ethel cain
Piece Hall, Halifax - 20th June 26
Reviewed by Huw Williams
Photo courtesy of Rhodes Media
Three years ago, Ethel Cain stood on this very stage as support for boygenius. Even then, the Floridian singer-songwriter inspired an impressive level of devotion, particularly for an artist still on the rise. Returning to The Piece Hall as a headline act, that devotion has only intensified.
From early in the day, fans queued around Halifax to secure their spot at the barrier.
That might sound competitive, but it misses the point entirely. An Ethel Cain crowd is one of the most welcoming and inclusive you'll come across. People arrive as their authentic selves, creating an atmosphere of warmth and acceptance that feels all too rare these days. Of course, that doesn't mean a lack of effort. The courtyard becomes a living scrapbook of Cain's career, with outfits referencing different eras and releases. Most striking are the blood-soaked tributes to Preacher's Daughter, bringing the album's mythology vividly into the Yorkshire evening.
The production matches the occasion. This is among the most elaborate stage sets I have personally seen at The Piece Hall. Multiple risers ensure every member of the band remains visible throughout, while broken fencing, overgrown grass and twisting ivy create a world that feels Southern Gothic and post-apocalyptic. There's a faintly dystopian quality to it all, but it perfectly serves the atmosphere Cain has spent years constructing. Crucially, it also means she remains visible from every corner of the venue.
What follows is a masterclass in dynamics. Cain is an accomplished storyteller, but the live setting adds another dimension to songs that already feel cinematic. A House in Nebraska lands with heartbreaking intimacy, thousands of voices hanging on every word. Elsewhere, Janie arrives with a rougher edge, leaning into grungey textures that reveal their versatility.
One of the evening's highlights comes during Willoughby's Interlude, the crowd enthusiastically shouting lyrics back towards the stage. It's a reminder that these songs have long since ceased belonging solely to Cain. They now live collectively among her audience.
Newer material continues to impress. Dust Bowl swells into a huge rock crescendo, the arrangement building layer upon layer of tension before finally breaking open. For me, the night's defining moment belongs to Ptolemaea. It’s an overwhelming piece of music. The slow accumulation of dread before the song explodes into repeated blasts of red strobe lighting. The effect releases the tension that has been building for minutes. It's powerful, it’s theatrical. It’s completely absorbing.
The set closes in similarly emotional fashion, with recent shows on the tour ending via the encore pairing of Crush and Sun Bleached Flies, providing both euphoria and reflection in equal measure.
Three years after supporting boygenius in the same courtyard, Ethel Cain returns transformed into a genuine headline force. The songs are bigger, the production grander and the audience larger. Yet the sense of community remains unchanged. Fanatical followers, beautiful togetherness and total inclusion. In a world increasingly defined by division, Ethel Cain has built a space where everyone belongs.
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st etienne / belle & sebastian @ piece hall, halifax - 21st
Get Your Groove On
Reviewed by Neil Milner
Photos by Dave Flerin
On the longest night of the year, Scottish indie behemoths Belle and Sebastian turned Halifax’s Piece Hall, that Grade I listed Georgian neoclassical jewel that every artist seems compelled to admire, into a sanctuary of nostalgia, romance and quietly subversive indie charm.
Lead vocalist Stuart Murdoch, playing the playful historian, even reminded us that people were once “guillotined for slight misdemeanours” here, which perhaps explains the band’s determination not to breach the 10.30pm curfew. They wrapped the night up with Sleep the Clock Around, slipping across the finish line with seconds to spare!
The night centred on celebrating 30 years of If You’re Feeling Sinister, a record whose eccentric melodies and refined vocals still possess a charm that feels untouched by time. Hearing the album performed in full in the Piece Hall’s open‑air courtyard felt like a small cultural alignment, a record steeped in bookish melancholy and conversational wit echoing around a vast Georgian square built for the trading of cloth and ideas.
From the opening swell of The Stars of Track and Field, the band were magnificent. Hearing this song here made me emotional, as they played it with a tenderness that felt both intimate and celebratory. The album’s unorthodox, playful melodic turns, those touches that once reminded ghosts of reviewers’ past of Nick Drake, Love, even Donovan, were rendered with clarity and warmth. The Fox in the Snow was an unexpected highlight, its live performance deepening my affection for a song hitherto escaping album favourite status.
The whole album was vividly performed, but I especially enjoyed hearing The Stars of Track and Field, Like Dylan in the Movies, The Fox in the Snow, If You're Feeling Sinister, The Boy Done Wrong Again and Judy and the Dream of Horses, which is 60% of the album The other 40% I just merely enjoyed hearing.
Murdoch was in a mischievous mood, keeping the crowd engaged with wry asides while the multi-functional band delivered a performance that was both precise and loose‑limbed. The encore included Step Into My Office, Baby, The Boy With The Arab Strap, and Dear Catastrophe Waitress, helping turn the courtyard into a communal dancefloor. During Arab Strap, a handful of fans were invited onstage to dance, a moment that captured the band’s enduring largesse.
Saint Etienne provided a superb opening set, gliding through Nothing Can Stop Us Now, Who Do You Think You Are, Spring, You’re In A Bad Way and more. They created a mood and a style and set the tone perfectly for what followed.
This night carried an extra resonance as both bands were part of the soundtrack to the era when I should have been in my professional prime, but alas I wasn’t. Instead of melancholy, though, the evening offered something gentler: a reminder that great music collapses time, and that some records, and some nights, stay with us far longer than we expect.
Links:
Belle and Sebastian
Saint Etienne
anastacia
Scarborough Open Air Theatre - 21st June 26
Review & photos - Liam McEvoy
There are artists who simply perform their greatest hits, and then there are artists like Anastacia, who transform them into a celebration. Her long-awaited debut at Scarborough Open Air Theatre on Sunday 21 June proved exactly why, more than 25 years after I'm Outta Love launched her career, she remains one of pop's most distinctive live performers.
With the Yorkshire coast providing a spectacular backdrop, the atmosphere was already electric before Anastacia took to the stage. Earlier, special guest Heather Small warmed up the crowd in style, delivering a set packed with unmistakable anthems and setting the perfect tone for the evening.
From the opening notes of "One Day in Your Life", Anastacia had the audience firmly in the palm of her hand. Possessing one of the most recognisable voices in pop music, she effortlessly blended soulful power with rock grit, proving that time has done nothing to diminish her extraordinary vocal range.
The setlist struck a perfect balance between nostalgia and deeper cuts, with crowd favourites including "Paid My Dues", "Sick and Tired", "Left Outside Alone" and, naturally, "I'm Outta Love" inspiring huge singalongs throughout the amphitheatre. Rather than simply recreating studio versions, many songs were given fresh arrangements, allowing her talented band to shine while showcasing the versatility of her catalogue.
Anastacia's personality was as much a highlight as her vocals. She mixed self-deprecating humour with genuine warmth, chatting comfortably with the Scarborough crowd as though she had been playing the venue for years. Costume changes, playful interactions with her band and an infectious sense of fun kept the evening moving at an engaging pace without ever feeling over-produced.
A mid-show interlude featuring the band performing a medley of dance classics gave both the musicians and audience a chance to let loose before Anastacia returned with a more intimate section that included emotional performances of "Heavy on My Heart" and "You'll Never Be Alone". These quieter moments demonstrated the emotional depth behind the powerhouse vocals that have always defined her career.
As darkness settled over the Open Air Theatre, the final stretch became one joyous celebration after another. Thousands sang every word back to the stage, while Anastacia responded with boundless energy, encouraging the audience to savour every moment. By the time the closing hits arrived, the venue had become one enormous choir.
Scarborough Open Air Theatre has welcomed many legendary performers over the years, but Anastacia's first appearance will surely rank among its standout summer concerts. Combining flawless vocals, genuine charisma and a catalogue packed with enduring hits, she delivered a performance that reminded everyone why she remains one of pop's most underrated live entertainers.
mcfly
Piece Hall, Halifax - 23rd June 26
Review & photos - Chris Nutton
Wall of Sound is back once again at the Piece Hall in Halifax to review McFly for night 1 of 2 sold-out shows at the Piece Hall. A London-based band since 2003, they have become cult heroes in the British rock genre with their unique sound and charismatic honour on stage. No wonder the Piece Hall got them in again for their 2026 line-up, as the first time was so good and what a day to pick for an event like this. The weather was a big problem for a lot of people, including the artists, but luckily there was support, water stations and plenty of additional resources that were put in place by the Piece Hall to make sure everyone was hydrated and had a great time.
