keighley cougars Live music festival - 24th/25th july 26

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Review & photos - Liam McEvoy

Keighley made a bold statement over the weekend as Cougar Park swapped rugby league for live music, welcoming thousands of fans to the inaugural Cougar Live Music Festival. Across two days, the home of the Keighley Cougars proved itself to be more than capable of hosting major live events, with a line up headed by JLS on Friday and UB40 featuring Ali Campbell on Saturday. The festival marked a significant new chapter for both the town and the club, delivering an event that combined big name artists with a relaxed, family friendly atmosphere.

Friday belonged to JLS, whose polished production and effortless charisma reminded everyone why they remain one of Britain's most successful pop groups. Opening with a burst of energy, the quartet immediately had the crowd on their feet, delivering hit after hit with slick choreography, soaring harmonies and plenty of audience interaction. Classics including Beat Again, Everybody in Love, The Club Is Alive and She Makes Me Wanna sparked mass singalongs, while newer material blended seamlessly into the set. Between songs, the group's genuine appreciation for the audience shone through, creating a warm connection that elevated the performance beyond nostalgia.

Saturday brought a complete change of pace as reggae legends UB40 featuring Ali Campbell transformed Cougar Park into a Caribbean celebration. Sunshine and reggae have always been the perfect combination, unfortunately on this occasion the weather didn’t play ball however it did not deter thousands of fand who all gathered to sway along to timeless classics.

Ali Campbell's unmistakable vocals remain as distinctive as ever, and songs such as Kingston Town, Cherry Oh Baby, Food for Thought, One in Ten and the inevitable finale of Red Red Wine were greeted by huge cheers. The band sounded superb throughout, with their trademark blend of reggae rhythms, brass sections and infectious melodies creating an atmosphere that felt both uplifting and nostalgic. It was the kind of set that appealed equally to lifelong fans and younger festival goers discovering the music for the first time.

What stood out across both days was the sense of community. Cougar Live never tried to compete with the scale of the UK's largest festivals; instead, it offered something refreshingly accessible. Families, rugby supporters, music lovers and local residents all came together for an event that felt welcoming and inclusive. The organisers deserve enormous credit for transforming Cougar Park into a professional festival venue while retaining the friendly spirit that the Keighley Cougars have become known for.

For a first attempt, Cougar Live exceeded expectations. With two headline performances that delivered memorable evenings, efficient organisation and an atmosphere that remained positive from start to finish, the festival has laid strong foundations for the future. If this inaugural edition is anything to go by, Cougar Live has every chance of becoming a permanent fixture on Yorkshire's summer music calendar.

Review - Lauren McEvoy

Photos - Liam McEvoy

There are some voices that simply demand to be heard live, and Teddy Swims possesses one of them. On Wednesday 22 July, the American singer brought his unmistakable blend of soul, R&B, pop and gospel to a packed Scarborough Open Air Theatre, delivering the first of two headline shows.

Supported by the fantastic Jordan Rakei helping to set the mood earlier in the evening, anticipation steadily built for the arrival of the headline act. By the time Swims took to the stage, the atmosphere around the venue was electric. 

Swims wasted little time demonstrating why he has become one of the most exciting vocalists of his generation. His voice has an extraordinary range and depth, capable of moving effortlessly from a soft, intimate delivery to a full throated roar. Yet what makes him such a compelling live performer is not simply the technical ability. There is a rawness and honesty to his performance that makes every song feel personal.

The set drew from his I've Tried Everything But Therapy era, with songs including 'What More Can I Say', 'Apple Juice', 'Free Drugs', 'Some Things I'll Never Know' and 'Are You Even Real' featuring prominently. The evening also featured the songs that have helped turn Swims into a global star, including 'Lose Control', which proved to be one of the night's most spectacular highlights

The emotional intensity continued throughout the evening. Tracks such as 'Funeral', 'Goodbye's Been Good to You' and '911' showcased the more vulnerable side of his songwriting, while the upbeat numbers brought a welcome sense of celebration. The contrast worked beautifully, ensuring that the show never felt one dimensional.

As the evening drew to a close, it was clear that Scarborough had witnessed something special. Teddy Swims may have arrived as one of the biggest names on the summer concert circuit, but he left the stage having proved that his greatest strength is still his ability to make a huge outdoor venue feel surprisingly intimate.

A soulful, spectacular and deeply heartfelt night on the Yorkshire coast and one that will be remembered long after the final note faded into the Scarborough night.

Set list:

1.  The Door

2.  Hammer to the Heart

3.  Are You Even Real

4.  Funeral

5.  She Loves the Rain

6.  What More Can I Say

7.  911

8.  God Went Crazy

9.  You’ve Got Another Thing Coming

10.  Goodbye’s Been Good to You

11.  Apple Juice

12.  Bad Dreams 

13.  Black and White

14.  Simple Things

15.  Some Things I’ll Never Know

16.  Break Up in Reverse 

17.  Somethin’ ‘Bout a Woman (Thomas Rhett Cover)

18.  Mr. Know It All

19.  Jump (Van Halen Cover)

20.  All That Really Matters (Illenium Cover)

21.  Bed on Fire

22.  Guilty

23.  Lose Control

Rhodes Media

Cuffe & Taylor

Review & photos - Levi Tubman

Peter Ustinov said, “Comedy is simply a funny way of being serious,” but with the UK’s live comedy industry worth over £1 billion, it’s a serious business! 

In terms of a location for a day of comedy, set against the beautiful backdrop of the Cistercian abbey ruins, it’s pretty unique. But with thousands in attendance, Kirkstall Abbey has become a very popular day out. The day has a fantastic lineup, with a mix of eight comedians over six hours, with a ninth, New Zealander Jarred Christmas, as host for the day, quickly showing why he’s won an award for his compère work. 

Kicking the day off, Hal Cruttenden and Simon Evans have similar styles, with a lot of their comedy aimed at those getting a little older, unfortunately relatable to many of us with the biggest laugh coming from a joke about King Charles being made to get a job after retirement age. Both hit the ground running, with roaring laughter right from the start. 

Personally, I think the day is split up perfectly: a couple of comedians followed by a break, nicely spaced out to nip to the bar or toilet. Before and after each comedian is the very hard working Jarred. Not only is he funny, but he’s quick, with the energy of a wound up spring. But he is not alone. Down in the front row, an audience member decided very early on to help him out by waving his arms to get the cheering louder. But this is comedy, and Colin is now part of the day. Just before the next act comes on, he’s called upon to stand up and get the crowd going. 

