millie manders & the shut up

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Review & photos - Levi Tubman

This is a band I’ve been wanting to see for a long time. I’ve watched too many acts take to the stage and completely electrify a crowd, only for their albums to feel lifeless by comparison like a damp Tuesday afternoon on an industrial estate. Millie Manders & the Shut Up don’t have that problem; their recordings already carry the same intensity as their live shows, so expectations for tonight are sky-high. 

Luckily I got there a little early, before the doors even open there’s a decent queue, the band have a loyal following who want to get in down to the front but the support is also drawing people in early.  You know who you're here to see the moment you're in the venue. As you walk in the merch table is serving more than one purpose, it’s there to raise funds for charity, awareness and to promote sustainability, and support social justice causes, you're greeted with a poster to end Reform UK. This isn’t a stunt, or a band jumping on a band wagon, it’s a core belief of the band. A lot of their lyrics call out injustices in the world, tackling Socialinjustice, Inequality, exploitation and Global humanitarian crises. Often criticised for being too political too left or woke. God forbid music has become more political, Joe Strummer will be turning in his grave! If someone singing about genocide being a bad thing upsets you, you have a lot bigger issues to deal with! 

Opening up tonight are a new band to me,  All Ears Avow. These guys are part of the reason the venues already pretty full and a very bold choice. Without being showing and over the top, the came onto the stage and played as if they were the headlining band. These guys should be out there on their own tour, and a hard act to follow. Catchy high energy riffs combined with a friendly down to earth humility its impossible not to like them! 

The now very eager and excited crowd felt a bit like an extended family, easier with a smaller gig, but around me fans kept bumping into people they knew from other gigs or chats online. Sponges with “fun sponge” written on the, named for the song of the same name. A song about killjoys and energy vampires that didn’t fit anyone in the room. Opening up with said song, Millie was off skanking and bouncing all over the stage. Not just a casual use of the verb, this is someone who could give tigger a run for his money, there’s no letting up from start to finish, I was tired just watching. 

Quickly firing through 3 songs from the excellent 2024 Album Wake Up, Shut Up, Work, we get the obligatory welcome and thanks for coming from the band, thanking the support and selling out of the night. In the middle the UK we don’t often get to be the first or last night of a tour, the last night is bitter sweet, itsbeen fun and its sad to bring it to a close, but as it’s the last everything feels dialled up a notch, it’s the last one so it’s a farewell party!  

No set would be complete without Can I Get Off? A politically charged anthem that expresses frustration and despair at the current state of the world. Culminating in Millie standing on the stage risers, or soapbox if you will, chanting Fannie Lou Hamer’s mantra “No one is free until everyone is free!” to thunderous applause. Yes it’s a little preaching to the congregation here, the majority of the fans know what to expect and feel the same, but a voice shouldn’t be silenced while problems continue. 

You have to talk about her voice! Its every bit as good as the albums, managing to cut through the band, with a rawness to it, managing to convey a full range of emotions. You know just be looking at her or how she sings a single phrase if the songs full of anger, joy or hope, fully leaning into heart on your sleave. In amongst the catchy melodic vocals, there’s a smattering of spoken word sections, helping bring out the story aspects of some songs. 

Backing her up is a band just as energetic, with some gorgeous basslines that made my fingers itch to go home and play mine, with runs and passing notes, its Ska with a little edge, leaning more into punk at times to bring in power and aggression. Following the bass, the guitar mixes up traditional chopped ska, opening up to aggressive punk,  switching up strokes to down, opening up the chords. Im not sure the drums where mic’d up last night, or at least didn’t need to be, hitting them, like it was the last night of the tour, the sharpness of the snare cutting out across the stage tying the beat down with fast runs and aggressive cymbals.  

It’s a fantastic night, I love their music and getting to see them live just cements that. Everything is just that bit louder, that bit brighter, that bit more aggressive and wild. Theres a connection between the band and fans, with Millie kneeling out over the crowd singing to specific fans, the request for audience participation isn’t needed, I don’t think the crowd have missed a single word since the first song. Mixed in are the messages from the band, calling on support their fans to support a range of causes, but looking out at the array or Palestine and Trans flags, with shirts calling out TERF,s in the crowd id say the support is there.  I love this band and would happily watch them any day of the week. 

Sadly the tour is now over but after being treated to some new music tonight it wont be long before they're back out on the road, i'll be there and you   better be too, before tickets sell out. 

1.Fun Sponge  

2. Windows  

3. Shut Your Mouth  

4. Angry Side  

5. Silent Screams  

6. Can I Get Off  

7. Age Disgracefully  

8. Glitter Mix  

9. Obsession Transgression  

10 .R.I.P.  

11. Me Too  

12. Break Stuff (Limp Bizkit cover)  

13. Bitter  

14. Your Story  

15. Rebound  

16. Not OK 

Review & Photos - Anya Weston-Shaw

Yard Act brought a packed crowd together outside Brudenell Social Club for a set that balanced chaos, melody, and the band’s ever evolving sound. This all included a surprise poetry set from Phil Jupitus which was rather impromptu but incredibly enjoyable.  

During the Yard Act full album play through the title track “You’re Gonna Need a Little Music” showed just how quickly the new material has connected with audiences even when we haven’t heard the track before.  Truly, the opener “Empty Pledges” immediately set an anarchic tone which I rather enjoyed as the crowd moved freely throughout the set.

“Cherophobe Rock” was an obvious highlight, with much of the crowd singing and dancing along, while “Thrill Of The Chase” carried the same upbeat, danceable energy. “Janey Said” slowed things down slightly before “Redeemer” introduced a darker and moodier angle to the album, leaving the crowd transfixed throughout. “Talky Talky People” leaned further into the band’s newer synth-driven direction, while closing track “Over the Barrel” brought the set back to a melodic and feel-good atmosphere, showcasing the addition of synth and piano textures to the band’s sound.

There were lighter moments too, including a heckler requesting “New York Times,” prompting the lead singer to James Smith to retort, “That’s the name of a newspaper,” before carrying on to other suggestions of an encore. Finally the crowd requested a final track lineup featuring ‘Dark Days,’ ‘The Overload,’ ‘Fixer Upper,’ and ‘Trapper’s Pelts’. All of which felt refreshed and more energetic than the recorded versions, with the band embracing a looser live approach to close out a performance perfectly suited to a summer evening in Leeds.

Chuff Media

Review & photos - Levi Tubman

If you’ve never made it down to the Brudenell in Leeds, you’re seriously missing out. Tucked away in the middle of a student heavy housing filled with takeaways, cafés, terraced houses and crowds of people young enough to make me feel ancient, it’s easily one of the best live venues in the country. But tonight feels a little different. In all my years coming here, I’ve never seen an enormous V8 Dodge pickup parked outside with a “God Bless the USA” sticker slapped across the back window. The students are still here, of course, but tonight they’re vastly outnumbered by a sea of hats Stetsons everywhere, mixed in with baseball caps embroidered with stars and stripes, garage logos, and badges for Ford and Dodge. 

