars of Kinky Afro the baggy grooves were locked in, percussion snapping, and that signature blend of sleaze and sunshine rolling out into the room. The mix wasn’t perfect in a clinical way, but it didn’t need to be—this is music that thrives on a little grit, as long as the beat stays big and the bass rattles your chest.

Front and centre, Shaun Ryder delivered vocals the way he always has: half-spoken, half-sung, like he’s letting the songs happen rather than performing them at you. It’s a peculiar kind of charisma—more pub philosopher than rock god—but it works because the band around him does the heavy lifting with real discipline, and he admitted that the still can’t properly remember the lyrics to his own songs, hence the use of a discreetly placed auto prompter. 

And then there’s Bez, still weaponising joy, still spritely bouncing around like the laws of physics and ageing are meaningless in his world. Whatever you think of the chaos he brings, you can’t deny the lift it gives the crowd.

Of course, the set was made up made up of a complete run through of the Thrills Pills album which confirmed what a great album that was and still is. The biggest moments were naturally whenever a the big singles surfaced and the whole venue joined in, (expensive) pint cups and voices were raised like it was a terrace anthem.

This venue is a forgiving room for a band like this— it’s big enough for a sense of occasion, but intimate enough that the audience felt involved rather than anonymous. Lights stayed suitably rave-adjacent, splashing the stage in saturated colour, while the sound—though occasionally a touch murky—kept the pulse clear. Importantly, the night never sagged: songs came quickly, patter stayed minimal, and every time things threatened to drift, another groove arrived to drag the room back into motion.

By the end, it felt less like a nostalgia trip and more like proof the quality of their tunes. Happy Mondays aren’t chasing perfection; they’re chasing a vibe, and tonight in Leeds they caught it—messy at the edges, loud in the right places, and completely uninterested in sitting still. 

With The Farm setting the tempo early doors, the whole bill played like a celebration of northern pop’s dancefloor heart. If you came wanting a reminder, you got one. If you came wanting a party, you got that too.

Setlist:

Kinky Afro

God’s Cop

Donovan

Grandbag’s Funeral

Loose Fit

Dennis and Lois

Bob’s Yer Uncle

Step On

Holiday

Harmony

Hallelujah

Mad Cyril

Judge Fudge

24 Hour Party People

Wrote For Luck

Chuff Media

The inaugural Guiseley Sounds Festival lands on Saturday 9 May, bringing a full day of live music to the town with chart-topping favourites Toploader and Britpop stalwarts Dodgy heading the bill.

New festivals don’t come along every day, but Guiseley is about to welcome one of its own. Sounds Festival is billed as a celebration of live music and community spirit, turning the spotlight on the town for a one-off Friday party that mixes big-name nostalgia with the buzz of a brand-new event.

Whether you’re a seasoned gig-goer or just fancy a day out with friends, the promise here is simple: great bands, a lively crowd and the kind of singalong moments that only happen when a whole field (or dancefloor) knows the chorus. As a debut edition, there’s an added sense of occasion too—this is your chance to say you were there when it started.

Toploader arrive as the perfect festival headliners: upbeat, crowd-friendly and built for sunshine—even if Yorkshire skies decide otherwise. Best known for the era-defining hit “Dancing in the Moonlight”, they’ve spent the years since forging a reputation as a relentlessly fun live band, with a set that leans into feel-good grooves, bright guitars and big choruses. Expect the classics, a few deep cuts for the devotees and the kind of closing stretch that has strangers singing arm-in-arm.

Sharing top billing are Dodgy, whose run of ’90s anthems made them fixtures of the Britpop years and still sound tailor-made for a festival crowd. With a catalogue that includes fan favourites like “Good Enough” and “Staying Out for the Summer”, their songs trade in chiming riffs, wide-open harmonies and that unmistakable feel of weekend freedom. If you want a reminder of how euphoric guitar music can be when it’s played loud and sung back even louder, this is the set to catch.

Alongside the headliners, Sounds Festival also features Leeds band The Dunwells, Azurals and many other and will showcase a broader line-up designed to keep the energy moving from doors to encore, blending familiar names with emerging talent. For local music fans, that mix matters: the best new festivals aren’t just touring packages—they’re a chance to discover a new favourite band and to see the area’s live scene celebrated on a bigger stage.

The inaugural Guiseley Sounds Festival takes place on Saturday  9 May. If you’re planning to go, it’s worth thinking ahead on travel and arrival times, as first-year events can draw strong crowds—especially with two such recognisable names at the top of the poster. 