Babatunde Aleshe greets the crowd with, “Hello, white people. Wow, it feels a bit like an auction up here!” 

A few worried sideways glances follow, with some unsure if it’s OK to laugh at this joke, but they’re soon convinced by how hard he’s laughing at himself. With a lot of his material about relationships, there are a few jokes a little on the coarse side for some people, but for the majority, every one hits. 

Sara Pascoe carries on the theme of relationships, but from a very different angle, with a lot about how big her other half’s shoes and clothes are. With two items filling the wash basket, she spins this into how he doesn’t quite know how the washing basket works, with the louder cheers coming from a fair few women in the audience, along with a few little nods and pokes aimed at husbands and birthdays. On more than one occasion, she has to say out loud, “Come on, Sara, you’re doing a gig. Get back to the joke!” with her slight awkwardness and ADHD shining bright. I’ve wanted to see her perform for a while now, and she did not disappoint! 

Chris McCausland starts his set laughing out loud to himself, proclaiming that he’s never come on stage to chants of someone else’s name before, as the crowd cheers on their new local hero, Colin! He’s good at slipping little one linersinto sentences, setting up a joke about his garden and mentioning that they recently moved because the last tour went well. The comedic brag gets a laugh, but, as if rehearsed, it morphs into the Strictly theme tune, neatly setting up a string of jokes about his time dancing. Managing to make a joke about all aspects of life, he finishes up with his Duolingo experience, where his wife asked him to stop trying Portuguese because it was like talking to a toddler. Even he laughs at his demonstration. I love a comedian laughing at their own jokes. 

Despite coming from the far end of the M62, Lucy Beaumont is still from God’s own county and was welcomed with a bit of the tried and tested chant of “Yorkshire! Yorkshire!” While she’s funny and very relatable, as we’re told some little stories about her life, you want to ask, “Is everything OK?” When she told us that The Traitors required her to have a psychological test, a few hundred people went “Ooooh!”, just as her friends did. It’s that ability to laugh at herself and her own circumstances that makes her so likeable. It’s a lovely mix of chaotic and charming, at times verging on surreal. 

Dara Ó Briain starts off by thanking Henry VIII for providing the abbey ruins for the venue. It’s nice to thank the people who work in the background of it all. With some local knowledge, his wife went to Leeds Uni, describing Leeds as the mad side and Harrogate as the sensible part. Wandering off on a tangent about Bettys Tea Rooms, he makes jokes about the tea establishment in some towns not going down well, and he woke to find Fat Rascals in his bed — Bettys’ version of a horse’s head! Dara then makes the mistake of joking about a time someone asked him for a selfie while he was swimming in a pool. The guy wanted him to get out and go to reception, in his speedos, to take it. Any other time would be fine, but not then. 

As soon as the words leave his mouth, someone asks for a selfie and chaos descends. It’s all in good humour, but he’s all over the stage, ranting and jokingly talking to the crew and members of the audience, telling Colin that no, he can’t have a selfie because he’s had more than his fair share of attention. I don’t know how he even finds time to breathe.By now, I’m crying with laughter. He’s one of the funniest people I’ve ever seen. His mind seems to never be quiet, throwing in a few random comments about Brian Cox. As the stage faces the setting sun, Brian told him never to look into the sun, but, and I quote, “You’re pretty, Brian Cox, but you know nothing! I’ll look into the sun all I want!”Easily the standout of the day for me, the madness and chaos were unexpected but perfectly executed. 

Rounding off the day is Jason Manford. Manford is a household name these days, often selling out big venues and arenas, and is a fitting headliner. Joking that the reason he’s headlining is because he lives the closest, but in reality, he’sflown home from holiday for 24 hours to play the gig. The organiser who asked him to perform gave him his first ever gig outside of Manchester when he was starting out. Entertaining the crowd with a few anecdotes from his early days mixed in with jokes, he feels comfortable and at home, like he’s helping to wind everyone down. 

Dad jokes and embarrassing kids are a big part of the set. You can see the dads in the crowd laughing at these new ideas they get to try out later. He’s so very funny, it’s easy to see why he’s gotten where he is, but he also comes across as so warm and charming, and happy to chat all night. A good 10 minutes past his advertised finish time, he asks how much longer he has, only to be told he has to stop because it’s already curfew. He’s spent the set looking at the wrong light to signal that time’s up. 

This is a fantastic day out, either with family or friends. Parking was easy, with no queues to get in at all. With standard tickets around £60, I think it’s more than fair, considering you can easily pay £40 to see just one of the acts. The day is broken up nicely, with Jarred, the compère, working the hardest, putting on a top show between each act and keeping the crowd’s spirits up. We only had one small bit of rain, which didn’t drive anyone away. I’m looking forward to next year’s festival already! 

Review Lauren McEvoy

Photos - Liam McEvoy

There are few UK artists capable of matching Tom Grennan's infectious enthusiasm, and on Sunday night at Halifax's stunning Piece Hall, he proved exactly why he has become one of Britain's most reliable live performers. Returning as part of his 2026 summer tour, Grennan transformed the historic courtyard into one enormous singalong, delivering a performance with enough energy to keep the packed out crowd bouncing from beginning to end.

Following impressive support sets from Fiona Lee and Finn Askew, anticipation reached fever pitch before Grennan burst onto the stage with "Full Attention." The title proved fitting, immediately capturing the crowd as thousands sang along from the very first chorus.

The opening run of "Higher," "All These Nights" and "Cool With That" kept the momentum soaring, while "Found What I've Been Looking For" reminded everyone why it remains one of the defining songs of his career. The crowd barely stopped singing, matching Grennan lyric for lyric throughout the evening.

What continues to separate Grennan from many of his contemporaries is his ability to balance high energy pop with moments of genuine vulnerability. "Don't Break the Heart," "Crown Your Love" and the moving "Boys Don't Cry"showcased his emotional songwriting, with the latter receiving one of the loudest receptions of the night thanks to its heartfelt message about opening up and supporting one another.

As the evening drew towards its conclusion, "Remind Me" and "Something in the Water" built the anticipation for the inevitable finale. When the opening chords of "Little Bit of Love" rang out, the entire venue erupted into one final euphoric singalong, providing the perfect ending to a night of brilliant live music.

The Piece Hall once again demonstrated why it has become one of the UK's premier outdoor concert venues. As darkness fell over the beautifully illuminated Georgian architecture, the stunning backdrop elevated an already memorable performance into something truly special.