Up first we have the sensation girl band ‘Remember Monday’ who, since their performance at the 2025 Eurovision Song Contest representing the UK with their title track ‘What the hell just happened?’
They have blown up in a very quick amount of time and are becoming a well-known figure up and down the UK for their English country style sound and mix of pop culture as well. I feel like this is a band that worked so well with the Piecehall crowd and fit the mix perfectly with not just this show but the rest of the acts that were on through this 2026 line-up, so I wouldn’t be shocked if these girls were back next year.
Their performance, I thought, was fantastic, getting the crowd warmed up with timeless classics covered like gimme gimme gimme by ABBA and a few of their own records such as Delusional, Happier and More Than Ever. Alongside their amazing humour during each song performance, the band became an instant fan favourite and had the crowd all warmed up. Despite the heat, everyone looked to be having fun, bouncing around and enjoying their time during the show.
Up next we have Twin Atlantic - a Scottish rock band coming all the way down from Glasgow to open up for Mcfly tonight at the Peicehall and I was really excited for this band as I heard a lot of positive reactions and conversations with a big fan group before coming into the venue - I asked them what should I expect and they replied with a lot of jumping and hard hitting rock tracks and that’s exactly what they delivered during their performance tonight.
The band began with a few well-known tracks like Don’t Quit It, Crash Land, No Sleep, and Hold On. As well as this, the band debuted a new song from their upcoming album release called ‘Separation from the Animals’. They debuted a new track, which was released the day before, called In Your Eyes, which I thought was a brilliant song, and if that’s the standard of what’s to come from this album, then I will definitely be checking it out when it is released.
And finally, the main event! Mcfly take to the stage and these boys don’t mess about as soon as they take to the stage - the high energy levels shots through the roof and got everyone bouncing around so much during my time in the pit - they began with their tracks - Where did all the guitars go, land of the bees and one for the radio’ everyone was cheering bouncing around and the band was replicating this same energy as they’ve stated on many interviews that this is one of their favourite venues and love coming back and performing all the time at this venue.
Moving further into their set, they played a big mixture across their catalogue - playing songs like Star Girl, Room on the 3rd Floor, Shine a Light, Red and Forever's Not Enough, which was no surprise to see massive sections in the crowd with their hands up, singing to every lyric from each song. As well as this, the band performed a few cover classics as a surprise for the audience, like Living on a Prayer, 500 Miles, Radio Gaga, and Twist and Shout, which brought the energy levels to a whole new level despite it still being very humid weather conditions.
To finish their set list off, the band performed their encore, which featured the songs forevers not enough and 5 colours in her hair which concluded a successful night 1 for the band and people will from tonight will be thinking I need to be coming back for night 2 to experience this all over again - that's what this band does time and time again, leaving fans wanting more. Roll on night 2 for the band!
empire of the sun
Piece Hall, Halifax - 28th June 26
Review & photos - Martha Drake
Australian electronic duo Empire of the Sun transformed Halifax’s The Piece Hall into a dazzling world of colour, fantasy and theatrical spectacle on Saturday evening, delivering a performance that felt just as much like an immersive stage production as it did a concert.
From the moment the opening notes rang out, the atmosphere was electric. The crowd erupted with excitement, immediately setting the tone for a night packed with energy, visual brilliance and hit after hit. With the historic courtyard bathed in warm summer sunshine before darkness fell, thousands of fans – many dressed in vibrant festival outfits and even elaborate Empire of the Sun-inspired costumes – created the perfect backdrop for one of the venue’s most visually ambitious performances.
Frontman Luke Steele made an unforgettable entrance, stepping off the stage early in the set to run along the front barrier, clapping fans’ hands and bringing the audience into the performance from the very beginning. It was a simple gesture that instantly established a connection between the band and the crowd.
Vocally, Steele was exceptional. His live vocals were remarkably faithful to the studio recordings, retaining the distinctive tone and ethereal quality that fans know so well. His use of live vocal effects through the microphone enhanced the futuristic feel without overpowering his natural voice, while the rest of the band provided rich backing vocals that added depth and texture throughout the performance.
The musicianship on display was equally impressive. Before launching into the set, each member of the live band was introduced individually, highlighting the close bond between the performers. Their chemistry was evident throughout the evening as they seamlessly blended electronic sounds with live instrumentation, creating a performance that felt polished yet full of genuine joy.
Empire of the Sun have long been known for their theatrical image, and the production certainly didn’t disappoint. A towering sculptural head dominated the stage, giving the impression that an epic story was about to unfold before the music had even begun. Throughout the night, enormous LED screens displayed vivid graphics inspired by Japanese art, futuristic landscapes and dreamlike animations, constantly changing to match the mood of each song.
Lighting played an enormous role in creating the experience. Brilliant washes of neon pink, electric blue, emerald green, fiery orange and deep purple flooded the stage, while lasers, strobes and moving spotlights transformed The Piece Hall into a kaleidoscope of colour. Every song felt visually unique, with the lighting perfectly complementing the band’s cinematic sound.
Costume design remains one of Empire of the Sun’s defining trademarks, and Steele once again embraced his larger-than-life persona. Wearing elaborate, highly detailed outfits featuring dramatic headpieces, flowing fabrics and metallic embellishments, he looked like a character from a futuristic fantasy film. The dancers matched his aesthetic with equally imaginative costumes, creating a visually unified cast that blurred the line between concert and theatre.
The pacing of the show never faltered. Between songs, dancers remained on stage in striking costumes, helping maintain momentum while adding another layer of visual storytelling. Rather than simply accompanying the music, they became an essential part of the performance, bringing movement and personality to every section of the set.
The audience interaction was another highlight of the evening. Several fans had arrived dressed to resemble Luke Steele himself, and one particularly convincing lookalike was invited onto the stage to help announce the next song, prompting laughter from both the crowd and the band. Later in the show, more audience members were brought up to dance alongside the costumed performers, creating one of the night’s most memorable and heartwarming moments.
The setlist balanced fan favourites with newer material, keeping the audience singing and dancing from beginning to end. Whether performing soaring anthems or atmospheric electronic tracks, Empire of the Sun demonstrated why they remain one of the most distinctive live acts in modern alternative pop.
Against the backdrop of the magnificent Piece Hall, the combination of stunning visuals, flawless musicianship, imaginative costumes and infectious audience engagement created an unforgettable summer evening. More than just a concert, Empire of the Sun delivered a complete sensory experience that celebrated creativity, escapism and the joy of live music.
royel otis
Piece Hall, Halifax - 25th June 26
Review & photos - Liam McEvoy
Bathed in glorious Yorkshire sunshine, Halifax's spectacular open-air venue Piece Hall provided the perfect backdrop for the Australian duo's effortlessly cool brand of indie rock, transforming the historic courtyard into one giant summer party.
Royel Otis took to the stage with minimal fuss but maximum confidence. By now, the pair have evolved far beyond viral covers and breakthrough festival slots. They arrived looking every bit the headline act they now are, delivering a tight, energetic set that balanced shimmering new material with fan favourites.
What makes Royel Otis so appealing live is the lack of pretence. Their songs drift between hazy dream-pop, jangly guitar hooks and slacker rock without ever feeling calculated. Royel Madden's bright, chiming guitar work provided the perfect foil for Otis Pavlovic's relaxed vocal delivery, creating a sound that somehow feels both laid-back and utterly infectious.
Newer tracks such as "Moody", "Car" and "Who's Your Boyfriend" landed with the confidence of future classics, while older favourites including "Adored", "Heading for the Door", "Kool Aid" and "Oysters in My Pocket" sparked some of the night's biggest singalongs. The audience barely stopped moving throughout the set, with every chorus met by raised hands and voices echoing around the sandstone walls.