America has come to Leeds tonight. 

Tonight’s support is Meels, hailing from California, bringing her own blend of folk, country and whimsy. Certainly looking the part with a styled mess of blond curls that wouldn’t look out of place on dolly, with blue flares with white stripes ending in a an image of tree covered plains. Approaching the mic, with the wide eyed innocent look of someone just leaving their home town to seek their fortune for the first time she started the first song. The room just fell silent, singing with such beauty and delicacy, even the noise of my shutter feels too intrusive.Fitting in a cover of The Beatles, Don’t Let Me Down better than the fab four could ever do with a killer final note stretched far beyond expectation, she leaves the room hanging on every second before erupting into applause. With heartfelt songwriting and a voice impossible to ignore, Meels delivers an opening set that feels almost impossible to follow. 

As Kaitlin’s band take the stage, there’s a bear of a man, in overalls with no top underneath and a baseball hat, he screams out bass player all day long, but no, picks up a fiddle and joins in the band playing her intro song. Theres no messing around its straight onto the stage grabbing the mic stand and straight down to business. 

While they compliment each other well, it’s a stark contrast to the nights opening act, the music’s energetic and loud, the 4 piece easily filling the room, its not a night of smooth crooning. Never underestimate the power of a simple 4 piece band, its not over the top, there’s no wild effects, or hidden musicians, its tight, practiced and for lack of a better word simple. I say this as I look over and see the fiddle player leant right over playing it between his legs. The band are playful, dancing about with each other, trying to hit each others strings, laughing and playing up at times for the crowd, but never missing a beat, the level of professionalism that gives you the freedom to not look professional, to play about and have a laugh while keeping the music 100% on track. 

Oh course we have some audience participation, covering that American standard, Goodnight Irene, it doesn’t take much to get the audience to join in, and most know the words and are more than happy to join in. Standing a mix of first and second row back from the stage, imclose, but on more than one occasion I can hear the crowd singing over the volume of the PA. The crowd is friendly and fun, everyone is chatting between bands, people are taking photos of each other, strangers asking to get a copy of the set off someone’s phone, there’s no pushing and shoving, its civility without losing the power and energy, civil but still cheering on at the joke of Dead Earl’ing an abusive ex.  

Kaitlin’s voice definitely has that southern twang, a few notes here and there intentionally cracking slightly with raw emotion , stretching out words and syllables, her voice has style and bite, touching on that old outlaw country sound. It feels a little like a performance, slightly theatrical, the story telling is heavy, as good country music is, at times leaning into a simple small town country girl persona.  Theres nothing simple and small town here though, there’s drive and control, carried along by her talent, be it The Grand Ole Opry or European tour, this is someone who sets her sites on a goal and makes it happen.  

Throughout the night her dry humour is given free rein, with sass making its way into various songs, being as playful as she can be vulnerable when singing. For the evenings performance and remember, we shall believe that no Ex’s where harmed in the writing of these songs :D Kaitlin claims, maybe jokingly, she doesn’t write love songs as they’re too hard, but singing about her Ex, who isn’t dead, but is dead to her is still a love song at its core to me, it’s a night of love, betrayal the power to overcome. We were given more insight into the meanings behind the songs, as Kaitlin spoke between performances about their inspiration, the writing process, and the thoughts and emotions that led her to create them. With tales of meeting her peers, and being starstruck, the parts between the songs are almost asimportant, they’re part of the nights performance and the story telling, effortlessly bringing the audience in almost as if were all part of the tale. 

The band leave the stage for a song, while a camera, the tours social manager, is brought forwards to record a solo performance of a new song. Bringing out the simple small town persona again, joking “My label will be so proud of me”  for recording a video, referencing the “old Tiky Toky’s” from a performer that easily knows her way around online promotion, its nice it feels personal and gets a laugh. That’s the night though, everything feels warm friendly and personal, its not audience and performer, everyone’s here together just to have fun. The song, about a man and his wandering eye, with the opening line “Big lips big tits skirt with a split” receives a roaring laugh from the audience, but it also helps to show off the stripped back side, just acoustic guitar and vocals, warm, and full of emotion with a rich tone, it’s as beautiful as it is funny. 

As the night grows to a close were treated to one more cover, after claiming it was written after a less than productive writing session. Starting slow and soft, showing off her voice at its best, the band start up Jimmy Eats Worlds, The Middle. As expected, after the country spun intro the band builds up, bringing it back to its traditional rock roots, but the vocals are silent. In her eagerness to grab the mic from its stand its unplugged, Kaitlin spinning in confusion trying to find where the cable went while trying not to laugh too hard, the band take it in their stride and bring it all back round again for the second attempt, but this time with lyrics mixed with laughter. As the song winds up to its outro, She bows out leaving the band on the stage. 

Left to themselves the band really lean into it. Its louder and a touch more aggressive, full rich sound you’d find it hard to believe there’s just one guitar on, taking the stage as their own, its their time and it sends the show out on a high. It would have done except were treated to the increasingly rare encore, coming back on stage with one more to end finally end the night. 

The Brudenell always brings the best gigs and tonight is no exception. This year ive watched my all time favourite live band, coming up is a band that ive been desperate to see since the 90’s and another I never thought id get to see. But I can say, hand on my heart and a twang in my voice, that no other gig this year will beat tonight. 

Its one of those performance’s that manages to transport you somewhere else, you don’t feel like you're still in Leeds, the band hasn’t come to you, you’ve gone to them and you're in the southern states in a dark club, caught up in the live and tales of Kaitlin and her band. 

Review & photos - Huw Williams

Stripped down from festival scale and big-tour production, this outstore launch show for The Hoosiers’ new album “Compassion” was exactly what these intimate events should be: warm, funny and a chance for fans to really connect with the band.

With around 150 people in the famous Brudenell Social Club, the room perhaps felt a little emptier than the occasion deserved, especially for a band still capable of delivering catchy hooks and polished performance. Yet the sparse crowd almost worked in the band’s favour, giving the night the feel of an intimate conversation between band and crowd rather than a standard promo appearance.

Opening with solo performances of “So High” and “A Sadness Runs Through Him”, Irwin Sparkes immediately reminded everyone just how distinctive his voice remains. His falsetto soared effortlessly, carrying the emotional weight of the newer material beautifully. The chemistry between Sparkes and drummer Al Sharland remains one of the band’s secret weapons too, with the pair exchanging jokes, stories and even a celebratory high-five when Sharland finally joined him on stage.