Full Setlist:

1. Full Attention
2. Higher
3. All These Nights
4. Cool With That
5. Found What I've Been Looking For
6. Don't Break the Heart
7. Crown Your Love
8. Boys Don't Cry
9. Royal Highness
10. Somewhere Only We Go (Keane cover)
11. Let's Go Home Together
12. Diamond
13. Head Up
14. How Does It Feel
15. All Goes Wrong (Chase & Status cover)
16. Lionheart (Fearless) (Joel Corry & Tom Grennan)
17. By Your Side (Calvin Harris cover)
18. Remind Me
19. Something in the Water
20. Little Bit of Love

Rhodes Media

Cuffe & Taylor

Review - Julie Knowlton

Photos - John McEvoy

David Gray’s Past & Present tour arrived at the Piece Hall with The Divine Comedy in support, and the pairing proved inspired. Both acts understand melancholy, wit and melody; both know that understatement can carry further than bombast. By the end, the night had become a quietly triumphant reminder of how durable well-written songs can be.

The Divine Comedy were more than a warm-up. Neil Hannon, dapper and dry as ever, treated the courtyard like a drawing room suddenly expanded to several thousand people. His songs have always balanced arch theatricality with genuine feeling, and that balance worked beautifully in the open air. “Something for the Weekend” and “Becoming More Like Alfie” brought early sparkle, while “A Lady of a Certain Age” landed with its usual bittersweet elegance. The set built towards communal pleasure: “National Express” was greeted like an old family joke everyone was delighted to hear again, and “Tonight We Fly” sent its final lift into the evening with charm intact.

That Hannon’s urbane pop should work so well before Gray made sense once the headliner appeared. Gray is not a showman in the obvious sense. There is little choreography, little grandstanding, and not much in the way of theatrical excess. Instead, he relies on voice, rhythm and an emotional directness that can make a large outdoor venue feel suddenly close. Wearing the relaxed assurance of an artist who knows his catalogue has travelled with people through whole chapters of their lives, he led a superb band through a set that leaned into memory without becoming trapped by it.

The early stretch showed how much range sits beneath Gray’s reputation as a confessional singer-songwriter. “After the Harvest” and “My Oh My” found him in reflective form, his voice weathered but strong, carrying that familiar grain of ache without sounding fragile. “White Ladder” was welcomed with obvious affection, but it was not presented as a museum piece. The arrangement had space and pulse, the band giving the song enough lift to remind the crowd that Gray’s great breakthrough was never simply a collection of sad ballads: it had movement, electronics, and a restless heartbeat.

“The One I Love” and “Be Mine” brought a warmer, more expansive energy, the audience singing along without overwhelming the performance. Gray’s best songs often seem to hover between private confession and public anthem, and that tension was especially clear on “Please Forgive Me”. Its driving percussion, insistent piano and open-hearted chorus turned the courtyard into one surging body. It was one of the evening’s peaks: familiar enough to be instantly embraced, but still alive enough to feel discovered in the moment.

And then, of course, came “Babylon”. Some songs become so ubiquitous that artists can seem burdened by them, but Gray treated it neither as obligation nor trophy. He let the crowd have it, and they took it gladly, thousands of voices bouncing off the Piece Hall’s stone walls in one of those uncomplicated singalong moments that justify outdoor summer shows. It was nostalgic, certainly, but not merely nostalgic. For many present, the song clearly still meant an awful lot. 

The encore underlined Gray’s strengths. His reading of Soft Cell’s “Say Hello, Wave Goodbye” was generous and soulful, less a cover than a conversation with another classic of bruised romantic farewell. Closing with “Sail Away” brought the night to a fittingly open-ended conclusion. 

What made the concert memorable was not spectacle, but proportion. The Divine Comedy supplied wit, elegance and a perfectly judged opening flourish; Gray followed with sincerity, craft and songs that have worn their years well. 

In a venue as atmospheric as The Piece Hall, he did not need to overstate the case. He simply stood there, sang with conviction, trusted the material, and allowed the audience to find themselves in it. Sometimes that is more than enough.

Rhodes Media

Cuffe & Taylor

Review & photos Graham Wokes

What could be a better way to start a weekend than a trip to the sun drenched Kirkstall Abbey, Leeds. A ruined 12th century Cistercian monastery founded in 1152, it was eventually surrendered to King Henry VIII in 1540.

Tonight it was to be invaded by a Stella line up of The Maccabees plus special guests, Maximo Park, Everything Everything, Mystery Jets and Fiona-Lee.

A leisurely walk along Kirkstall road was like any other day until the faint sounds of music became audible.

On approaching the venue it was clear things had already started, once through security it was also evident the voice drifting down the aire valley was that of Fiona-Lee, an artist known for her meaningful songs & storytelling. Fiona's punchy rhythm's, strong vocals attracted fans towards the stage across the golden sun bleached carpet of grass to check out her undoubted talent , the half hour set is enough to make you check out her 2026 EP "Every Woman", she was certainly a good start to the evening.

More people flowed in as the Mystery Jets took to the stage, they wasted no time in hitting us with "Young love". The four piece band hailing from Eel pie island were relentless, Instrumentally excellent with vocals from Blaine Harrison, the bands enhanced harmonies gave them a synergy that really delivers some infectious songs that get you moving.

It was a shame it was only a half hour set but it was certainly enough to leave me very impressed 

When guys walk on stage in yellow radioactive boiler suits smiling you know there's no impending doom. Everything Everything meant business hitting us with their jittery high strung rhythms, Jonathan Higgs unique singing style is pulled along with the anxious grooves & funky bass lines, Breaking into "Distant past " & the likes of "spring /sun /winter/dread" bring echoes of David Byrne (talking heads) The parallels continue through the 45 minute set with the fans showing their approval, this is a perfect warm up for their "Get to heaven" 10th anniversary 9 date North American tour,

If it's anything like this they'll be in for one a hell of a treat.

Next to the stage was Paul Smith with Maximo Park, dressed in all black & red jacket he interacted with the sun drenched fans protected by his fedora hat & sunglasses, giving us "our velocity" & " The coast is always changing"  was enough time to lose the jacket, the northern trio had the crowd bouncing, the ten song set was pushed in to present as much as possible, they where there to give everything which they did, musically it was excellent & I'm sure most of the surrounding area would agree. 

Closing with "Going missing" raised the atmosphere which teed it up for the final act.