The Piece Hall continues to prove itself as one of the UK's finest outdoor venues, and this band know exactly how to use its unique atmosphere. There were no elaborate visuals or theatrical flourishes—just excellent songs, a tight band and a genuine connection with an audience that seemed delighted to be there.
Perhaps the biggest compliment is that the evening never felt forced. Royel Otis have mastered the art of making great musicianship look effortless, gliding through a set packed with irresistible melodies and understated charm. It was indie music at its most enjoyable: relaxed, melodic and full of heart.
As the final chords rang out into the warm summer evening, the crowd departed with broad smiles and the unmistakable feeling they'd caught a band hitting their stride. Royel Otis may have built their reputation through streaming success and standout covers, but nights like this prove they're now more than capable of carrying a headline show on the strength of their own catalogue.
Setlist:
1. I hate this tune
2. Adored
3. Heading for the Door
4. Who’s your Boyfriend
5. Car
6. Kool Aid
7. Foam
8. Moody
9. Come on Home
10. Shut Up
11. She’s Got a Gun
12. More to Lose
13. Jazz Burger
14. Linger (The Cranberries Cover)
15. Motels
16. I Wanna Dance with You
17. Bull Breed
18. Fried Rice
19. Sofa King
20. Murder on the Dancefloor (Sophie Ellis-Baxtor cover)
21. Say Something
Encore
22. Sweet Hallelijah
23. Oysters in My Pocket
james arthur
Piece Hall, Halifax - 4th July
Review & photos - Chris Nutton
Wall of Sound is back once again for another live review down at the TK Maxx presents live at Piece Hall in Halifax, West Yorkshire. This time we have the global sensation James Arthur, who, since his X-Factor appearance in 2012, Mr Arthur has skyrocketed up the charts, growing his own fanbase and making his mark in the pop, R&B, and soul music genres.
The weather was a big disappointment as it chucked it down from the start of Ruby Pooles' performance all the way up until James Arthur finished his fourth song, but the great thing about the Piece Hall crowd is that it never dampens their music spirit. The crowd was dancing and showcasing all their love and support for each act tonight despite the torrential rain.
Up first, we had Ruby Poole, who, despite only playing a 15-minute set, kicked off the night in style with her incredible vocal performance in old and new tracks she has been working on. With the promise of new music soon and giving the fans a new taster in new music with her track ‘Back Up Plan ’, this is an artist I look forward to seeing more of in the future and hopefully get to enjoy a much longer set/ performance.
Next up, we had Ben Ellis, the Cardiff sensation, who took to the stage at the Piece Hall with his band and was a huge fan favourite in different sections of the packed-out Piece Hall crowd. They kicked things off with some new music from their most recent EP - the train where the time slows. Playing a mixture of different indie sounds across the set list, playing songs like ‘Does It Get Cold in California ‘, Eds House, End of Days, and many more. Overall, a very solid indie band and got the crowd in an upbeat and dancing mood.
The final support act of the night we have Jerub, Nigerian singer who specialises in pop and indie genres took to the stage at the Piece Hall dispite the weather taking a turn for the worst, the show continued and Jerub's performance was in my eyes was the best support act of the night with his unique vocal range blasting around the Piece Hall which immediately became a fan favourite, playing tracks like deeper, you and I, and feel it. This was an artist who really shocked me with how good a performer he is on stage, and it was shown across the Piecehall crowd tonight.
Finally, it’s time for the main event.
James Arthur took to the stage, and wow, what a start to his performance with probably the loudest crowd cheer and screaming I have ever heard out of any Piece Hall gig in my life. I already knew from that moment on that this was going to be a special night. He kicked off his set list with the songs " Water " and " Impossible, " and from the pit area, the screaming and cheering were next level; it was insane.
Moving further into the set list he switched up what was going to be played which was a lot of new music from an album he has been working on but instead chose to play a tonne of fan favourite tracks from his stacked catalog, such as rewrite the stars, cars outside, train wrecked, naked and falling like the stars blasting around across a lively packed Piece Hall crowd was something special to witness.
To conclude, this show was fantastic and a special night for the fans to see such a massive artist take the stage in their local town, and it shows the true pulling power of bigger musical artists coming and getting booked to play at the Piece Hall - this will not be the last time we see James Arthur in Halifax.
all things orchestral
Roundhay Park, Leeds - 5th July 26
Review & photos - Levi Tubman
The final day of the long weekend of music at Roundhay Park comes to a quiet end with All Things Orchestral. I’ve been to my fair share of festivals in my time both day and weekend, and they’ve all had a few things in common. People want to get in early to get near the front, but today it’s to set up their camping chairs, I can’t imagine there’s going to be much crowd surfing.
The Orchestra in question is The Hallé, in terms of qualifications for the day, The Hallé is the UK’s second oldest orchestra, who mark their 170th year next May so they know what they’re doing. Comparing the day is Myleene Klass, a classically trained pianist, with numerous classical albums. Joining them is guest vocalist Alfie Boe, who along with numerousalbums awards and tours can count performing for Elizabeth II at her 92nd Birthday. Theres certainly a lot of talent and experience on today.
Once seated and tuned, conductor Stephen Bell takes to the stage, slight bow to the crowd before turning, raising his arms and there it is, that orchestral blast, with the Brass fanfare, the instantly recognisable main theme to Star Wars. Composed by John Williams, arguably the greatest movie composer with his seven decade career, this is still probably his most famous piece. Evoking power and heroism, with running triplets and soaring string sections, for a geek like me its more than just a stunning musical score.
Followed up with the epic tone poem, Also Sprach Zarathustra, made famous by the movie 2001 A Space Odyssey. Sticking to “Sunrise” the opening couple of minutes, as used in the film, this isn’t quite the setting for the full 35 minute epic based on the novel by Friedrich Nietzsche. Its evoking and majestic, based around a simple basic theme alternating between G and C, building up through the orchestra, its still the Timpani that rule the stage.
The only issue of the day was the wind, even down in the bowl, there was a constant rumble through the mics, and while compere, Myleene Klass’s dress looked fantastic, it looked like the wind might carry her off the stage. Once the usual admin had been taken care of, she dropped the cue cards and let her passion flow. Going through all the sections of the orchestra with the audience, how they’re related and what their roles are, picking out a few individuals to show off a few bits, quizzing the audience on vocal range classifications. Her passion and joy is infectious.
Not everything is instrumental today, taking on vocals it the enigmatic Alfie Boe. Walking onto the stage he looks stoic, taking up a grounded stance, hands balled to fists down by his side, glaring out from the stage. At times he makes Lenskys Aria look effortless, but its dark and shifting, when it builds, you see it on his face and body language. The moment the music and applause dies away, the sternness just melts from his face as he comes back from whereever he goes to when performing and a warm smile appears on his face. Apologising for how down that was he promises to cheer us up, and as the change comes over him once more and his hands drop to his side, the orchestra softly start the sustained chords of Nessun Dorma.
It’s a privilege to see him perform, you can see the emotion on his face and every phrase, at times his eyes close as he brings his hands high above his head, you hear the phrase “in the zone” but when you really see it in person, someone who seems to go somewhere in their head simultaneously blocking out the whole world, while letting in the 80 strong musicians behind him in, I stopped shooting, apart from feeling like it was almost too crass of a distraction for those around me, I just wanted to enjoy the moment. Once again after it all dies away and he comes back, the warmness spreads across his face. As Myleene interviews him, he’s funny friendly and charming, talking about his passion for singing, his new album and his 2026 tour that’s just finished with the final venue being the Royal Albert Hall.
The second half opens once again with John Williams. The simple, slow tremolo between E and F, just a semitone up and down building slowly, and despite being hundreds of miles from the nearest Great White, the Jaws theme still puts you on edge and certainly sent shivers up spines. As a piece of music very few are that effective while keeping the main theme so simple, with rapid string ostinatos creating the feeling of being chased so well I’m sure someone looked behind them, just in case. Myleen then introduces the next number with one of the best lines in movie history, telling us they’re sticking with the sea, but we’re gonna’ need a bigger boat! Laughing at her own joke as the orchestra starts up the theme from The Pirates Of The Caribbean, that alone makes the day worth it for me!