However you do it, go with comfortable shoes, a light layer for later on, and your best singing voice: between Toploader’s floor-filling pop-rock and Dodgy’s Britpop staples, Guiseley’s first Sounds Festival looks set to be the kind of day that sends you home hoarse, happy, and hoping for year two.

Tickets available here: 

Review & photos - Anya Weston Shaw

Courtney Barnett at The Trades Club in Hebden Bridge was a night that most won’t forget. From the moment you walked in the venue there was a sense of anticipation like no other, impatient queues to the merch desk and a dedicated cloud of people around the stage waiting for the show to begin.

Barnett really ignited the crowd playing a lot of new tracks off her latest release- Creature of Habit. Not only that but classics such as Avant Gardener, Pedestrian At Best, and of course, the set was finished with Nobody Cares If you Don’t Go To The Party. Which was accompanied by the 300 something capacity of backing singers in the venue. 

Truly, though there were few words spoken in between songs apart from Barnett acknowledging herself as someone who still finds it awkward talking in between tracks, there was a real sense of community and comfort in the space. Everyone danced along, had a laugh and even post-show there was a buzz in the room where fans swapped stories, reminisced and discussed all things new album.

Truly, a whistlestop tour through amazing tracks, the show was really all you could wish for. On top of it all, a brilliant cover of Let Me Roll It by Wings, really suiting both the band setup and Courtney’s voice. If you didn’t get to this one, get to the upcoming tour as I can’t recommend her live enough!

Marathon Music

Review & photos - Mikee Downes

A Night Heavy With Memory, Meaning, and Momentum

Richard Ashcroft didn’t just perform at Leeds Arena — he inhabited it. From the moment he stepped onstage, sharp‑suited and carrying that unmistakable air of restless intensity, the atmosphere shifted. There was a sense that this wasn’t going to be a night of nostalgia alone, but a reminder of why his music still resonates so deeply with people who’ve grown up, grown older, and grown through his songs.

Ashcroft has always carried a certain emotional gravity, and it was on full display here. His voice — weathered, soulful, and still capable of cutting straight through the noise — felt like an anchor. When he leaned into the quieter moments, the arena seemed to contract around him, thousands of people suddenly holding their breath at once. When he opened up into the big choruses, the release was almost physical.

The Verve classics inevitably formed the emotional spine of the night. These are songs that have lived entire lives in people’s memories, soundtracking breakups, breakthroughs, long drives, and late nights. Hearing them in a packed arena gave them a renewed weight. The crowd didn’t just sing along — they testified. It felt communal, cathartic, almost ritualistic.

What made the performance compelling wasn’t just the hits. Ashcroft’s solo material carried a different kind of emotional charge — more reflective, more personal, less concerned with anthemic sweep and more with internal landscapes. He delivered these songs with a conviction that suggested he still has something to say, and still believes in the power of saying it out loud.

The staging was minimal, almost stark, but it suited him. Ashcroft doesn’t need spectacle; he is the spectacle. His presence — the way he moves, the way he holds the mic, the way he stares down the crowd as if daring them to feel something — filled the space more effectively than any LED screen could.

If the setlist played things relatively safe, the emotional arc of the night didn’t. There were moments of uplift, moments of introspection, and moments where the entire arena felt suspended in a kind of collective memory. Ashcroft has always been a performer who wears his history openly, and at Leeds, that history felt like a living thing — not a burden, but a companion.

By the time the final notes rang out, the audience wasn’t just applauding a performance; they were acknowledging a connection that has lasted decades. Ashcroft walked offstage with the same understated confidence he arrived with, leaving behind a room full of people who’d been reminded — viscerally — why his music still matters.

Fear PR

Review & photos Chris Nutton 

Wall of sound is back once again with another review, this time we head to the First Direct Arena in Leeds, West Yorkshire, to review the Love is the answer 2026 Arena tour by James with support from special guests the Doves. 

This is the bands biggest ever UK arena tour and after just coming off a Stella performer at night 1 of the tour at the Utilita arena in Birmingham, Leeds had a lot to live up to a deliver. This tour is dedicated to their recent release of the album “Nothing but love - the definition of the best of” compiled of some of the bands greatest kits across their 40 year existence. 

First up on the scheduled list was supporting act ‘Doves’ which I was blown away by the level of support and energy they got from this Leeds crowd tonight. From the minute they started playing their first track ‘words’ the room was completely in groove with the bands  right level of melodic rhythm, it cranked the already packed out Leeds show into life, playing some of their classic hits like ‘Black and White Town’ and ‘There Goes the Fear’ and many more. After their set, the band delivered tremendously in warming an already packed out crowd for the introduction of James and his band. 