The sun was setting providing the perfect backdrop for the main event, the four & half thousand fans didn't have to wait long for the flurried guitar strumming which ushered in the Maccabees, "Love you better " ignited Euphoria of the baying fans who were then treated to "Latchmere" & "Lego".

It was all followed by a conveyor of hit after hit with fans singing word for word.

Orlando Weeks flanked by the White brothers were certainly back with a bang after their 2016 split & 2024 comeback appearances, on this evidence they have the appetite for more which underlined by the airing of "Ballad of so long" one of two new offerings which could well be added to after the tour. Favourites "First Love" & "Toothpaste kisses" had fans roaring with approval to the unrelenting performance, the encore of "No kind words" was topped by the excellent "pelican"

Kirkstall Abbey served up and absolute blinder, all the bands were brilliant & thoroughly entertaining, there was loads of room to move about freely, plenty of different types of tasty street food & short queues to the bar,  time flew by & I'm sure that goes to show the quality of the line up.

I'll be keeping my eyes peeled not only for seeing the bands again but also an opportunity to reacquaint myself kirkstall abbey as a venue,  verdict. outstanding 

Review Julie Crabtree

Photos - Levi Tubman

Gary Numan has been performing since 1977, so as he approaches his 50th year in music, the question is: is there any sign of him slowing down, and does he still have it? Well, slight spoiler: his tour stretches across 11 months, takes in both hemispheres and covers a total of eight countries. No, Gary Numan is not slowing down. 

Opening tonight at the Piece Hall, Halifax are Ladytron, and for me, they didn’t quite hit the mark. For the majority, they were a hit with the crowd, who danced and cheered. While towards the end the energy certainly picked up, I like something a little less static from an opening act. 

Taking to either side of the stage are two imposing figures: his guitarist and bassist. Both sport shaven bald heads, a thin black line running down the middle of their faces and are dressed in black shirts and ties with full length black skirts and boots, bringing a menacing, industrial feel. Their stark appearance fits perfectly with the dark, futuristic aesthetic. 

Numan takes to the stage with real presence, black ropes around his arms, but in a change to the night’s colour theme, his pants are a very dark grey, reflecting enough light to show off the stitched pleats and patches, bringing depth to an otherwise flat piece of clothing. I love theatrics and a dramatic flair with my live music and tonight doesn’t plan on disappointing. 

Kicking off with Halo, it’s dark and dirty, perfectly setting the tone for the night, with a clipped, heavily processed drum loop joined by eerie synths before analogue drums, bass and guitar come in hard. While he’s often referred to as a founding father of synth pop, Numan is also a keen guitarist, and his music is backed up with more traditional instruments, with drums providing plenty of snare and cymbals that electronic drums can struggle with, bass guitar providing a thick, deep rumble, and distorted guitars adding real bite and dynamics to the sound. 

Ah, the backing track. While becoming increasingly common in modern live music, Numan has received some criticism for using them, with some suggesting they diminish the live experience and even questioning whether he is actually singing. Personally, I think the opposite is true. Some of his music is incredibly complex, and recreating it entirely live would require considerably more equipment and musicians. Not only would that potentially detract from the atmospheric look of the stage, but it would also introduce far more complications, both musically and logistically. 

While it’s not exactly priceless, if Numan took his vintage Polymoog out on tour and something happened to it, replacing one these days wouldn’t be easy. There’s also a certain irony in fans criticising his use of modern technology to enhance the live sound when Numan made his name by embracing and pushing the boundaries of the latest technology throughout the 1970s and 1980s. And there’s plenty of evidence that this is still very much a live performance. You can clearly hear the guitar coming from the amplifier at the front of the stage, the bass is tuned between songs, and as Numan spins, jumps and throws himself around the stage, there are moments when his vocals quieten because the microphone is simply a little too far from his mouth. 

There’s no question about it: tonight is a live performance. 

M.E., famously sampled by Basement Jaxx, takes us back to Numan’s early roots. Compared to his newer material, it’s much more stripped back, but it sounds fantastic, with those ominous opening notes leading into his prominent and emotional vocals. We’re then taken 35 years forward to 2014’s I Am Dust, a song that initially sounds remarkably similar, but quickly reveals itself to be far denser and heavier, with seemingly every section adding another layer or texture. 

Putting the two songs together perfectly demonstrates just how far Numan has come, not only as a musician but in the way he has evolved and expanded his use of sound. The foundations are still there, but the sonic palette has grown enormously. 

The performance extends well beyond the music. He's commented before that he prefers to keep stage banter to a minimum, we got a grand total of five words from him at the end of the night. Instead, the focus is firmly on his aloof and distant persona while performing. Swapping vocal embellishments for physical ones, this is a man approaching his sixth decade in music who simply cannot keep still. He’s constantly moving, often jumping high into the air and spinning around, so perhaps he simply doesn’t have the energy left to talk! I did notice that he would often crouch down at the front of the stage, pointing to individual fans while singing or waving to them. The connection with the crowd is clearly there; he just chooses to make it in his own way. 

While the keyboard player and drummer remain fixed in their positions, the bassist could often be found staring wide eyed at people in the audience before shaking his head around and bounding across the stage. Meanwhile, long time guitarist Steve Harris would often dance and move with exaggerated, almost effortlessly smooth gestures whenever he didn’t have a guitar in his hands. 

The performance was backed by simple but highly effective lighting, usually a single colour such as green or blue washing across the stage. The gothic revival spire behind the stage was illuminated in the same colours and intensity, making it stand out dramatically against the dark night sky. Whether it was intentional or simply a happy coincidence, scheduling the performance on a date so the set finished after sunset, leaving the industrial glow of the stage to dominate the darkness, was a perfect touch. 

For me, the highlight of the night would have been Down in the Park, from the 1979 Tubeway Army album Replicas. Not only is it a fantastic track, but tonight, live, it comes across so well that it outshines what’s come before it. But then we get Ghost Nation. It feels huge, bigger than it should, dark and imposing, with bursts of light shining through. It’s a powerful wall of sound that shows how, decades apart, his writing has gone from strength to strength rather than fading and stagnating. 

Including soundtracks, EPs and live albums, Gary Numan has over 70 records to his name, including those with Tubeway Army. So, while there is a rich back catalogue to pull from, there will always be a song he doesn’t play that disappoints some people. But there will always be Cars. 