Alfie Boe returns to the stage for a gorgeous rendition of Bring Him Home from Les Misérables, the most moving and eagerly awaited number of the day. With thunderous applause and cheers, you can see why he’s best known for his iconic portrayal of Jean Valjean, it’s a role his voice is perfectly suited for.
Rounding off the day with two iconic cinema numbers we first get The 633 squadron main theme, a bold brass fanfare in the style of a military march, highly rhythmic full of confidence and triumph, it still causes people to look up to the skies. Followed up with the even more recognised theme from Indiana jones. Again starting off as a march, conjuring themes of heroism and adventure, its boldness and upbeat energy creates the days largest number of wannabe conductors with cups, hats and umbrellas being used as impromptu batons.
All Things Orchestral has been running for a number of years now, but until this year exclusively in London’s Hyde Park, and I think its northern excursion has been a resounding success. With prices starting at under £10 its very affordable especially with what you get for the money. It’s a day outside enjoying fresh air, walks though the vast park, with a few hours of fantastic music ranging from romantic pieces from the 1800’s to 20th century pop culture classics.
Hopefully this becomes an annual event, if it does, I’ll certainly be going again, although I feel it could have done with a little more advertising, my only criticism. A great family day out that’s highly recommended!
Playlist :
1. Star Wars Main Theme by John Williams
2. Also Sprach Zarathustra (Sunrise) by Richard Strauss
3. Nimrod by Edward Elgar
4. Carmen Prelude by Georges Bizet
5. Alfie Boe performing Lensky’s Aria by Pyotr Ilyich Tchaikovsky
6. Alfie Boe performing Nessun Dorma by Giacomo Puccini
7. Symphony No. 1, Juba Dance by Florence Price
8. Spiderman Far From Home by Michael Giacchino
9. Hedwig’s Theme by John Williams
Break :
10. Jaws by John Williams
11. Pirates Of The Caribbean by Klaus Badelt and Hans Zimmer
12. In The Hall Of The Mountain King by Edvard Grieg
13. Fantasia on Greensleeves by Ralph Vaughan Williams
14. Alfie Boe performing O Solo Mio by eduardo di capua, giovanni capurro and alfredo mazzucchi
15. Alfie Boe performing Bring Him Home by Claude-Michel Schönberg and Herbert Kretzmer
16. 633 Squadron by Ron Goodwin
17. Indiana Jones by John Williams
pitbull
Lytham Festival - 5th July 26
Review & photos - Liam McEvoy
Lytham Festival saved one of its biggest celebrations until last, as Pitbull closed the 2026 event with a high octane performance that transformed the Lancashire seafront into one giant dancefloor. Supported by Tinchy Stryder and Lil Jon, the final night delivered exactly what fans expected, wall to wall hits, infectious energy and an atmosphere that felt more like a global nightclub than a traditional festival.
Tinchy Stryder got the evening underway with a nostalgic set packed with UK chart favourites. Tracks such as Number 1, Never Leave You and Spaceship immediately took the crowd back to the late 2000s, with plenty of singalongs from fans who had grown up with his music. His relaxed stage presence and genuine appreciation for the audience made him the perfect opening act.
Next came Lil Jon, whose set cranked the energy up another level. Mixing hip-hop, EDM and party anthems with his trademark hype-man style, he had the audience bouncing long before the headline act appeared. Every "Yeah!" and "OK!" was met with deafening cheers, creating the perfect build-up for the night's main event.
As darkness fell and with the festival grounds awash with Bald caps, Pitbull arrived to a hero's welcome. Dressed in his signature sharp suit, sunglasses and radiating confidence, Mr Worldwide wasted no time launching into Don't Stop the Party, setting the tone for an evening that barely paused for breath. The production was impressive, featuring dazzling visuals, dancers and a live band that elevated every song.
The setlist was a masterclass in feel-good pop and dance music, featuring hit after hit including Hotel Room Service, International Love, Rain Over Me, I Know You Want Me (Calle Ocho), Fireball, Timber, Time of Our Lives and the inevitable finale, Give Me Everything. The crowd barely stopped dancing, with every chorus sung back at full volume.
What makes a Pitbull show stand out isn't just the catalogue of global hits, it's the relentless positivity. Between songs, he mixed humour with motivational messages about hard work, gratitude and making the most of life, creating a genuine connection with the audience. His charisma is undeniable, and his ability to keep thousands of people engaged from the first song to the last is a testament to his experience as a live performer.
The atmosphere across Lytham Green was electric. Fans of all ages embraced the party spirit. By the time Give Me Everything brought the evening to a close, it was clear that Lytham Festival had ended its 15th anniversary in unforgettable style. Pitbull delivered exactly what he promised, a nonstop party packed with chart topping hits, spectacular production and enough energy to leave the Lytham crowd dancing all the way home. It was the perfect finale to one of the festival's biggest and boldest years.
Set List:
1. Don’t Stop The Party
2. Hey Baby (Drop It to the Floor)
3. Hotel Room Service
4. International Love
5. Rain Over Me
6. I Feel Good
7. Suave
8. Tequila
9. There It Is
10. Move, Shake, Drop (DJ Laz Cover)
11. Culo
12. I Know You Want Me (Calle Ocho)
13. We Are One (Ole, Ola)
14. On the Floor (Jennifer Lopez Cover)
15. I Like It (Enrique Iglesias Cover)
16. DJ Got Us Fallin’ in Love (Usher Cover(
17. Feel This Moment
18. Gasolina (Daddy Yankee Cover)
19. JUMPIN
20. Damn I Love Miami
21. Timber
22. Time of Our Lives
23. Fireball
24. Give Me Everything
jim jones allstars
Yellow Arch Studios, Sheffield - 3rd July 26
Review & photos - Mo Longfellow
All of the of the Jim Jones Allstars just managed to cram on the stage at the Yellow Arch in Sheffield on Friday night. They were packed in almost as tightly as the crowd.
The crowd was plentiful for good reason and that is that Jim and his Allstars seriously know how to play. With rhythm at the heart of their set the whole ensemble is nothing short of joyous. Not joyous in a strolling down the tramlines of a ripened corn field as the sun sets in the distance, but more of a swagger, probably booze induced, down a rain drenched, cobbled street with the orange hue of the lamps reflecting off it.
The distant roar of motorcycles and a party raging, at the heart of your destination.
People often refer to Jim Jones voice sounding like Little Richard, and no wonder, he’s a massive fan which you can hear in many of their numbers. For me though, all I hear is Tom Waits, that gravely, growling sound but with a much more raucous, eager, dominating edge to it.
On stage with Jim are his band, The Allstars. They do a fantastic job of carrying those vocals along throughout the evening. The music is a mix of blues, rock n roll and punk all in one. It drives, at time it’s a rollercoaster, it’s always super tight, they literally never miss a beat.
The drummer plays a 70s Ludwig kit, of course he does, I don’t think anything else would come close to being right on stage. Brass, percussion, guitars and drums all going, frankly, fucking mental but with sweat drenched control, it’s dark and murky and marvellous. The horn section is always there, I wouldn’t say front and centre, but it’s always making its presence known, same with the keys when they join in, honky tonkying the life out of you.
I’ve never seen them before but will definitely be going to see them again, this time swapping the camera for a beer, or beers…definitely beers, plural.
For those who were sensible enough to turn up for the support, they got to see Hot Soles who were brilliant. A perfect warm up act. Well worth a watch if you see them playing anywhere. A duo, somehow, making the sound of a band, and then some.
Lewis Capaldi
Roundhay Park, Leeds - 4th July 26
Review & photos - Huw Williams
Roundhay Festival brought live music back to the park in Leeds and, on its second day, welcomed one of the UK's biggest names to headline.
Touted as something of a northern counterpart to BST Hyde Park, the event has ambitions to become a permanent fixture on the summer calendar, bringing major headline artists to one of the country's most distinctive outdoor venues.
Pre-event talk had centred on ticket sales, with Lewis Capaldi himself joking on The Graham Norton Show that this wasn't exactly a sell-out, laying down the challenge to the people of Yorkshire in no uncertain terms. By the time the afternoon gave way to evening, though, any concerns had disappeared. The bowl of Roundhay Park steadily filled throughout the day and, by the time the main support acts arrived, there were precious few gaps left on the hillside.