Wall of Sound recently reviewed “Compassion” and the themes explored there surfaced repeatedly throughout the evening. Sharland’s explanation of the album title was one of the night’s most sincere moments, speaking passionately about the need for more understanding, more common ground and less division. It could have sounded preachy; in the room, it felt very genuine.

Musically, the set balanced old favourites with newer material beautifully. “Cops & Robbers”, “Sleeping With The Light On” and “Jigsaw Heart” all landed superbly, while an unexpected cover of Chappell Roan’s “Pink Pony Club” drew a great reaction. A wonderfully daft “intermission” segment - involving a tape recorder, soundman Lewis and Sharland casually heading to the bar for drinks - perfectly captured the duo’s self-aware humour before Sparkes wandered into the crowd for a heartfelt serenade of “Don’t Hang Your Head”.

A playful snippet of Hozier’s “Too Sweet” during “Worried About Ray” earned knowing laughs, before “Mr A” closed 40 thoroughly enjoyable minutes.

And then, importantly, they stayed. Signing records, chatting with fans long after the lights came up. A classy performance from a classy band.

Sonic PR

Review & photos - John McEvoy

Blue’s appearance at Bradford Live on their 25th anniversary tour was the perfect fit for a new venue that is working hard to establish itself as a major stop on the touring circuit. With support from Mina Simone and 911, the evening leaned predominantly into nostalgia, but it wasn’t all consuming. 

Instead, the night had the atmosphere of a celebration: of polished pop, shared memory and the enduring appeal of songs built to be sung back at full volume. For a crowd that had arrived ready to relive a particular era of British chart music, the line-up delivered exactly what was needed — and, in places, a little more. 

Mina Simone opened the night with a set that worked less as a dramatic curtain-raiser than as a smart warm-up. Her presence gave the bill some contrast, bringing a smoother, more measured energy with a clever mix of pop and operatic pieces and there was a confidence to the performance that was a welcome reminder that support slots can do more than simply fill time. 

911, by contrast, arrived with a clear mission: get the room moving, and they did so with ease, tapping straight into the kind of buoyant, late-90s pop that makes even the most restrained audience loosen up. Their set had charm, self-awareness and just enough humour to win over anyone who may have initially been waiting only for the headline act.

By the time Blue took the stage, Bradford Live was fully engaged. After a 25 year career they know exactly what their audience wants, but one of the strengths of this show was that they did not coast on recognition alone. Their performance throughout was tight, slick and warm-hearted, with an easy rapport that made the large venue feel surprisingly intimate. 

Of course their biggest hits landed hardest, drawing the loudest reactions and turning sections of the set into full-scale crowd karaoke, but the band were at their best when they balanced polish with personality. There was enough looseness in the chat between songs to stop the evening feeling over-rehearsed, while the vocals remained strong enough to remind everyone why these songs connected so powerfully in the first place. 

It felt that rather than presenting themselves as a heritage act going through familiar motions, Blue came across as artists who still understand the emotional mechanics of a pop concert.

What lingered afterwards was not simply the memory of individual songs, but the sense of collective enjoyment that ran through the whole show. 

Blue were the obvious draw and fully justified top billing, delivering a set that was professional, affectionate and frequently exhilarating. Yet I have to say that the full line up should not be overlooked. Mina Simone set the tone, 911 raised the temperature, and Blue brought the night home with confidence. 

As a pop package at Bradford Live, it was hard to fault: generous, entertaining and exactly the sort of crowd-pleasing event that leaves people filing out into the night still singing the chorus.

Review & photos - Levi Tubman

There are two reactions when I tell people who I’m seeing tonight. A fair amount of, “Who, the actor?” But the second, from those who know his music and have seen him live, is one of jealousy. 

Opening up tonight is Irish singer songwriter Colin Andrew. His simple solo set of indie folk is creative and emotional, while his patter is funny, engaging, and charismatic, holding the audience’s attention easily and getting them ready for the main act. 

Following the band onto the stage, Kiefer Sutherland is all in black, tight jeans, a wide-brimmed hat, and shoes without laces. A smart, clean style, very much leaning into the outlaw country look; he wouldn’t look out of place with Kristofferson or Cash. Opening straight away tonight is Down Below, the first of the evening from the new album Grey. It’s a rugged, driving rock number with a nice raw edge, a good sign of things to come. 

While there’s no shortage of original material, the tour has seen its fair share of covers, seamlessly transitioning into an upbeat version of Garbage’s I’m Only Happy When It Rains. It’s a little rockier than the original, and I’d say on par with it. With the vocals a little more set back, it clearly goes down well. 

Addressing the audience for the first time, his voice is deep and gravelly, giving a little backstory to the next track, Goodbye California. The chat is kept to a minimum, but when he addresses the crowd, it’s always tied to a story about the music, clearly a man with a lot to say, but who finds it easier to do so through music, reflecting on his three decades in the Sunshine State. 

A lot of the new album, and by extension the night’s music, is very retrospective. Along with tales of living and moving through the States, American Farmer reflects on the plight of the American farmer after moving to the countryside with his own land. As he touches on being grateful for growing up without the distractions of modern technology with Simpler Time, the number of phones filming the night drops, something I love to see at every gig! Singing about simpler times, the catchy number really drives home the album’s theme. 

Our next cover of the night is a little left field: an almost unrecognisable version of Ozzy Osbourne’s See You on the Other Side. This is more of a reworking than a cover. The big Ozzy sound is stripped back, musically minimal, leaning heavily on Kiefer’s raw, rougher vocal, which suits this version perfectly. The whole tone of the song shifts, it feels more personal and emotional, like a core memory. It’s one hell of a cover that sees the audience watching in silence, caught in the moment. With the greatest respect, it blows the original out of the water. 

It’s not the only time the crowd is shocked into silence, sometimes from an emotional vocal, other times watching the band take control. While his name is on the door, Kiefer seems more than happy to step back, literally, and let other band members take centre stage, often with lead guitar, while he happily plays at the back with the drums and bass. After numerous songs, band members are called out and praised. It feels genuine, while he’s the frontman, he doesn’t let ego get in the way of shining the spotlight around the stage when it’s deserved. 

Made up of seasoned musicians, the band is obviously a tightly run ship, without feeling over controlled or stifled. It’s clear they’re all having fun. Both guitarists are energetic and confident in their styles, at one point trading a dual solo, riffing against each other. The stage is completely their own, with one solo so full of sustain, dirt, and power it feels ripped straight from an arena and just eats up the O2. 

Coming back for the encore, we get the final cover of the night: Phil Collins’ In the Air Tonight. When the vocals begin with restrained instrumentation, it’s hauntingly beautiful. Looking around, whole sections of the crowd have their eyes closed, singing along, lost in the moment, as I found myself more than once during the night. 