All artists have that one song that follows them around. While some can feel overshadowed and jaded towards fans focusing on one song, they often still get played. While he’s gone on the record as saying he didn’t want to be defined by it, he seems to have made peace with it. As for his fans there tonight, there are so many other songs for them to love, but it’s hard to avoid how big Cars is. As his first solo single, it’s so very poppy and upbeat compared to his other material. While some there may also oppose it coming to define him, there’s no denying how well it goes down. 

Following up the lightness with Rip and The Chosen, both darker and more industrial, it feels like Numan is showing the audience, “But look what else I can do!” These antitheses of Cars go down a storm. If the heavens had opened up right then, it would only have added to the atmosphere and dampened no spirits. 

To finish off the night, it was always going to be Are 'Friends' Electric? While it has similar commercial success to Cars, it feels less pop and more electronic, a move away from the mainstream. With its iconic sawtooth bass sound and multiple Moog synths, it’s futuristic even today, while offering enough nostalgia for fans to be singing it as they walked out into the night. 

It has taken me far too long to see Gary Numan, and having now managed it, I feel all the worse for taking so long. I don’t think any part of the night needed to be changed; even the lack of talking, which has come close to spoiling a gig for me in the past, didn’t put me off. From the simple but effective lighting to the wall of sound and theatrics, it was one hell of a night, and I can see why he still pulls in the crowds. 

Setlist :

1.  Halo   

2.  M.E.   

3.  I Am Dust  Me!  

4.  I Disconnect From You (Tubeway Army song)   

5.  Remind Me to Smile   

6.  Jagged   

7.  Mercy   

8.  Metal   

9.  When the World Comes Apart   

10.  Down in the Park (Tubeway Army song)   

11.  Ghost Nation   

12.  Cars   

13.  Rip   

14.  The Chosen   

15.  My Name Is Ruin   

16.  I Die: You Die   

Encore:  

17: Love Hurt Bleed   

18: Are 'Friends' Electric? (Tubeway Army song) 

Rhodes Media

Cuffe & Taylor

Reviewed by Lauren McEvoy

Photos - Liam McEvoy

There are few bands capable of turning progressive metal into something genuinely cinematic, but Opeth have spent more than three decades mastering that art. Making their only UK appearance of 2026, the Swedish icons transformed The Piece Hall into a cathedral of crushing riffs, haunting melodies and technical brilliance, proving why they remain one of the most respected bands in heavy music.

Opening with the beautifully atmospheric "Windowpane", Opeth immediately drew the audience into their world. The contrast between delicate acoustic passages and immense walls of sound remains one of the band's greatest strengths, and every subtle dynamic shift echoed around the unique surroundings of The Piece Hall.

Åkerfeldt was in typically relaxed form between songs, balancing his trademark dry humour with heartfelt appreciation for the band's UK fans. His effortless transition between clean vocals and ferocious growls remains astonishing, while his intricate guitar work alongside Fredrik Åkesson showcased why Opeth continue to influence generations of progressive musicians.

Material from The Last Will and Testament sat comfortably alongside fan favourites from throughout their career. Newer compositions demonstrated the band's continued willingness to evolve, while classics such as "Godheads Lament" reminded everyone why these songs have become staples of modern progressive metal.

Martin Mendez's fluid bass playing and Waltteri Väyrynen's precise, thunderous drumming provided an unshakeable foundation throughout the evening, while Joakim Svalberg added layers of atmosphere with tasteful keyboard arrangements that elevated the band's already expansive sound.

The Piece Hall once again proved itself to be one of the UK's finest outdoor venues. The historic architecture provided an incredible backdrop, while the venue's intimate layout allowed every intricate musical detail to be appreciated without losing the overwhelming power that defines an Opeth performance.

As the set built towards its conclusion, the audience became increasingly animated, singing every familiar melody while headbanging through the band's heavier passages. Closing with the monumental "Deliverance", Opeth delivered one final barrage of crushing riffs, leaving the Halifax crowd exhausted but exhilarated.

Rhodes Media

Cuffe & Taylor

Review & photos  - Lewis Wolstenholme

Another year has come around, and the famous Kirkstall Abbey in Leeds has turned into the place to be. I was lucky enough to be at the last show of the summer series, headlined by Loyle Carner and featuring artists Jordan Rakei, Kokoroko, Kofi Stone and Bricknasty on the lineup.

Loyle Carner, known for his signature blend of genres and jazz infused hip-hop, has shown once again why he’s one of the most loved musicians around. The show started at sunset, the mood was perfectly set from the evening of music we’d had before, and his set opened with ‘all I need’ from his most recent album ‘hopefully !’

Loyle has a way of connecting with an audience unlike anything I’ve quite felt before. Throughout the music, his optimism, vulnerability and openness to talk on topics that are difficult to talk about (such as Mental Health and ADHD), he rekindles hope and emotion in a world that can often feel quite shut off. 

“If you’ve got ADHD and Dyslexia, keep answering back and keep answering questions. ADHD is a superpower.” (NME Awards Speech 2018)

Not only is the message through the music so powerful, but it's also soundtracked by one of the best touring bands there is. Drummer Richard Spaven keeps up with the fast hip-hop beats, especially in songs like ‘A Lasting Place’ featuring new arrangements different from the studio versions. Guitarist Raquel Martins solos throughout a selection of songs and plays the intimate moments of songs like ‘lyin’ so beautifully. Bassist Yves Fernandez holds down every moment, and the new stand-in keys player transitioned into songs like ‘Nobody Knows (Ladas Road) with such emotion that shows this whole band have another level of musicianship.

“I've been playing shows for 12 years, and every time I come to Leeds, it’s the day I look forward to the most because I know it’s going to be beautiful, uplifting and loud and poetic and I can’t express it enough” ‘hopefully !’, Carner’s third studio album came out just over a year ago now, and the music still feels as new as ever, finding ways to present his music in a live setting that feels new, exciting and a different experience for the fans that get to see him live. What a way to close out the Kirkstall Abbey summer sessions I say!

Setlist:

all i need

Plastic

Ain't Nothing Changed

Yesterday

Damselfly

horcrux

Desoleil (Brilliant Corners)

Homerton

Nobody Knows (Ladas Road)

lyin

Still

Speed of Plight

about time

Ottolenghi (ft. Jordan Rakei)

A Lasting Place

Review - Linda Shaw

Photos - Anya Weston-Shaw

What a night at The Piece Hall in Halifax on Saturday for The K’s!

Having supported James at the very same venue last summer, it was fantastic to see The K’s return this year as headliners. That progression says a lot about how far they’ve come, and after seeing them live, it’s easy to understand why they’ve earned that opportunity.