Those who arrived early were rewarded with a strong line-up of emerging and established singer-songwriters. Opening the main stage was Glaswegian singer-songwriter Kerr Mercer. Armed with little more than a guitar and piano, Mercer delivered a confident opening set built around strong songwriting rather than theatrical staging. Having already earned Capaldi's support, it's easy to see why. The songs have real substance, the delivery is assured and, on this evidence, he's another Scottish songwriter with a bright future ahead of him.
Over on the East Stage, Ber proved to be one of the day's standout discoveries. The Minnesotan singer-songwriter, who previously lived in Leeds, was clearly delighted to be back in West Yorkshire, and the feeling was mutual. Battling some wild and windy conditions, she produced an engaging set full of warmth, personality and well-crafted songs that deserved the sizeable crowd gathered in front of her.
Nieve Ella, meanwhile, looked every inch the seasoned festival performer. Dressed all in black, she arrived with confidence and immediately commanded the stage. Her songs pack plenty of punch and were delivered with genuine attitude, while her easy rapport with the audience showed exactly why she's becoming such a familiar face on festival bills. I’ve seen her a few times over the last few years, and this felt like another significant step forward on a journey that will surely lead to greater things.
Back on the main stage, Jacob Alon offered something altogether different. Joined by their band at centre stage, the Fife-born songwriter delivered a beautifully understated performance that somehow made an enormous outdoor setting feel surprisingly intimate. People were drawn down the slope towards the stage, while those further back sat quietly absorbed by Alon's distinctive songwriting and voice. Following the release of In Limerence, one of the best albums of 2025, this felt like the performance of an artist on the verge of something much bigger.
Jessie Murph brought a welcome change of pace. Constantly in motion, dancing and spinning her way around the stage, she combined infectious energy with an impressive vocal performance. Throwing in a couple of well-chosen covers alongside her own material, she made clever use of the stage throughout, even climbing onto a stylised bedroom mirror that formed part of the set. For someone of such slight stature, her stage presence is immense, connecting effortlessly with a crowd that continued to grow throughout the day.
By the time Conan Gray emerged, Roundhay's famous bowl was close to capacity. Sailor hats dotted the audience, a nod to his recent tour, while the stage retained elements of its nautical theme despite being scaled back for the festival. Painted waves and a bright blue backdrop had a deliberately theatrical quality, almost resembling scenery from a school play, but that homespun charm worked perfectly.
Gray himself was captivating throughout. His fluid movements, helped in no small part by the persistent Yorkshire wind, gave the performance an effortless style, while the reaction from fans packed against the barrier bordered on hysteria. More importantly, this wasn't a set that relied solely on an already devoted fanbase. Huge songs including Maniac, Memories and the closing Vodka Cranberry ensured there was plenty for those discovering "Coneworld" for the first time, building momentum nicely ahead of Lewis Capaldi's long-awaited return.
As the sun started to go down, the air was full of anticipation for the headline set. By now, Roundhay's bowl was all but full, crowds stretching to the top of the banks. When Lewis Capaldi finally emerged, around 15 minutes later than planned, it was to a huge ovation from a crowd delighted to see him back where he belongs, on the biggest of stages.
After a few technical issues during Hollywood, things quickly settled down. Early hit Grace remains a crowd favourite and perfectly showcases the vulnerable power of Capaldi's songwriting.
His self-deprecating humour softened the edges of those heartbreak songs, not least when he referenced the slow ticket sales that had clearly been on his mind. The people of Leeds were forgiven, and they repaid that clemency in kind. The opening notes of favourite songs were met with huge singalongs, thousands of voices joining his own.
There were no elaborate distractions and no need for grand spectacle. Capaldi's greatest strength remains his ability to make every performance feel personal, turning a crowd of tens of thousands into something that moves and feels as one.
pitbull
Roundhay Park, Leeds - 3rd July 26
Review & photos - John McEvoy
Roundhay Park has always felt built for spectacle, and on Friday 3rd July it more than justified its return to the big-league concert circuit. With its natural bowl creating something close to an outdoor amphitheatre, the Leeds landmark gave thousands of fans a clear view of a bill designed for one purpose: to make people dance. By the time Pitbull arrived, the park was a sea of sunglasses, white shirts, black ties and bald caps, the crowd happily leaning into the affectionate Mr Worldwide fancy dress phenomenon that has followed him around recent tours.
The support line-up worked because it understood the assignment. Lil Jon was the afternoon ignition switch, less a conventional performer than a human air horn, firing up the field with crunk-era call-and-response and bass-heavy party anthems. His set was blunt, loud and occasionally chaotic, but it did exactly what was needed: loosened the crowd, raised the volume and reminded everyone that subtlety was not on the menu.
Tinie Tempah brought a more polished nostalgia hit. His catalogue has aged into festival shorthand for early-2010s British confidence and landed landed with real warmth. He looked relaxed, clearly amused by the Pitbull clones stretching up the hill, and his set had the feel of a victory lap: crisp, familiar, and rooted in the kind of choruses that make even casual listeners suddenly remember every word.
(We’ll ignore the slight technical hiccup hi DJ had at the start of the set. Turn it off and turn it on usually fixes these things!!)
Jason Derulo then shifted the evening into full pop-show mode. With dancers, big hooks and a slicker stage presence, he treated Roundhay less like a festival field and more like an arena without a roof. The performance was unabashedly glossy: Talk Dirty, Wiggle and Want to Want Me all prompted mass singalongs, while Derulo’s choreography and showman instincts kept the energy high even when the material leaned heavily on familiar radio formulas. If Lil Jon was the spark and Tinie the homegrown crowd-pleaser, Derulo was the professional accelerator before the headline explosion.
Then came Pitbull, arriving in the uniform everyone had been parodying all day and somehow making it look ceremonial. From the opening burst of Don’t Stop the Party, he ran the set like a motivational seminar disguised as a nightclub. Hotel Room Service, International Love, I Know You Want Me and Fireball came thick and fast, often trimmed for maximum momentum rather than depth, but that was the point. Pitbull’s genius as a live headliner is not reinvention; it is compression. He takes nearly two decades of club-pop hooks, guest choruses and meme-able catchphrases and turns them into one long communal release.
There were moments when the formula showed its seams. The set was so relentlessly paced that little room was left for surprise, and some transitions felt more like a DJ mix than a fully live performance. Yet criticism almost felt beside the point when Timber and Give Me Everything rolled across the park and the whole hillside seemed to bounce in unison. Backed by dancers, a band and bright production, Pitbull gave Leeds exactly what it had come for: uncomplicated, high-volume escapism delivered with a grin.
The event itself deserves credit too. For a large-scale show in a public park, the setting felt impressively well suited to the occasion, and the wide natural bowl helped make the crowd feel part of a single shared moment rather than a scattered mass. There may always be the usual festival grumbles around queues, walking distances and getting home, but the atmosphere was overwhelmingly good-natured.
As a gig, Pitbull at Roundhay Park was not subtle, profound or musically adventurous. As a summer party, however, it was close to unbeatable. With Lil Jon, Tinie Tempah and Jason Derulo teeing up the night perfectly.
Mr Worldwide turned one of Leeds’ loveliest green spaces into a giant open-air club. Sometimes a gig succeeds by giving an audience something new; this one triumphed by giving them exactly what they wanted, louder, brighter and more joyfully ridiculous than expected.
omd / andrew cushin
Bradford Live - 8th July 26
Review & photos - John McEvoy
There was a sense of occasion before Orchestral Manoeuvres in the Dark even appeared at Bradford Live. The newly revived venue, still enjoying the glow of its return as one of the city’s flagship stages, felt like exactly the right setting for a band whose best work has always balanced nostalgia with futurism. OMD’s Summer of Hits tour arrived in Bradford with more than four decades of electronic pop history behind it, and the result was a night that felt celebratory without ever becoming merely retrospective.