The night is brought to a close with another new song, Starlight. Set in a bar as people come and go, swapping tales and connecting with others, it’s introspective but carries a more positive outlook than other songs of the night. It’s about strangers coming together in warmth, in stark contrast to the bleakness of American Farmer. It rounds the night off perfectly, we’ve had covers, and with the new album, hardship, regret, and a little bleakness. It’s fitting to end like this, because through it all, there’s always hope. 

This isn’t some Hollywood flash in the pan fad. Four albums in, it’s clear Kiefer Sutherland loves the music and loves getting out on the road to perform it. Someone who’s made his living telling stories on TV and film has found a seamless transition to telling them through music. With well written, catchy songs, often raw and emotional, set against covers that either trade blows with or surpass their originals, it’s a fantastic night of solid Americana with the perfect amount of added grit. 

Setlist:

1.  Down Below  

2.  Only Happy When It Rains (Garbage cover) 

3.  Goodbye California 

4.  Something You Love 

5.  Come Back Down 

6.  Can't You See (The Marshall Tucker Band cover) 

7.  Ole' Lonely Life 

8.  Chasing the Rain 

9.  American Farmer 

10.  Simpler Time 

11.  See You on the Other Side (Ozzy Osbourne cover) 

12.  Love Will Bring You Home 

13.  Two Stepping in Time 

14.  This Is How It's Done 

15.  Down in a Hole 

16.  Friday Night 

17.  Agave 

Encore:  

18.  In the Air Tonight (Phil Collins cover) 

19.  Starlight 

Sonic PR

Fear PR

Review & photos - Liam McEvoy

Bathed in warm sunshine across the grounds of Temple Newsam, Slam Dunk North 2026 delivered a day that perfectly captured the energy and diversity of the modern alternative scene. With packed stages, strong performances throughout the lineup and a lively atmosphere from start to finish, the festival once again demonstrated why it remains one of the UK’s standout live music events.

Early in the day, Set Your Goals brought a sharp burst of energy with a fast-paced set full of driving riffs and crowd-friendly choruses. Their performance immediately engaged festivalgoers and helped establish the momentum that carried throughout the day.

Cartel followed with a polished and confident performance, delivering a strong set that connected well with the growing crowd gathered in the afternoon sun. Their melodic sound translated effortlessly to the festival environment and maintained the upbeat atmosphere across the site.

A more serious moment arrived during Boston Manor’s set, which was unfortunately cut short due to a crowd injury. Both the band and festival staff handled the situation professionally and with clear concern for attendee safety, and the audience responded with patience and understanding throughout the interruption.

One of the standout performances of the weekend came from The Home Team. Blending infectious hooks with funk-influenced rhythms and explosive heavier sections, the band delivered a set filled with confidence and charisma. Their stage presence was exceptional throughout, and the audience response only intensified as the performance progressed, cementing them as one of the highlights of the festival.

Despite still being a relatively new act, President attracted one of the largest and most curious crowds of the day. The masked performers brought a darker and more theatrical atmosphere to the lineup, with anticipation around the band clearly translating into significant audience interest. Their set carried a sense of momentum that suggested a band rapidly building attention within the scene.

As the evening progressed, Bury Tomorrow injected a much heavier energy into the festival. Their performance was technically sharp, relentless in pace, and driven by a crowd fully invested from the opening song. The balance between aggression and melody translated exceptionally well in a live setting.

In contrast, Sublime provided a more relaxed and celebratory atmosphere with their signature reggae-infused sound offering a welcome shift in tone during the latter part of the day. Their laid-back style perfectly suited the warm weather and open surroundings of Temple Newsam, creating one of the most enjoyable and easy-going sets of the festival.

Closing the festival, Good Charlotte delivered a headline performance centred around huge crowd participation and polished live production. From the opening moments, the audience responded enthusiastically, with every chorus met by a sea of voices across the field. It provided a strong and fitting conclusion to a festival that consistently maintained its energy across the entire day.

Overall, Slam Dunk North 2026 successfully balanced established names with emerging talent, all against the backdrop of excellent weather and a vibrant festival atmosphere. From high-energy performances to standout breakthrough moments, the event once again reinforced its place as one of the UK’s premier alternative music festivals.

Review & photos - John McEvoy

There is a particular kind of artist who can make an arena feel smaller than it is, and Dermot Kennedy has become one of the best in the business at doing exactly that. At Leeds’ first direct arena on Tuesday night, the Irish singer-songwriter turned a huge space into something that often felt intimate, confessional and quietly intense, without ever losing the scale required for a headline show of this size. 

Following the release of his new album ‘The Weight Of The Woods’, this was billed as one of the key stops on his 2026 tour, and the sense of anticipation within the arena  suggested an audience ready not only for the big singalongs, but for the emotional release that Kennedy’s songs tend to invite. Before he appeared, support came from fellow 6 piece Irish act Amble, whose stripped-back folk sound proved a smart and sympathetic choice. 

Their set did not try to overwhelm the venue and with warm harmonies, acoustic textures and an easy sincerity, Amble created an opening mood that felt thoughtful rather than disposable. In an era when support slots can sometimes feel like background noise for latecomers and bar queues, they managed to command proper attention, winning over early arrivals with songs that carried a lived-in honesty and an unforced charm.

Kennedy’s entrance was met with the kind of roar that only comes when a crowd feels deeply invested, and he responded by leaning into the qualities that have made him such a compelling live performer: rawness, control and the ability to move between fragility and force in the space of a single line. 

His voice remains the centre of everything. On record, it carries grit and ache; in person, those qualities are amplified, with the added thrill of hearing him stretch phrases, hold back a note, or let a chorus break open just a fraction more than expected. What stood out most was how naturally he balanced the theatrical possibilities of an arena show with the emotional directness of his songwriting. 

Even when the arrangements swelled and the lighting broadened the songs into widescreen drama, the performances never felt over-designed. The audience, many of whom sang every word back to him, helped create a shared atmosphere of catharsis rather than spectacle for spectacle’s sake. Kennedy has always understood that his strongest material works because it sounds like it has been lived through, and in Leeds that sense of emotional credibility gave the night its backbone.

That is not to say the evening was entirely hushed or reverent. Kennedy and his band clearly understand pacing, and the set was structured to provide lift as well as reflection, with surging percussion, full-band crescendos and enough dynamic contrast to stop the emotional intensity from becoming one-note. The production, while polished, was effective precisely because it did not distract from the songs. Instead, it framed them, giving the biggest moments extra reach without drowning out the human detail at their core. 

If anything, the most impressive aspect of the performance was how confidently Kennedy now occupies this scale. There was a time when his music seemed best suited to theatres and festival twilight slots; now he looks completely at home in an arena, not because he has altered his instincts, but because he has learned how to project them further. 