Finally, we have the main event, James and the band took to the stage, beginning off their already stacked set list with their classic ‘Come Home’. What I loved about this performance from start to finish is the level of raw energy and intimacy the band showed from minute one, with Tim Booth supplying energy across the stage and many times during his set list, he was very up close and personal with the Leeds crowd, being at the front of his stage and coming down to a lower downed platforms to feel at one with an energetic Leeds crowd. 

Going through their collection of new and old tracks from the album, it felt completely impossible to sit still and you could see it in the Leeds crowd tonight, every person from the front standing section to the far seats in the heavens were all up in their seats dancing, vibing and giving every source of energy into the bands Stella performance. 

Having a glance round the room and it’s an amazing thing that you see such a mixed age range of an audience with the older generation and their sons and daughters or just teenagers going together for what looks like their first ever concert, it’s a joy to see the old and new generation of the bands success colliding and enjoying the many years of the bands incredible hits and truly shows the test of time of the James’s success. 

As mentioned previously, what I enjoyed about this performance was the clever mixture of James old and classic tracks like I Know What I'm Here For, Greenpeace and many more but then having that mixture of some of the newer tracks, which btw was shown when the frontman had to reach to get his A4 piece of paper to remind him of the lyrics, which I thought was brilliant. 

Overall, the level of indie, dance and electronic  music blew the roof off the First Direct Arena and it was a true example of bands range of classic hits and passionate delivery of performance to a loyal fan base. The Leeds crowd I thought was immaculate, offering energy and support across their entire set list and not stopping to catch their breath and as they were all deeply enthralled by the bands mix of classic and newer music. 

It was a fantastic evening and if there’s anything to take away from this concert it’s that bands like James are a truly beautiful example and definition of music and If love is the answer then so is loving the band James which in my eyes goes down as an all time great, not to mention this Leeds crowd which by the end of the tour will go down as one of their greatest crowds. 

Doves set list:

1. Words
2. Snowden
3. Carousels
4. Here It Comes
5. Kingdom of Rust
6. Pounding
7. Caught by the River
8. Black and White Town
9. There Goes the Fear

James Set list:

1. Come Home
2. I Know What I'm Here For
3. Ring the Bells
4. Greenpeace
5. Shadow of a Giant
6. Way Over Your Head
7. Sit Down
8. Nantucket
9. Skindiving
10. Born of Frustration
11. Say Something
12. She's a Star
13. Yeah Yeah Yeah
14. Five-O
15. Tomorrow
16. Getting Away With It (All Messed Up)
17. Sound
18. Out to Get You
19. Sometimes (Lester Piggott)

Review & photos - John McEvoy

Rick Astley’s Reflections tour pit at the First Direct Leeds Arena delivered exactly what its title promised: a warm, generous, and surprisingly emotional look back at a career that has stretched far beyond the meme‑shaped shadow many still associate with him. 

Supported by a soulful and confident set from Gabrielle, the night felt like a celebration of longevity, reinvention, and the simple joy of live performance.

Gabrielle opened the evening with the kind of understated charisma that has always set her apart. Her voice—still velvety, still unmistakably hers—filled the arena with ease. 

Songs like Dreams and Out of Reach landed with a nostalgic glow, but avoided leaning too heavily on sentimentality. Instead, she performed with warmth, chatting to the crowd as though she was meeting up with old friends, and by the time she closed her set, the audience was fully tuned in, relaxed, and ready for the main event.

Following a quick turnaround, Rick Astley took the stage with the energy of someone who clearly loves what he does. Backed by a tight, enthusiastic band, he moved through a setlist that balanced the hits with deeper cuts and clever reinterpretations such as Pretty Woman. 

What stood out most was how comfortable he seemed in his own skin. Astley has long since shaken off the weight of being a pop‑culture punchline, and the Reflections tour leans into that freedom. He joked, he told stories, he poked fun at himself—but he also sang with a richness and control that reminded everyone why he became a star in the first place.

The overall production was polished without being overblown. The lighting and video backdrops supported the music rather than overwhelming it, giving the show a clean, modern feel. 

Astley’s voice, remarkably intact after years of performing, carried the emotional core of the night. Whether he was delivering a soulful ballad or leaning into the upbeat charm of his late‑80s catalogue, he sounded confident and fully present.

Another highlight came when he stepped behind the drum kit—something he’s made a signature move in recent years—earning a roar from the crowd. It’s a small gesture, but it encapsulates the spirit of the tour: Astley isn’t just revisiting his past; he’s showing the breadth of what he can do now. The audience responded in kind, singing along, dancing, and embracing the sense of shared nostalgia without letting it tip into kitsch.