Opening the evening, Andrew Cushin proved a smart and engaging choice of support. The Newcastle singer-songwriter brought a different texture to the bill: direct, guitar-led songs, a strong voice and an unforced connection with the room. His set had the feel of an artist used to winning over audiences quickly, built around big-hearted choruses and an earnestness that never tipped into cliché. In a venue filling with people ready for synth-pop classics, Cushin’s grounded, melodic approach offered a warm and confident start, and his reception suggested he left with more admirers than he arrived with.
When OMD took the stage, the contrast was immediate: cool electronics, sharp visuals and the unmistakable presence of Andy McCluskey, still moving with the animated, slightly chaotic energy that has long made him such a compelling frontman. Rather than simply press play on the obvious Eighties memories, the band opened with material that underlined their continuing creative life, including “Isotype”, a reminder that OMD have never been content to exist as a heritage act. That mattered, because the best parts of the show came when past and present sat side by side, each strengthening the other.
Still, when the hits came, they landed with the force of shared memory. “Messages” was an early highlight, its melancholy melody and pulsing rhythm sounding pristine in the room. “Tesla Girls” brought brightness and bounce, while “(Forever) Live and Die” and “Souvenir” gave Paul Humphreys space to bring his gentler vocal presence to the front, providing some of the evening’s most elegant moments.
The central run drew heavily on the band’s emotional and artistic peak. “Joan of Arc” still hae a strange grandeur: part pop song, part procession, part art-school experiment that somehow became mass entertainment. In Bradford Live, with the staging giving the songs extra drama, they felt less like museum pieces than proof of how daring mainstream pop once allowed itself to be. Later, “Veruschka”, from the more recent Bauhaus Staircase period, carried a darker, cinematic weight and confirmed that OMD’s appetite for atmosphere remains intact.
What made the gig work so well was the balance between precision and joy. The arrangements were clean and muscular, the visuals striking without overwhelming the songs, and the pacing rarely sagged. McCluskey’s between-song warmth helped keep the scale human, especially when he acknowledged the long gap since the band had last played Bradford. That local connection mattered: this was not just another tour stop, but a city welcoming back a major act to a stage built for nights exactly like this.
By the closing stretch, the room was fully theirs. “Enola Gay” prompted the kind of communal response few synth-pop songs can still command, all bright urgency and bittersweet release. The encore, including “Walking on the Milky Way”, “Pandora’s Box” and the foundational “Electricity”, sent the audience out on a surge of affection. “Electricity” in particular remains astonishing: minimal, wired, youthful and still somehow futuristic.
OMD’s Bradford Live show was more than a greatest-hits victory lap. It was a reminder of how distinctive their catalogue is, how emotionally durable those electronic textures remain, and how much life the band still bring to them on stage. With Andrew Cushin providing a heartfelt opening set and Bradford Live proving itself a handsome home for large-scale music, the evening felt like a success on several levels: a celebration of the past, a statement of the present, and a very strong argument for Bradford being firmly back on the live music map.
sex pistols
Piece Hall, Halifax - 11th July 26
Reviewed by Julie Knowlton
Photos - John McEvoy
There was always going to be something faintly absurd, and therefore perfectly punk, about watching the Sex Pistols in the grand, honey-stoned courtyard of The Piece Hall. Halifax’s historic cloth hall is a place of symmetry, heritage and civic pride; the Pistols, even in this latter-day form with Frank Carter out front alongside Steve Jones, Paul Cook and Glen Matlock, remain shorthand for rupture, provocation and glorious bad manners. On Saturday night, that clash of setting and sound became the point. The old walls held the noise, bounced it back, and turned the square into a pressure cooker of nostalgia, mischief and communal release.
The Undertones were ideal support: not merely a heritage act warming up another heritage act, but a reminder that punk’s best aftershocks were often melodic, sharp and generous. Their songs still arrive like postcards from a more innocent kind of rebellion: short, bright, built on chiming guitars and choruses that seem designed to be shouted by people with pints held carefully aloft. “Jimmy Jimmy” and “Here Comes the Summer” had the crowd bouncing early, while “My Perfect Cousin” retained its comic bite. Inevitably, “Teenage Kicks” was the moment that folded generations together. It is one of those songs that somehow resists museum treatment; even now, it sounds less like a classic than a fresh three-minute argument for why guitars, drums and longing still matter.
By the time the Pistols’ banner glowed at the back of the stage, the mood had thickened. This was billed as a celebration of 50 years of punk, but it never felt like a polite anniversary lap. Carter is too kinetic a performer for that. He does not imitate John Lydon, which is a wise move, and the show is better for it.
Instead he attacks the material like a man trying to prove that these songs still have working parts: lungs, teeth, fists. He prowled, barked, grinned and threw himself at the front rows with the evangelical zeal of someone who knows he is fronting sacred texts but refuses to handle them with gloves.
The opening run was brutally effective. “Holidays in the Sun” snapped the crowd to attention, “Seventeen” came on wiry and impatient, and “New York” swaggered with Jones’s guitar sounding less like a riff machine than a power tool. What was striking throughout was how compact the songs remain. The Pistols’ catalogue is not expansive, but it is dense: every tune seems to contain a sneer, a hook and a door being kicked off its hinges. “Pretty Vacant” was the first full-scale singalong, its blank-eyed chorus drifting up into the warm Yorkshire evening with almost comic grandeur.
If there was a weakness, it lay in the inevitable question of danger. No show in 2026 can reproduce the social shock of 1976, and nobody should pretend otherwise. The audience knew the words, the T-shirts were bought in advance, and the rebellion was scheduled to finish before the England v Norway World Cup game.
Yet the band understood that punk, at this distance, works less as threat than as voltage. Cook’s drumming was still blunt and propulsive; Matlock’s bass gave the songs their under appreciated pop architecture; Jones supplied the thick, filthy crunch that made “Bodies” and “Liar” feel genuinely nasty rather than merely theatrical.
“God Save the Queen” was the night’s obvious flashpoint, greeted less as scandal than as football-terrace liturgy. Still, there was a charge in hearing it roared inside a venue so steeped in British history, the words ricocheting off Georgian stone as if looking for something to deface. “No Fun” and “No Feelings” kept the momentum raw, while “Problems” and “E.M.I.” landed with the pleasing sense that some complaints never really go out of date. Carter’s energy was undeniable, and his respect for the material came through in the way he refused to smooth its edges.
The encore stretch, if it can be called that in such a lean set, was pure theatre. “My Way” arrived with all the cracked cabaret arrogance it requires, before “Anarchy in the U.K.” detonated exactly as expected and still felt irresistible. The courtyard became one massed shout, less anarchy than unity, but thrilling all the same. For a band whose legend was built on collapse, the Pistols now seem oddly sturdy: a machine for delivering shockwaves from another era with enough force to rattle the present.
This was not the Sex Pistols as original cultural emergency; that moment cannot be restaged. But at The Piece Hall, with The Undertones providing buoyant, bittersweet support and Frank Carter giving the headline set a fierce new physicality, it became something more convincing than a tribute.
It was a loud, funny, occasionally absurd and often exhilarating reminder that punk’s best songs were built to survive their own mythology. Against all good taste, they still do.
bastille
Scarborough Open Air Theatre - 11th Jul y 26
Review - Lauren McEvoy
Photos - Liam McEvoy
On a perfect summer evening by the Yorkshire coast, Bastille reminded a packed Scarborough Open Air Theatre why they remain one of Britain's most compelling live bands. Returning to the stage after a 2 year break with their From All Sides tour, the band delivered a set that celebrated over a decade of music while proving they are still evolving creatively.
Supported by the soulful and captivating Nectar Woode, the atmosphere was already buzzing before Dan Smith and company walked on stage. As daylight gradually gave way to dusk, the spectacular lakeside setting became the perfect backdrop for a performance that was equal parts intimate and anthemic.
Opening with Things We Lost in the Fire, Bastille immediately had the audience singing every word before seamlessly moving through favourites including Good Grief, Flaws, Oblivion, and Blame. There was little need for elaborate theatrics. The songs, the musicianship and the connection with the crowd carried the evening effortlessly.
Dan Smith remains one of the most engaging frontmen around. His warm, self-deprecating humour and genuine appreciation for the audience made the 8,000 capacity venue feel surprisingly personal. Between songs, he chatted casually with fans, encouraging singalongs and ensured every section of the crowd felt involved.