From the moment they came on stage, they brought so much energy and really owned the venue. Songs such as Gravestone, Glass Towns, and Sarajevo sounded fantastic live. The performance was clearly full of passion, and a lot of emotion. They were a group of people who were enjoying every second of what was a huge moment for them. The Piece Hall is such an incredible setting for live music, and it suited The K’s well.

The crowd was probably the one slight downside for me. The atmosphere felt a little mixed at times, and there were moments where the behaviour of some people around us took away from the overall experience, even the band themselves commented on this. 

Ultimately, that was a small factor that couldn’t overshadow what was a brilliant performance. Seeing The K’s go from a support slot at The Piece Hall last summer to headlining it themselves this year was a great thing to witness. 

t feels like another big step forward for the band, and judging by Saturday night, they’re more than ready for it.

An overall brilliant gig, an amazing venue, and a band who are clearly going places. 

I’d definitely recommend seeing The K’s.

Rhodes Media

Cuffe & Taylor

Reviewed by Katy Reece

Photos - Mo Longfellow

I’ll get this out of the way straight away: I was gutted to miss The Hidden Cameras. By all accounts they were a great way to start the evening, but thanks to a combination of timing and poor planning, I only made it in for Bimini and the main event.

That said, what an evening it turned out to be.

Scissor Sisters arrived at The Piece Hall on 9 August looking every bit like a band enjoying their second wind. After 25 years, there would be no excuse for going through the motions, and thankfully there was none of that here. In fact, they were on top of their game from the moment they walked on stage.

The production was brilliant without feeling overdone. Giant inflatable silver scissors hung behind the band, drums sat beside a jeep, an American phone box stood stage left, and a long ramp stretched out towards the crowd. Combined with the constantly changing lighting, it gave the whole thing the feel of a musical theatre production.

Frontman Jake Shears was in a reflective mood between songs, talking about the wonderful mix of people gathered in the crowd. He laughed about the “weirdos” in the audience, making it very clear he meant that as a compliment. He spoke warmly about seeing older fans alongside younger ones, and joked that some people in the crowd would have first heard Scissor Sisters from the back seat of their parent’s car. It was a nice reminder that this band has now spanned generations.

There was plenty of the usual Scissor Sisters humour too. Before ‘Take Your Mama’, cabaret legend Amber Martin launched into a story about forgetting a G-string in a hotel room and having to ask her mum if she had one spare. Apparently she led her to a drawer packed with them in every colour imaginable, including leather versions. According to Amber, she was wearing one of them on stage that night. 

A costume change followed later in the set, with Shears returning in a striking red outfit topped with a horned hat for ‘Comfortably Numb’. Purists may roll their eyes at anyone messing with Pink Floyd, but there was no room for snobbery here. Bathed in deep red light, the band's disco-infused version had the whole courtyard moving. As somebody who loves the original, I should probably object on principle, but honestly, it was impossible not to enjoy yourself.

The highlight, for me at least, came with ‘Invisible Light’. The pulsing rhythm, pounding drums and darker atmosphere gave it a different feel to much of the set. It felt bigger, more intense and more immersive than everything around it. For me, that was the song of the night.

A sharp change of pace followed with ‘Let's Have a Kiki’, which brought things back to pure fun. Not that the energy had dipped at any point. 

Before ‘Only the Horses’, Shears welcomed first-time attendees into what he called the "Scissorhood", a line that perfectly summed up the evening's mood. It never felt exclusive. Quite the opposite.

The encore kicked off with ‘Filthy/Gorgeous’, prompting one final surge forward from the crowd. People bounced, sang and danced as you could only expect from a crowd watching Scissor Sisters. At one point a pair of inflatable boobs appeared hanging from the giant scissors behind the stage, which felt entirely on brand.

For the closing ‘Music Is the Victim’, the band brought Bimini back out along with two giant purple monster-like characters for one last communal dance. It was chaotic, ridiculous and enormous fun. A perfect ending to a night that felt more like a party than a concert.

And then there's Bimini.

To call their set unusual would be underselling it massively. It was completely bonkers in the best possible way. Backed by dancers Richard and Oscar, dressed in leather and chains, Bimini delivered a set that bounced between club culture, punk attitude and outright mayhem. There were nods to The Prodigy, a blast of Tinie Tempah, and a crowd-pleasing cover of ‘Wonderwall’ that had arms swaying across the venue.

Between songs, Bimini spoke about acceptance, kindness and allowing people to be themselves as long as nobody is getting hurt. It was an honest and heartfelt message delivered without preaching. In a world where plenty of artists are careful not to say anything meaningful, Bimini came across as refreshingly genuine.

The final song, ‘Live My Life’, due for release soon, suggested there is plenty more to come.

By the time Scissor Sisters took the stage, the crowd had already been thoroughly warmed up. Were they ready? Absolutely.

What stayed with me afterwards wasn't just the music, though there was plenty to enjoy. It was the feeling that ran through the entire night. Scissor Sisters and Bimini may have very different approaches, but both delivered the same message: be yourself, accept others and have a good time doing it.

Sometimes that's exactly what live music should be.

Reviewed by Julie Knowlton

Photos - John McEvoy

For one glorious summer evening, The Piece Hall in Halifax became less a cathedral of 80s pop. Holly Johnson’s headline show, part of TK Maxx presents Live at The Piece Hall, brought together three acts rooted in the decade’s sharpest, coolest corners in the guise of Johnson himself, ABC and Heaven 17. 

Heaven 17 kicked off the evening with the efficient confidence of a band who know exactly what their songs can still do to a crowd. The Sheffield’s synth-pop veterans have always balanced sleek electronics with an intelligent knowing political edge, and in the open air that combination landed well. “(We Don't Need This) Fascist Groove Thang" had its mechanised bite, while “Come Live with Me” reminded everyone just how elegant their melodies can be. Their version of Bowies "let's Dance" went down well, but inevitably “Temptation” was the first real mass singalong of the night, its chorus ringing around the venue and showed that these songs are still impactful after all these years. A short, but very sweet set!!

Next up it was ABC followed with a set that brought an altogether different kind of feel.  It has to be said that Martin Fry still remains a consummate frontman, carrying himself with a poise that made The Lexicon of Love such a defining statement of early-80s sophistication. “Poison Arrow” and “When Smokey Sings” were delivered with charm and precision, but it was “The Look of Love” that truly blossomed in the setting. 