Amble’s thoughtful support set laid the groundwork beautifully, and Kennedy followed with a performance that felt both expansive and personal. In a venue built for grand statements, he delivered one of the strongest kind: a show that trusted the songs, trusted the audience, and left Leeds feeling like it had witnessed not just a successful arena date, but an artist fully matured and now ready to take on the world!!

Chuff Media

Reviewed By Neil Milner

Photos - Wendy Nicholson

There are nights when a band you’ve never quite “got” suddenly makes perfect, thundering sense. Spear of Destiny’s Leeds Brudenell show was one of those evenings: muscular, loud, unexpectedly moving, and delivered with the kind of conviction that makes you reassess everything you thought you knew about them.

The night opened with Dollface Reunion, an eclectic and tight outfit along with excellent musicianship. They were followed by Cheeks, a US outfit who didn’t quite match the opener’s spark but still held their own. Both bands were refreshingly punctual, no theatrics, no faffing about, just straight into it.

But this was Kirk Brandon’s night. He’s nearly 70 by the way! How did that happen? The last time I looked in 1987, he was merely … erm … 31! I contrasted this with memories of my grandfather at 70. He had more of a Greenwoods acrylic slacks, cardigan and flat cap look. He certainly wasn’t a senior rock adonis, playing epic punk rock songs in front of 100s of people! In my imagination, human evolution never seemed so dramatic, apposite, and welcoming, although I confess to finding it hard to let the flat cap look go.

Brandon strode onstage with the presence of a man half his age and twice his voltage. His vocals were astonishing: at times a soaring, operatic bellow; at others a vulnerable war cry that genuinely caught the breath. The band played with a punk‑inflected power‑rock force, often anthemic, that felt both timeless and defiantly alive.

The setlist was a generous sweep across Brandon’s career. They opened with Young Men and Rocket Ship, brutally easing the crowd into a 90‑minute performance that grew heavier, louder, and more communal as the night went on. World Service and Liberator triggered huge audience participation, moshing to Liberatorno less, while Undertow and These Days Are Gone landed with unexpected emotional weight.

The real revelation was Age of Unreason, unbelievably good and blistering. It would have nicely fitted in with the Joy Division canon. Talking of which, a bold cover of Transmission proved they could channel that energy without slipping into imitation; the crowd absolutely devoured it.

By the encore, with Mickey and Liberator, the room was a swirl of sweat, nostalgia, and ageing punks doing their level best to keep up. Some didn’t quite make it to the end, (‘after 11pm’ was apparently a bridge too far), but those who stayed witnessed a finale that closed with Brandon exclaiming a short, simple, resonant message about freedom.

I arrived indifferent. I left converted. Spear of Destiny were, quite simply, excellent.

Links:

Kirk Brandon

Spear of Destiny Setlist

Facebook

Instagram

Review & photos Mikee Downes

Let’s Rock Huddersfield is basically what happens when you take the entire soundtrack of your youth, crank it to eleven, and drop it into a football stadium full of people who’ve decided that today is the day they relive their glory years — dodgy knees and all.

The Line‑Up:

A Who’s Who of “Oh I Remember Them!”

Marc Almond, Tony Hadley, Kim Wilde, Jason Donovan… honestly, it’s like someone raided the Top of the Pops archives and said, “Yep, that’ll do.”

Every time a new act walked on stage, you could hear at least one person in the crowd shout, “I LOVED THIS ONE!” — usually before remembering they can’t actually hit those high notes anymore.

Atmosphere:

Pure Nostalgia, Zero Shame

The crowd? A beautiful mix of neon, glitter, and people who absolutely should not be attempting the splits anymore but gave it a go anyway.

The karaoke tent alone was worth the ticket price — imagine a man called Dave absolutely sending it on “Gold,” and you’ve got the vibe.

The Venue:

Huddersfield Accu Stadium, But Make It Retro

The pitch was full of dancing, the stands were full of people pretending they were “just resting their legs,” and the whole place smelled like festival food and warm nostalgia.

Being able to wander between the two made it feel like a choose‑your‑own‑adventure book, except every option ends with you singing along to Nik Kershaw.

Value for Money:

£50 for 10 hours of ’80s icons?

Honestly, that’s cheaper than a night out in town — and far fewer regrets the next morning. Well… fewer regrets for some.

Final Verdict:

Let’s Rock Huddersfield is gloriously unpretentious, joyfully nostalgic, and just cheeky enough to make you forget you’re technically old enough to remember all these songs the first time around.

If you want a festival where the vibe is “good tunes, good company, and absolutely no judgement,” this is your place.  

Review & photos - Chris Nutton

Wall of Sound is back again for another season of music, kicking off the 2026 summer vibes. Up first, I headed up to the Scarborough Open Air Theatre to review the Brit Award-winning global superstar Rick Astley with support from the Lottery Winners, and the Covasettes. 

This was my first time at the Scarborough Open Air Theatre, and I was very impressed with the set-up but did worry that if any rain was to come, the show would be ruined. Luckily, no one needed any waterproofs for this one, and the show wasn’t spoiled; the Scarborough weather was truly on the fans' side tonight. I love the massive open-air display of this venue with easy access to everything you need and not having a bad seat in sight to watch the stacked lineup of acts the facility has for this summer. 

Back to the show itself, and we kicked things off with Covasettes, an indie rock band based in Manchester, who since their debut record  ‘This Feeling’ have skyrocketed in the indie UK music scene and recently earned the ChaDream 'mber 1 Award after they released their new album - ‘Honeymoon Forever’. Since last months release it hit the number 1 album on the official download charts and feels they’ve well established themselves as a big hitter in the Manchester and indie music scene - they began their set list with one of their newer songs Duvet Thief, which was a great warm up for the crowd and keeping them entertained as there was still a long time to wait until Rick and the Lottery were performing. 

After that, the band made their debut with a few new tracks off their recent project, which the audience took to straight away - songs like ‘Love in Polaroid ', ' Such a dream and outta here were very big hits and instantly popular amongst the fans. To conclude, I think Covasettes did a great job with their opening performance; their vibrant indie sound and young charismatic humour on a hot Scarborough day was the right way of getting the crowd in the mood not just for Rick Astley but for the start of a long warm summer. 

Up next we had The Lottery, which were, in my opinion, the standout artist. I thought they were fantastic in their performance and instantly became a fan favourite with the older audience that was present at the gig, but also captured a lot of the younger audience's heart with their relatable music messaging and funny fan engagements. The frontman, Thom Rylance, stole the show for me with his humorous energy, having the audience laughing and in tears across their set list. The band played a range of hits from their music catalogue - starting with the Worry, You Again, Letter to Myself and Steady We Go. 