Of course, the inevitable happened. When the opening notes of Never Gonna Give You Up finally arrived in the encore, the arena erupted. But instead of feeling like a meme come to life, it felt like a communal victory lap—an artist reclaiming a song that has taken on a life of its own and delivering it with joy rather than irony.

By the end of the night, it was clear why the Reflections tour has been such a success so far. It’s not just a greatest‑hits showcase; it’s a portrait of an artist who has grown, endured, and learned to enjoy every moment onstage. 

With Gabrielle setting the tone and Rick Astley delivering a heartfelt, high‑spirited performance, Leeds Arena got a night that was both nostalgic and refreshingly alive. 

Set list:

Lights Out

Together Forever

Dippin’ My Feet

Waiting On You

She Wants To Dance With Me

Where Is My Husband

Hold Me In Your Arms

Move Right Out

Dance

Cry For Help

The Ones You Love

You Move Me

Oh Pretty Woman

Raindrops

Never Gonna Stop

Keep Singing

Whenever You Need Somebody

Encore:

Take Me To Your Heart/What Is Love

Angels On My Side

Never Gonna Give You Up

Review & photos - Huw Williams

The basement of Hyde Park Book Club can be a bit of a sweatbox at the best of times, but last Sunday night felt less like the end of a weekend and more like the start of something combustible. Sold out and packed shoulder-to-shoulder, anticipation crackled in the air waiting for Calva Louise to emerge and light it up.

Support came from Knife Bride, playing their first show of the year with a sense of urgency that felt like they had been bottling it up and were waiting for a chance to release it. They struck the match, setting a tone the headliners would joyfully accelerate.

Calva Louise, a band whose roots stretch from Venezuela to France to New Zealand (yet who claim Britain as home), thrive in that kind of intensity. From the opening rush of Tunnel Vision through WTF and El Umbral, they turned the cramped room into a unified swell of emotion and momentum. The front row Venezuelan flag didn’t go unnoticed either - Jess Allanic switching to Spanish before declaring, “there aren’t many of us, but we make a lot of noise!” That could describe the trio on stage (Ben Parker on drums and Alizon Taho on bass) - few in number, but they filled that small room with roaring volume. 

Allanic is Calva Louise’s gravitational force though. Whether tearing through razor-edged guitar lines or gliding across a cleverly mounted sliding keyboard setup, she moved between instruments with a seamless fluidity. A standout moment came in Under The Skin, where virtuosic piano reframed the band’s ferocity into something more expansive, while Over The Threshold showcased her bite as a lead guitarist.

Visually, it was one of the most inventive setups I have seen in the Book Club. DIY screens looping glitchy video clips, stark backlighting, and a sense of controlled chaos that mirrored the music perfectly. Tracks like Con Corazon and Lo Que Vale embraced their Latin heritage without ever feeling tokenistic, the former’s guitar intro particularly striking.

By the time Opportunista closed things out, the room was exhausted, elated, and entirely won over. 

Mascot records

Review & photos - Huw Williams

Melanie C’s launch show for Sweat at Project House in Leeds was short and sweet, a nine-song set that cut straight to the point. 

Opening with the title track, she immediately leaned into the album’s core identity, one that is a blend of her established pop instincts with the breakbeat and early ’90s dance influences that shaped her before the charts ever did.

The newer material sat comfortably in that space. What Could Possibly Go Wrong, Attitude and Undefeated Championslotted into the set without friction, keeping momentum high while showing a side of Melanie C where she feels right at home. These tracks are built for dancing, and live, they land with a directness that suits the setting.

Older songs were greeted like old friends. Never Be The Same Again and I Turn to You carried their familiar pull, aligning with the present, not set apart from it. The latter in particular always flirted with dancefloor sensibilities, and in this context, that connection was brought into sharper focus.

Drum Machine, which she’s described as her favourite from the new record, locked the room into a steady pulse, keeping the crowd engaged and reinforcing the album’s direction.

In Leeds, though, one moment inevitably stood above the rest. The arrival of Mel B, a.k.a Scary Spice, drew an immediate reaction, and the two sharing a stage again carried weight beyond just the surprise. Their performance of Spice Up Your Life was impromptu, unrehearsed, but loud and full of energy. 

It also marked a rare reunion. Appearances together have been limited since 2019, and seeing two members of the Spice Girls back on stage together added a layer of significance that wasn’t lost on the crowd.

The set may have been brief, but it was clear in its intent. Sweat positions Melanie C in a space that suits her perfectly, drawing a line from her early influences through to where she stands now, embracing everything that has gone in between.

Chuff Media