One point worth mentioning and to be fair even Martin Fry spoke about it as well, was whether it’s such a good idea to be running old ABC videos on the huge screen throughout the performance. All that seemed to do is remind us all that we’re getting old!!

By the time Holly Johnson arrived, the atmosphere had shifted from warm appreciation to eager anticipation. Opening with Frankie Goes To Hollywood material was in my opinion a smart move, sending “Warriors of the Wasteland” and “Welcome to the Pleasuredome” into the night with suitable drama. 

Johnson’s voice with its still distinctive sound cut clearly through the mix, and he worked the stage with a blend of flamboyance, warmth and good humour. 

As is becoming the norm whenever a new artist plays the Piece Hall, he mentioned how lovely the place is on a warm summers night and acknowledged the ‘posh bastards’ who were watching from the balconies!!

His solo hits ramped things up considerably and  “Americanos” fizzed with bright, satirical pop energy, and “Love Train” turned the courtyard into a dancefloor, arms rising across the terraces and the standing crowd below. 

“Atomic City” and “Heaven’s Here” was evidence that Johnson’s solo career deserves to sit alongside the Frankie tracks rather than beneath it. Although it has to be said that the Frankie tracks were real highlights of the gig. “Two Tribes” sounded epic and its Cold War references seemed more relevant than ever in 2026, and of course “Relax” became exactly what it had to be, a huge, joyous moment. 

After the high of “Two Tribes” and “Relax”, “The Power Of Love” brought the gig to a close and it was a reminder that Frankie Goes To Hollywood weren’t just about shock value, they delivered some genuinely great tunes that continue to stand the test of time. 

As a night out, this was hard to fault: three acts, one era, but no sense of coasting. 

Heaven 17 and ABC were far more than simply warm up acts. They reminded the audience how rich and varied British synth-pop could be, and Holly Johnson then turned the evening into a triumph of personality, voice and strong back catalogue to call upon. 

All in all I think it would be fair to say that the 5,000 plus crowd went out into the night having enjoyed a great night out in surroundings that are rapidly, and rightly, acquiring a reputation of being one of the best outdoor venues in the UK.  

Rhodes Media

Cuffe & Taylor

Reviewed by Andi Bridges

So, what to make of Boomtown 2026? 77,000 people gathered on the South Downs intent on having a good time at a festival that has a history with Electronic Dance Music (EDM) although there are other genres offered up to the citizens of the city. Boomtown works on the principle of a self-contained city, and this time out they were trying some innovative ideas. 

There is no cash or cards used on site as money is pre-loaded onto a chip on your wrist band. It is in theory a great idea as it makes it a lot harder to be robbed. The downside is I don’t know anyone that wasn’t stung by at least one trader. I got charged £12 for two cups of tea which should have been £6. A lot of traders told you how much you were spending but never actually showed you the cost before scanning your chip. Lesson learned for next time. 

There are 3 distinct areas to Boomtown – 

1)  

Downtown, set at the bottom of the hill and relatively flat. Split into 3 sections. Botanica, Metropolis, home to Hydro XL stage, the biggest stage in the section, where I caught Folamour on Saturday afternoon, a DJ spinning a mixture of soul, funk and disco with heavy emphasis on a 70s Philadelphia sound. When he started, I was on the edge of the crowd, by the time he finished I was in the middle of the crowd. Area 404, which has a punkier attitude concludes the makeup of this area. In fact, Hanger 161 is situated within this section. 161 translates as AFA if using the numbers as letters. AFA means Anti-Fascist Action and I caught several acts here over the weekend. Starting with Meryl Streek on Friday evening. 

Now, I have two rules when at a festival. The first is give any band 3 songs to impress me. The second is if there are more than 13 people on stage, get your fingers in your ears and get the fuck out of there as it will be jazz. First Meryl number, I wasn’t impressed, second number I started to nod my head and by the third number I was fully involved in the performance. The almost stream of conscious lyrics about the world’s ills is strangely compelling. He did a great number called Kelly about the 2024 death of a woman called Kelly Lynch and the inconsistencies of the official report of her death, initially citing it as an accident, and the fact she sustained 93 bodily injuries. 

The lyrics ram the point home in a bruising manner. Meryl also set the trend for bands with minimal personnel (drummer and vocalist) using triggers and backing tracks to complete the band’s sound. 

Second band I saw here was Inner Terrestrials, 31 years into their career and they have a new drummer that has given them a rockier basis from which to launch their version of ska punk. Jay Terrestrial is an engaging frontperson and he knows how to use his guitar to get you to dance, ably assisted by the long-term bassist. The songs are all anti-establishment, right up my street.

Third and final band I caught here was Knives – six young people who are mostly graduates of the BIMM school in Bristol. Very Idles influenced with a nod to Yard Act, there is chaos going off all over the stage, a bass player who has difficulty keeping both feet on stage at any given moment. A guitarist very fond of playing from the audience. All this is held together by Erin on drums.

Nexus stage, part of Botanica is the second biggest stage in this part of Boomtown. I saw one of my top 3 acts of the weekend here. House Gospel Choir, does exactly what it says on the tin.10 singers each with a fantastic voice, as demonstrated when they took lead vocal, however, when they blended it was truly magnificent. The eleventh person on stage was the DJ dropping the beats and tunes for the Choir to sing to. It was one of those moments where everything falls into alignment. I’ll never forget half the crowd joining half the choir singing – I Was Made For Loving You, by Kiss and the other half offering up Sing It Back, by Moloko. It shouldn’t have worked but it did.

I was advised to catch Skinner Brothers by a good friend of mine. Knowing absolutely nothing about them, Rule 1 applied. It didn’t take 3 numbers for me to enjoy the brand of agit punk-rap. The band dressed in Red Adidas with black hoods and the singer in a Black Adidas trackie and bucket hat with his face painted black and white, tore the stage a new one. Again, there seemed to be a lot of triggers going off, backing vocals, brass, and keyboards.

Sunday afternoon at Nexus gave us Hollie Cook and her band, The General Roots Band who laid down some of the tightest, smoothest reggae grooves of the weekend. Very Lovers Rock sounding as proved by a cover of Janet Kay’s Silly Games. It was ideal for an early Sunday evening as a lovely little relaxed interlude before a big finish on Sunday night.

One of the venues not listed was called the Garden Centre, decorated unsurprisingly like a garden centre. I popped in and caught a couple of DJs over the weekend. Wild Soul played a Drum n Bass set tinged with a hint of Psytrance and Basshead played a straight-ahead Drum and Bass set. Props to the worker/volunteer who was ‘Avin It Large’ to Basshead. Another unlisted venue was Hotel Paradiso, where they have four poster beds, a reception area and a concierge. I managed to catch Carrier in there with a great set of funk, soul and rap. Same suite same time next year please.