There  was already a big amount of support for the band scattered across the audience tonight despite them not being the main headliner but the more this performance went on the bigger this audience grew, by the end of their performance everyone was up off their seat for the incredible and charismatic performance the band showed across their time on stage and despite only being at the first show of the 2026 summer lineup, this will be a standout performance and one to remember for a long time. 

And finally! What everyone has been waiting for, the main event has arrived, Mr Rick Astley. An absolute favourite with this Scarborough crowd from previous performances, Rick always mentions how he loves coming back to this venue, and you can tell with this excitement and funny interactions with the crowd and saying hello to regular staff members at the venue, it was already tipped to be a fantastic performance by the 60-year-old sensation. For 1hr and 20 minutes, the audience got a treat of everything Rick Astley had to offer, from 80s classics like ‘Together Forever’ and ‘Never gonna stop’ to more recent releases like ‘Waiting on You’ and ‘Raindrops’. 

When I say this show had everything, I mean everything - Rick also performed a ton of different covers across his set list, with his backing vocalists showcasing their excellent vocal range whilst Rick either sat back or took over the responsibility of the band's drummer. The band's first cover was ‘Where Is My Man’ by global superstar Raye, followed up by the timeless classic Oh Pretty Woman ' by the incredible Roy Orbison, and then a surprise performance of Highway to Hell by AC/DC, which was something I was not expecting, but I loved it. 

Of course, after all those tracks and covers, Rick ended on his all-time classic ‘Never Gonna Give You Up’, the track everyone was waiting for, which did not disappoint, as the whole audience was up, dancing, and singing every single lyric to one of the UK’s all-time classic tracks. 

Overall, the night was fantastic and a brilliant first show to kick off the venue's stacked 2026 summer wave of acts and most certainly set the bar high for everyone to follow on from. What a huge night for Covasettes, The Lottery and Rick Astley with an impressive performance to a sold-out show- one that all these artists will be looking forward to seeing again and performing in Scarborough gh in the future. 

Rhodes Media

Cuffe & Taylor

Review & photos - Levi Tubman

A couple of weeks ago I said I’d just been to the best gig of the year that couldn’t be beaten… 

Tonight, in a dark hot crammed gig in Sheffield, Masca effortlessly proved me wrong with one of my favourite gigs of all time. 

After reviewing their fantastic album, Love Letters, I reached out to request coverage of their live show, mostly as a new fan of their work, but in part to see how they recreate their unique sound in person.  

The Factory inside Sydney & Matilda's is a new venue to me, and being from Yorkshire, I appreciate how literal the name is. Housed in an old paper factory within the grassroots music and arts space on the corner of Sydney Street and Matilda Street, nuffsaid. Its intimate warm and welcoming, with brick walls, and old factory enamel lights, its oozing character, and maybe lead paint. 

Opening tonight are Leeds quartet, No Cameo. I’ll admit being a little left field, it took me a couple of songs to get them, but they’re technical fast paced and precise. At times it feels like each member is doing something a little different with everything that’s going on, nothing is run of the mill indie, its punchy post punk, with a hint of madness, not just because at the end the singer was topless hugging someone in the audience after rolling on the floor! The sort of opener that blows away the cobwebs, giving a wakeup call that brought people through the doors. A band I hope to see more of. 

As the band start to set up on the stage the first thing you notice are the pedal boards, I noticed other musicians looking over discussing and taking note, with a couple googling various unusual pedals, technology definitely plays a part tonight, but more on that later. 

First track of the night is Oxytocin, for me the standout track on the new album and one I expected to be towards the end of the set. Wonderfully dreamlike, with the vocals taking on a powerful but softer falsetto feel on the chorus, as the drums, bass and guitar come in heavy with a contrasting, dirty gritty tone in the tight venue it’s an encompassing sound. 

Quickly following this up with I Got Away, with probably the catchiest hook of the night, with a very retro feel, with a touch of swing, your brain mentally inserting Do wop girls clapping in the background. This sums up a lot of the band, using modern technology to create their musical sound, with vocals often a more classic sound from decades past. 

This isn’t a band that’s driven by stark technology, but instead use it creatively. Each song seems to have its own guitar and bass sound, with the with a range of pedals being switched constantly between tracks, bringing a low, classic growl, or screaming highs, but still driven through valve amps to help bring that warmth. In place of a rack tom is what looks like a Roland sampling pad, used to bring in a range of percussion adding to the already mighty drums. 

The only time the tech causes any issues is while Christina is talking about AI and that music and musicians are imperfect and should be imperfect, timing itself perfectly to help prove the point that, music, especially live, should be imperfect. Easily laughed off by the audience and band, it just serves as a funny little moment between the two. 

There’s a few standout tracks of the night, the groovy bass of Doing What I Want, rattling around the room while bassist Ben’s body seems stuck to the spot while his head arms and legs cant seem to stay still as if he’s on a hook, while drummer Jack, with some classic facial expressions, has the kick and snare punching you in the chest, while the guitar and vocals go from light and picked to screaming through the heavy rhythm, I’m jostled side to side by people whose feet seem to have been taken over by the rhythm. 

Rounding off the night with Stage Fright, it seems hard to believe any of the trio have the issue. While they say “comparison is the thief of joy” there are some middle sections that wouldn’t sound out of place on Rush’s Moving Pictures. Showing off Tinas unique vocals to their fullest, its clear the audience are left wanting more.   

It’s a night of atmospheric, melodic, high energy alt pop rock, packed with catchy hooks and made even more engaging by the intimacy of the minimally lit venue with no barrier separating band and audience. Every song is delivered with precision, showcasing a beautiful range of sounds, textures, and rhythms. 

In an era dominated by stadium tours, I still believe the best music experiences are found in smaller venues. While many established acts are asking fans to pay £100 or more to hear the same hits once again, and of course, if you love a band, you should absolutely see them when you can, for the same price you could catch artists like Masca and No Cameo ten times over. 

This is a band destined for bigger stages. They’re clearly going places, but I feel lucky to have seen them in a packed grassroots venue. Do yourself a favour, check out their music and catch them on their next tour. More importantly, support emerging artists, buy their merch and records, and discover the incredible new music the UK scene continues to produce. 

Setlist :

1. Oxitocin 

2. I Got Away 

3. Love Letters 

4. Sucker 

5. Unsure 

6. My Company 

7. Sweet Tooth 

8. Up To You 

9. Do What You Want 

10. Elevate 

11. Stage Fright

Major Transmission

Review & photos - John McEvoy

DonnyFest 2026 arrived with the kind of confidence that suggests a festival coming properly into its own. Held at Eco-Power Stadium in Doncaster, the one-day event leaned into its identity as a big, accessible regional festival: large enough to feel significant, but still rooted in local pride and community atmosphere. 

With a lineup led by Jamie Webster and strong support from Ash, Sea Girls, The Magic Numbers, Lucy Spraggan, Newton Faulkner and ADMT, and many others, the day had genuine variety, moving from singalong indie and acoustic intimacy to a more high-energy dance option. 