The set also showcased Bastille's newer material. SAVE MY SOUL slotted naturally alongside the band's established catalogue, while the ambitious medley featuring Bite Down, No Angels, Dreams, What Would You Do? and other tracks demonstrated just how diverse their sound has become without losing its distinctive identity.
Of course, the biggest moments came towards the end. Happier transformed the venue into a sea of voices and phone lights, before Pompeii brought the night to a euphoric conclusion. Thousands of fans chanting the iconic "eh-oh" refrain echoed across the open-air arena long after the final notes had faded.
Scarborough Open Air Theatre has hosted some of the biggest names in music, but Bastille's performance felt particularly special. The combination of an exceptional setting, impeccable sound, heartfelt performances and an audience fully invested from start to finish created one of the standout concerts of the summer.
Set List :
1. Things We Lost in the Fire
2. Shut Off the Lights
3. Good Gries
4. Flaws
5. Oblivion
6. Blame
7. WHAT YOU GONNA DO???
8. Fake It
9. Doom Days
10. Adagio for Strings/ Bite Down/ No Angels/ Requiem for Blue Jeans/ Don’t Let Go (Love)/ Bad_News/ Weapon/ Dreams/ What Would You Do?
11. Of The Night
12. In the Light of the morning
13. Survivin’
14. Send Them Off!
15. SAVE MY SOUL
16. Happier
17. Two Evils
18. Glory
19. Pompeii
deacon blue
The Piece Hall, Halifax - 8th July 26
Review & photos - Mo Longfellow
First things first: an apology to my wife.
You wanted to come. You should have come. You couldn't make it, probably down to my poor planning. And I feel bad cos, and I don’t wanna rub it in, but… you missed a great show!
I've been to plenty of gigs at The Piece Hall over the years, but every now and then everything comes together; the weather, the crowd, the venue, the band, the mood. Wednesday night felt like one of those nights. And on one of the many hot summer evenings we’re experiencing this summer, Deacon Blue were completely at home at the Piece Hall for their first of a two nighter.
Before that though, credit to The Lightning Seeds. They were the perfect support act and knew exactly what buttons to press. Unsurprisingly, Three Lions got the biggest reaction. With England doing well in the World Cup, ‘It's Coming Home’ felt less like a song and more like a communal declaration. The giant inflatable footballs launched into the crowd only added to the carnival atmosphere. They went down a treat.
By the time Deacon Blue arrived, the Piece Hall was already in a fine mood.
The backdrop visuals were impressive all evening without ever becoming distracting; colourful, stylish and matched the songs very nicely. But my eyes kept drifting stage left to Lorraine McIntosh. Dressed in white, tambourine in hand, she danced and bounced around the stage like she was playing her first ever gig. Nothing against Ricky Ross, but there were moments when i couldn’t stop watching her!
The set mixed the new with the familiar, which isn't always easy when you've been around for nearly 40 years. Classics such as Wages Day, Your Town, Real Gone Kid, Dignity and Fergus Sings the Blues landed exactly as you'd hope, but the newer songs held their own too.
One cool thing (and maybe it’s just cos I’m a drummer) came during People Come First. McIntosh had a floor tom set up beside her and hammered away at it to underline the drummer's accents, giving the song extra punch and weight. It was a small touch, but one that made the performance feel more alive and less like a band simply recreating old records.
Ross was in good form all evening. Spotting visitors from Portugal in the crowd, he welcomed them before joking that the weather was typical Halifax weather – "even in December." Considering everyone was melting in temperatures more suited to southern Europe than West Yorkshire, it got a well deserved titter through the audience.
The emotional heart of the evening came when Ross spoke about James Prime, Deacon Blue's founding keyboard player and co-writer, who sadly died last year aged just 64. There was genuine affection in the way Ross talked about him, saying that Prime had always had the knack of making his songs sound better. He also introduced Brian McAlpine, now occupying the piano stool, a difficult role considering whose shoes he's stepping into.
That sense of loss fed naturally into material from the band's latest album, The Great Western Road. Ross explained that many of the songs were written about losing people, often without realising that's what he was writing about at the time. The title track was particularly moving in that context. It carried the reflective, bittersweet quality that Deacon Blue have always done so well, songs that sound uplifting until you really listen to the words.
Then there was Have You Seen Her?
Some songs become audience favourites. Others become communal property. This felt like the latter. I don't think there was a single person in the Piece Hall who didn't know every word. Thousands of voices took over and the band were almost spectators for a while.
And that's probably what struck me most about the whole evening. Yes, the musicianship was excellent. Yes, the visuals looked great. Yes, the setlist was packed with songs people have loved for decades. But the overwhelming feeling was warmth.
Warmth from the weather. Warmth from the crowd. Warmth from a band that seem genuinely grateful people still care enough to come and see them after all these years.
Deacon Blue gigs feel less like concerts and more like reunions. Songs become markers for different stages of people's lives, and judging by the faces around me, everyone had brought a few memories with them.
As Dignity and later I'll Never Fall in Love Again closed out the night, it felt like nobody was really ready to leave.
Which brings me back to my wife. Sorry I was late but I wasn’t missing any of this and again, sorry you missed it!
billy ocean/marti pellow
Experience the Joy of Music with WALL of SOUND
Review & photos - Graham Wokes
What can be better than a clear blue sky accompanied by bright sunshine to set up an evening of entertainment.
A double bill of Billy Ocean & Marti Pellow was the second helping of their two night stint at Halifax's Piece Hall. Feeling slightly apprehensive I joined the 6.000 sell out crowd who were determined to finish the weekend on a high.
Fans filtered in as D.J. Katie Owen cranked up some feel good tunes to ease them into a party mood, finishing with "Hey Jude" which was guaranteed to raise the noise after England's quarter final success the night before.
You wouldn't need to be any sort of mathematician to realise that I was in the minority as women were easily outnumbering the men by six to one , the female fan base were gonna party no matter what & they wouldn't be disappointed.
The noise went up when the highly energetic Marti Pellow thrust himself forward to a bombardment of screams & whistles, adorning a black & silver pinstriped suit with bright red shirt feeding off the adulation thrown at him, the cheeky smile grew broader as his charisma went into overdrive.
Singing his catalogue of songs like "Wishing I was lucky" "Angel eyes" & "Temptation" just fuelled his energy, it was all the ingredients which would only result in everyone having a good time.
Fans were hanging on his every word which had him in total control, vocally he was very strong with the band driving him along & they were having as much fun as everyone else. You pay good money to be entertained & Marti is as master of it, finishing with "A little help from my friends" had the fans on a high, think if he could have gone on longer if he could & fans would say he's definitely value for money, as for me well I got to say he won me over and enjoyed it.
The band took to the stage gradually upping the volume, like the quiet before the storm it was serene & the anticipation was building, it was only broken by the emergence of Billy Ocean.
Dressed in all white the pious looking singer broke into "One world" like a holy man spreading the word.
The serious start to his set lasted one song as he must have got his message across. He was ready to party now like the fans & breaking into "Love really hurts without you " it got things back on track. A mixture of songs like the Latin beats of "Mystery" & " Daylight" dovetailed in with "Red light spells danger " " Loverboy" & "When the going gets tough " gave us hit after hit with a voice that hasn't changed since his emergence in 1976.
This year he started touring in May & won't be done till August & he's still pushing, the guy has unwavering professionalism & does things on his terms, surrounded by an aura he's cultured over the years & the exceptional band behind him, fine musicians with his daughter as a backing singer, they had the place bouncing.
Billy Ocean has always been a floor filler in every decade and he didn't fail tonight, iconic artist, true gentleman & no doubt a national treasure, compared to most he's on another level, he brought things to a close with " Caribbean Queen " leaving the fans on a complete high knowing they'd had one hell of a party.
When you sell out two nights & with 12,000 people partying with such success you're on to a winner. It was a great event so don't be surprised if these two return next year.
They won't disappoint.
elvana
Durham Brass Festival - 12th July 26
Review & photos - Mark Newsome
Elvis, tick. Nirvana, tick. Oompah Brass XXL, er... tick. Put them all together? Wow, what an evening! It shouldn't work, but Elvana showed that it absolutely does. Viva Brass Vegas indeed.