The lineup was one of DonnyFest’s clearest strengths. Jamie Webster was an inspired headline choice, bringing the sort of anthemic, crowd-led energy that can transform a large gathering into something that feels personal. His songs are built for open-air choruses, and on a bill like this he offered exactly the kind of closing statement a growing festival needs. 

Earlier in the day, Ash and Sea Girls gave the main stage a sharp indie backbone, balancing nostalgia with freshness, while Newton Faulkner’s presence across the festival added variety and musicianship. The inclusion of local artist ADMT also mattered: it reinforced that DonnyFest is not only importing recognisable names but trying to champion talent with a meaningful connection to Doncaster and South Yorkshire.

Special mention must also go to Lucy Spraggan and The Magic Numbers who for me were highlights of the day. 

One of the festival’s most appealing features is its mix of spaces and moods. The main stage delivered scale and spectacle, while the acoustic offering promised a more relaxed counterpoint, giving the day a sense of movement rather than monotony and that matters for a one-day event: without the luxury of a long weekend, every band/artist has to count. 

DonnyFest’s blend of bands, acoustic sets, DJs, food traders and a fun fair ticked all the boxes. It’s easy for festivals chasing growth to become overstuffed or unfocused, but on what I witnessed today, DonnyFest seems to have avoided that trap by keeping its identity simple: a broad, crowd-pleasing celebration of live music with something for different age groups and tastes.

There is also something refreshingly practical about the festival’s setup. Easy access to the stadium location is another factor that works in its favour, and pre event ticket sales reported a healthy number of people coming to the event. Whilst the pitch where the main stage was situated was never completely full, you had to bear in mind that there were also large number of people who were elsewhere such as the acoustic and dance tents outside the actual stadium. 

It was good to see that this event also catered for all-ages, and the organisers should be praised for creating what was an essentially enjoyable experience for all. 

Oh, and thankfully the weather gods were on our side as well, as whilst it wasn’t a scorcher, thankfully the rain held off!!

A good festival is not judged only by its headliners, but by whether people can move around easily, find decent food, and enjoy the day without feeling that the basics have been neglected. In that respect, DonnyFest’s reputation seems to be built on organisation and accessibility as much as music, and that combination may be its biggest asset as it expands.

The only note of caution I would mention is that as this event continues to grow, a stronger ticket demand and a more ambitious lineup all raise expectations for future events and for me at least DonnyFest seems to sit in the  space between local institution and wider regional/national contender, and the challenge will be to preserve its  warmth and uniqueness as it grows. 

However, based on the 2026 festival, it looks well placed to manage that transition.

Overall, DonnyFest 2026 was a quality one day festival that had an eclectic line up, was family friendly and created a welcoming atmosphere, and in an increasingly busy summer schedule of festivals, for me at least, that counts for a lot. 

In summary, DonnyFest 2026 was not just a successful day out; it was a persuasive argument for why this festival deserves to keep getting bigger.

Roll on 2027!!

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

Update...

At the time of posting this review, I can tell you that the date for 2027 has just been announced, so make sure you add the 5th June 27 to your calendar and you can get your early bird tickets here

Review & photos - Graham Wokes

At the Piece Hall it was the turn of Madness to hit the stage for their second night of entertaining Halifax, also on the bill they would be joined by The Skints and Hollie Cook.

The previous evening it had been pouring rain, so a fine cloudy night was a relief and welcomed by all.

Prior to the gates opening Halifax was buzzing with anticipation, vendors on street corners doing their best Derek Trotter salesmanship with shirts, hats & other paraphernalia, porkpie hats & braces are the staple diet of the ska community but by far the best seller was red & yellow fezzes, in a quantity not seen since the Ottoman empire.

The gates opened & a steady flow of eager fans welcomed The Skints to the stage, a four piece band of Jamie Kyriakides, Joshua Waters Ridge, Jonathan Doyle and the multi-talented Marcia Richards. 

Originally getting together at high school they have come a long way doing the hard yards gigging around the London suburbs, they moved on to the rest of the U.K. before taking on the States, Canada & across Europe, now a regular on the reggae/ska scene their dance inducing music was a hit which oozed quality & was very enjoyable, it certainly started proceedings on the front foot.

The forthcoming "Sour tooth tour" sees them at the wardrobe Leeds in the autumn and I think it'll be worth a visit.

Then it was time for Hollie Cook and as she entered the stage it was clear to see that she carries glamour & cool with equal measure, along with her band General Root. 

They brought out a mix of reggae, ska, dub & post punk music which took things up another level. An excellent performance showing stage craft along with incredible vocals which enhanced the party mood.

Hollie is clearly well on the way to reaching the dizzy heights in the industry & no doubt will be headlining herself sometimes soon, playing at the shambala festival at Kellmarsh later in the year will bring more of a following and notoriety. 

Now it was time for ........ Madness and the "The Hit Parade Summer Showtime Show Tour "

Anyone who's not been stuck on another planet will know exactly what you get with Madness. Hi octane hit after hit with a side serving of fun, the energy of Lee "Kix Thompson was a driving force, his horn blowing and shenanigans just upped the ante, the more energetic he got the more fun was had.

From "One step beyond" to "Night boat to Cairo, 19 songs that mapped a history of one of the U.K.'s most love bands over the last 40+ years. As expected, they did what they always do and more, making doubly sure the fan's went home on a total high.

Respect for their tribute to David Hockney one of Yorkshire's own, which was a nice touch from the guy's.

A 20-date tour may seem small to some, but it's all about quality not quantity, and  once you've reached your sixties you've earned the right to do it on your terms. 

Madness do that with no half measures!!

Rhodes Media

Cuffe & Taylor

Review & photos - Chris Nutton

Wall of Sound is back once again with the next act to follow on from the incredibly stacked lineup the Piece Hall has over the 2026 summer wave it is non other then local sensations Embrace who take to the stage for their 3rd time at the Piece Hall in front of a sold out local crowd. 

Not wanting to sound biased at all as this is the most local music venue to me but I love it, it’s so unique not just in it appearance but with what it offers and how unique it makes the music gig experience to not only fans but to the artists as well which is why you see more and more legends like Embrace, Tom Jones and Madness book shows to come back to the Piece Hall all the time. It is a very special that I am always happy to cover and do a review on. 

Anyways, back to the music, up first was The Hazy Jane’s - a Dundee Indie pop band who tbh I didn’t think I wasn’t going to enjoy as much as I did because normally I don’t do well with indie music in general but wow I was so wrong about this band. From minute 1 for 40 minutes they got the energy going in the small crowd that came and supported them. I thought the mix of hard rock to slow indie pop really grew on me the more this performance went on and made me change my perception of the genre a lot and to give it more of a chance in the future. Some of the songs that were highlighted for me were Introverted Masquerade Blues with that hard hitting bass introduction and the song Crawlers with the intense start with the warning chant and then straight into that dirty guitar rift. Overall, an amazing band that grew with the crowd more and more during their performance and got them moving as the weather was not on the audiences side with the cold Yorkshire weather. 

Moving on we then had Idlewild - another Scottish band specialising in rock which a little more up my street and throughly enjoyed this set from them. They began with their  hit songs You Held the world in your arms and like I had before which the crowd fell in love with from the off. Especially the front of the crowd during my time in the photo pit, this didn’t feel like an embrace concert - at one point it felt like Idlewild was the headliner because of how much support and fans they had in the audience at tonight’s show it was brilliant to see their reactions to show many fans and what looked like familiar faces in the crowd. I could feel this energy from minute 1 when they came out and played their first few songs - You held the world in your arms, like I had before and little discourage - these guys have a very local fanbase and it was shown tonight across the crowd but most notably the front section next the photo pit. I thought the band was awesome from start to finish with their mix of Indie rock style taking over the Piece Hall fan base and more making a statement of them potentially being a future headline act at the Piece Hall… we shall we and see. 

And finally we have the main event, Embrace- the local boys are back in their town for the third time to a sold out crowd. They began their set list with a black and white videos of the group back stage with the Louis Armstrong track: what a wonderful world which I thought was a nice opening, looking like they’ve been gone for a while and missed the local fans a lot. As soon as the videos ended they took to the stage and started off with a bang with the song All you good good people. The main singer, Danny McNamara felt like he was in and part of the crowd with the amount of times we was reacting with them and hyping the crowd up, I’ve never seen a main singer interact with the crowd so much but I loved it and was here for it. 

The band have just released their new album Avalanche and what better way to debut their records then at the Piecehall - I’m a big fan of this record with its mix of fast and slow rock tracks give it a great mix and taste for the fans to enjoy - songs like Road to nowhere, stop, up in your feelings and Emily all being released only yesterday but people already knew every lyric which to me was mental. It’s hard to put into words how much this band is loved locally in Yorkshire and this sums it up with the crowd being so lively and interactive with this performance. 

It was such a great side to see and showcases another brilliant hire from the Piece Hall once again in their 2026 line up. A brilliant night for everyone present and thank you to the Piece hall for having Wall of Sound once again to cover an amazing live performance which i am sure we’ll be seeing and reviewing plenty more over the summer. 

Embrace 2026 Piece Hall Set List 

1 - All you good good people

2 - Road to nowhere

3 - One big family 

4 - Some day

5 - Looking as you are

6 - We are it 

7 - Save me

8 - Pure o

10 - Stop 

11 - A glorious day

12 - Coming home

13 - Refugees

14 - Up in your feelings

15 - Gravity (Coldplay cover)

16 - Ashes 

17 - Exploding Machines

18 - Emily 

19 - The love it takes 

20 - Come back to what you know

21 - The good will out

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Cuffe & Taylor

Review & photos - John McEvoy

With Miles Kane providing a sharp, high-energy opening set, Paul Weller returned to Halifax’s Piece Hall which for those of you who don't know, is a spectacular open-air courtyard and reminded a sold-out crowd why he remains one of British music’s most compelling live performers.

There are some artists whose arrival still feels like an event, no matter how many times they have toured, recorded or reinvented themselves. Paul Weller is one of them. Back at The Piece Hall on a sunny Sunday night, playing to a packed crowd in one of Yorkshire’s most atmospheric live settings, he looked every inch the elder statesman of British guitar music — but never in a museum-piece sense. 

What made this show so impressive was how alive it felt: not a greatest-hits trawl, not a nostalgia exercise, but a performance built on movement, contrast and absolute conviction.

Before Weller took the stage, Miles Kane proved an ideal choice of support. All sharp lines, quicksilver charm and unforced swagger, Kane warmed up the Halifax audience with a set that balanced punchy immediacy and melodic confidence. He never overplayed the role, but he certainly raised the temperature. By the end of his set, the crowd had shifted from early-evening milling about to full engagement, and the sense of anticipation around the courtyard had noticeably thickened.

That anticipation was rewarded the moment Weller and band launched in. Reviews from earlier gigs had suggested that tonight was going to be a sprawling, career-spanning set, and we were not disappointed. This was not a gig obsessed with obvious sequencing or easy applause lines. Instead, Weller trusted the breadth of his catalogue. 

Newer and deeper cuts sat alongside solo staples, while selections from The Jam and The Style Council were folded in naturally rather than paraded as trophies. It made for a show with real shape: the tougher, more rhythmic material giving way to moments of tenderness, reflection and uplift.

Playing in front of large crowds can sometimes feel impersonal, but the Piece Hall’s enclosed stone architecture gives big shows an unusual intimacy, and Weller knows how to work a space like this without fuss. There is no great need for hyperactive crowd-baiting when the songs, the band and the atmosphere are doing the work. 

His opening greeting — promising “a long old set, we could be her for days” along with “something for everyone” — turned out to be a fair summary of the night. The set was made up over 30 songs for the best part of two and a half hours,  and yet it rarely dragged. 

That is partly down to Weller’s instinctive pacing, but also to the quality of the musicianship behind him: arrangements that could sound forceful and expansive one moment, then nimble and detailed the next.

Highlights came thick and fast. “You Do Something To Me” brought one of the evening’s warmest responses, while “Wild Wood” had the kind of communal sway that only a seasoned catalogue can produce. Elsewhere, “Broken Stones”, “Peacock Suit”, “Shout To The Top” and “A Town Called Malice” gave the crowd the release points they were waiting for, but crucially they did not dwarf the rest of the set. 

That is Weller’s enduring strength as a live act: he never behaves as if the famous songs are all he has. Even when he reaches for the classics, he does so as part of a bigger musical argument, one that says growth and legacy can comfortably occupy the same stage.

What also stood out was his command. Weller does not perform with the showman’s need to constantly explain himself, and he remains slightly aloof in the most effective way: not cold, but focused. That restraint gives the songs more authority. 

At 68, Weller remains that very rare thing, an artist with a monumental back catalogue who still performs as if the point is discovery rather than preservation. 

In Halifax, supported by an excellent Miles Kane and framed by what is quite rightly becoming one of the countries summer’s best venues, he delivered a show full of style, purpose and range. 

For longtime fans, it was a reminder of just how deep his songbook runs. For anyone arriving chiefly for the old favourites, it was proof that Paul Weller’s value has never rested on nostalgia alone. This was a concert of substance — generous, classy and often thrilling.

I can’t wait to do it all again, very soon I hope!!

Rhodes Media

Cuffe & Taylor