The evening opened with a set by the Oompah Brass XXL band, here in Durham as part of the Durham Brass Festival week. As well as covering more expected numbers, the seven-piece also threw in a James Bond section, plus tributes to Led Zeppelin and Iron Maiden! Versatile, talented and adaptable, the assembled crowd in the cosy Gala Theatre were definitely warmed up, setting up the evening perfectly for the main event.
Elvana arrived from the bowels of Disgraceland in 2014. A snowball of shows has seen them performing at ever-increasing venue sizes, culminating in Download and Glastonbury appearances (four times!). And there is no let-up in their schedule; Durham was the start of a tour celebrating 35 years of Nirvana’s ‘Nevermind’ album, a host of UK and European dates coming up for late 2026 and early 2027.
Elvana are far from a cheese-burgery tribute act. There is real respect for the music and vocals of Kurt Cobain and The King himself (RIP). But more than anything, there is Fun, with a capital F, as in What the F…. For Elvana virgins, you might have initially wondered what the hell have I let myself in for, but after the first couple of songs, you can’t help but smile, sing along, stick your arms in the air and jump around.
The opening chaos of ‘Territorial Pissings’ immediately got the crowd going wild and soon moved into ‘That’s All Right’. The blending of Nirvana into Elvis and vice versa was a key element to the show. Who knew that ‘A Little Less Conversation’ would seamlessly merge with ‘Smells like Teen Spirit’? Crowd favourites like ‘In Bloom’ had as much energy as ‘Viva Las Vegas’ You didn’t think you were flipping opposing artists, the style and panache of Elvana brought both elements together with slick professionalism.
The whole band contributed to the experience. Danny Cobain on lead guitar coped with light and chatty styles of ‘A little less conversation’ as well as the iconic riffs of ‘Come as you are’. ‘Bass guy’ Rob Novoselic was an ever-present fall guy for jokes at the end of the set, but delivered a powerful performance throughout. Bobby Grohl on drums did what was needed, Presley or Nirvana, he was 100% there. The King himself was on form tonight. His love of performing showed through with his swagger, humour, theatre, laughs and crowd interaction.
Several forays out into the excited audience were loved by all and the compact Durham mosh pit even performed a disciplined slow motion crowd crush with The King right in the middle. Through all of this high jinks, his voice didn’t try too hard to imitate Presley or Cobain, that’s not his style or strength. He is more channelling their ghosts on a night out at each other’s houses, beer and burgers and a sing-along amongst mates.
Also on vocals were Rachel and Emma. Far from being just a harmonising backing duo, these two really knew how to perform. Rachel covered lead vocals several times whilst The King slipped between costumes, and the energy and dynamism of her performance maintained the onward thrust of the show.
The night climaxed with a mass release of huge balloons, the crowd going mad to a mashup of ‘Heartbreak Hotel’ and ‘Lithium’. It’s now a standard Elvana show climax, and still loved by all. When the band finally bowed and took the applause, Oompah Brass were right there alongside. They were an integral part tonight and made this a special kind of show, the normal crazy Elvana experience but with sprinkles on top. A repeat somewhere down the line will be much appreciated.
The crowd left Durhams's Gala Theatre with big smiles. This was a night for enjoyment and appreciation of all things Elvis and Nirvana, with a heavy dose of cheeky banter and wit, banging tunes and fun. To quote Elvis Aaron Presley, "Ambition is a dream with a V8 engine".
Elvana, please keep your engine roaring. We need your music, fun and joy.
michael bublé
Scarborough Open Air Theatre - 6th July 26
Reviewed by Lauren McEvoy
On a beautiful summer evening at Scarborough Open Air Theatre on 6 July 2026, Michael Bublé reminded a packed audience why he remains one of the world's most accomplished live entertainers. Blending effortless vocals, infectious humour and genuine warmth, the Canadian superstar delivered a performance that was as much about personality as it was about music.
Opening with the iconic Feeling Good, Bublé immediately had the audience in the palm of his hand. Backed by his outstanding orchestra, his voice sounded rich, smooth and remarkably powerful, filling the open air venue with crystal clear sound.
What sets Michael Bublé apart from many performers is his ability to make an audience of thousands feel as though they're sharing an intimate evening with an old friend. Between songs, he chatted freely with fans, joked about current events and displayed the self-deprecating humour that has become one of his trademarks. His easy rapport with the Scarborough crowd created a relaxed atmosphere that perfectly complemented the stunning coastal setting.
The setlist struck an excellent balance between timeless standards and his biggest contemporary hits. Classics such as Haven't Met You,Yet, Home, Everything and Sway prompted enthusiastic singalongs, while beautifully delivered ballads showcased the remarkable control and warmth of his voice. His orchestra and backing musicians were exceptional throughout, adding depth and sophistication to every arrangement.
A standout moment came when Bublé stepped aside to allow members of his band, particularly trumpeter and vocalist Jumaane Smith, to shine. Rather than merely showcasing his own talents, Bublé celebrated the musicians around him, reinforcing the sense that this was a genuine ensemble performance rather than a one man show.
Michael Bublé's Scarborough performance was a masterclass in live entertainment. Impeccable vocals, first class musicianship and irresistible charisma combined to create an evening that left audiences smiling long after the final applause. In an era increasingly dominated by spectacle, Bublé demonstrated that genuine talent, sincerity and the ability to connect with an audience remain the most powerful ingredients of all.
james taylor
The Piece Hall, Halifax - 16th July 26
Reviewed by Helean Hughes
Photo courtesy of Rhodes Media
Nearly three decades separate my son and me, but music has always had a way of bridging that gap. So when the chance came to see James Taylor and his All-Star Band at Halifax’s magnificent Piece Hall, we happily embarked on a 400-mile round trip. It proved to be a journey more than worth making.
Taylor’s music has been part of our family soundtrack for years. I was first properly introduced to him while listening to Sounds of the 70s on BBC Radio 2, when the late Johnnie Walker interviewed him during a UK tour in the early 2000s. From that point onwards, Taylor’s warm vocals, thoughtful songwriting and timeless melodies became regular visitors to our home. Inevitably, that appreciation rubbed off on the next generation, making this concert a particularly special shared experience.
For both of us, the evening held an added sense of occasion because it was our first visit to the Piece Hall. The historic courtyard, enclosed by its striking Georgian architecture, has become one of the most celebrated outdoor concert venues in the country, and on a balmy summer evening it was impossible to imagine a more fitting setting. Bathed in sunshine and enjoying the height of a heatwave, the venue provided an idyllic backdrop for an artist whose music so often evokes warmth, reflection and calm.
From the moment Taylor walked on stage, accompanied by his superb All-Star Band, the atmosphere was one of affection and anticipation. There was no need for elaborate theatrics. Taylor’s enduring appeal lies in the quality of his songs, the richness of his voice and the effortless musicianship on display around him. Decades after they were first recorded, classics such as Fire and Rain, Carolina in My Mind and Sweet Baby James still resonate deeply, drawing enthusiastic responses from a crowd that spanned multiple generations.
What remains remarkable about Taylor is the intimacy he creates, even in a packed outdoor venue. His easy-going stage presence and gentle humour made the performance feel personal, as though he were sharing songs among friends rather than entertaining thousands. The band matched that spirit perfectly, delivering polished arrangements that highlighted the beauty of the material without ever overpowering it.
As darkness slowly began to fall over the courtyard, the music seemed to wash across the audience in waves of appreciation. There was a sense of collective gratitude among those gathered – gratitude for songs that have accompanied life’s milestones and for an artist who continues to perform them with sincerity and grace. The Piece Hall itself appeared equally enchanted, its historic stone walls amplifying every note and creating an atmosphere that felt both grand and surprisingly intimate.
By the end of the evening, it was clear that this was more than simply a concert. It was a celebration of enduring songwriting, shared memories and music’s ability to connect generations. James Taylor’s first visit to the Piece Hall – and ours – will live long in the memory.
On a perfect summer night in Halifax, artist, audience and venue came together to create something truly special. Based on the smiles we saw leaving the courtyard, we were far from the only ones reluctant to let the evening end.