2)

The second area Hill Top, as the name suggests, is up a bloody big hill. The biggest stage here is Grand Central, where I saw a second one of my top 3 acts of the weekend. I had decided to check out acts I had never seen before, so this led me to Peaches on Saturday night. With a minimalist stage set and a couple of dancers, I wasn’t prepared for her throbbing, pulsing electro grooves and her just baring her soul, emotionally and physically. I couldn’t dance as I was transfixed. The spirit of Patti Smith is alive and well and residing in Peaches. Big ups to the BSL Signer who signed 3 choruses of Fuckface from the side of the stage.

I topped up my DnB quotient with Dr Meaker here on Sunday afternoon as part of my big finish. Melding electronics and acoustics. The 3 singers with amazingly soulful voices and enough energy to power Boomtown. Celestine who did the majority of singing, Laurent and especially Tenisha, who is heavily pregnant, give this version of DnB a deeply soulful feeling. Two brass players and a drummer along side Clive (Dr Meaker) on keyboards complete the line up.

The Full Moon Ballroom provides a space for a more laidback jazzy sound and Kotoa certainly fit that bill. A five piece from South London they provide a much-needed respite when the extreme heat and dust on Saturday began to take its toll. Singer/Vocalist Maia Avery announced from the stage that today was their new EP release day. And the tracks they played from it certainly demand further investigation.

Foggers Mill is just up from the ballroom and boasts an eclectic line up. Hawkeye and Hoe were the first band up for me. They are a duo playing rock covers in a countryish way. You haven’t lived until you’ve heard Another Brick In The Wall as a hoedown. 

Monkey Bizzle seem to have  been around for ages but have only just released their second album – Agricultural Appropriation. They are a sort of updated Wurzels, insofar as they sing songs about life in the West Country. The lyrics can be either the funniest you have ever heard or the most puerile, and I give you Let’s Get Down for you to check out and decide. What isn’t in doubt is how authentic the music is in a rock rap style. It was refreshing to see guitar bass and drums making the music. Although even the Bizzle succumb to doing a bit of scratching via a laptop and turntable to add a certain credibility to the songs.

3)

Third and final space is Old Town; you get to this through Hill Top and it is designed like an old village you might find in a vampire movie. I spent some time in the Fool’s Leap venue; I discovered Scottish Fish here on Thursday night. Despite the name they are a Boston based quintet offering up Celtic influenced fiddle music. As this was one of the first things I did after I’d pitched my tent and started to explore and it was a pleasant surprise to find music that wasn’t EDM, which I wasn’t expecting, and I made a point of checking out some other bands here across the weekend. 

3 Daft Monkeys have been in existence for 25 years and are dab hands at this festival malarky. Their brand of Cornish folk music will get you up and dancing and when given just an hour every song will be a banger. They started with my favourite track of theirs – Faces and maintained the intensity for the next 60 minutes.

My last pick for my top 3 performances was Daraa Tribes, a band from Morocco. From the oasis town of Tagounite. 

I have no idea what they were singing about but the sheer joy coming off the musicians on stage was so infectious, it was impossible not to catch it and dance yourself silly to their mixture of ancestral tribal music and Saharan Blues.

Just outside Old Town on the walkway down to Downtown sits the Tribe Of Frog stage. Nestled nicely in a shady hollow. I spent an hour or two in there on Friday afternoon to escape the 36-degree heat, listening to Psytrance DJ Cheska Onyx, an emerging talent and one to watch out for.

Old Town also houses the biggest stage Lion’s Den. I planned to catch Madness here opening the stage on Friday morning, but due to the extreme heat and the dust being kicked up they closed Hill Top. I did get there to see the last number – It must Be Love, which had a massive crowd singing along and throwing their hands in the air. I can only assume on the evidence of the last number that The Nutty Boys knocked it out of the park.

And so to the end of my big Sunday night. Scissor Sisters were everything I hoped they would be and I really have nothing to add to Katy Reece’s excellent review from a couple of weeks ago (scroll up to find it) when they were a Piece Hall, except to say that the two female replacements for Ana Matronic, work really well together and with Jake Shears. The encore saw both Zac Polanski and RuPaul Drag Race winner Krystal join the band onstage.

And this leads to Faithless; their last record didn’t grab me as I had hoped, but live it comes into its own. With the newer stuff sitting very comfortably alongside the older material. Insomnia is dropped very early in the set and Maxi Jazz appeared on the big screen behind Sister Bliss, as he did for, We Come One and God Is A DJ. It was a very moving tribute to see him up there. Sister Bliss is centre stage, to Sister’s right is a live drummer and to her left a percussionist. Up front is a guitarist and bassist. Sporadically a male and female singer take to the stage to perform the newer tracks from Champion Sound. As much as I appreciate DJs skills, it is refreshing to see real dance music being made by actual humans. The hour and a quarter set went by far too quickly. 

With  that Boomtown was over was over. It was hot, very hot, even at 4am. It was dusty, insanely dusty. Facemasks recommended across the site at all times. The vibe was mellow, there wasn’t anyone trying to create a space when moving into in a large crowd where none existed (the exception to this was Scissor Sisters). It nearly broke me; however, I am made of sterner stuff. I discovered a love of Iced Mochas and Strawberry and Banana smoothies which probably saved my life on most days. 

To their credit Boomtown are trying to be cutting edge. It doesn’t always succeed, but if they learn the lessons from the failures and don’t tinker with stuff that works, it can only go from strength to strength. 

Reviewed by James Fortune-Clubb

Wall of Sound are back in Halifax again and this time it's to see the nerd/indie/art-rock collective comprised of luminaries Wrigglesworth, J Willgoose Esq, JFAbraham and Mr B who together form the audio soundscape and archive footage bohemoth that is Public Service Broadcasting, now 17 years, 5 albums in and just over a decade since the release of their seminal and magnum opus that is 'The Race for Space'.

Tonight PSB are in town for their gig at the suitably majestic and visually stunning 18th Century Halifax Piece Hall - which should provide an appropriately history imbued backdrop to their impressive visuals. The band are at a point in their career now, where interest is increasing exponentially and the venue size for their gigs is also now and unsurprisingly increasing to keep pace. This is a big gig for PSB tonight - their biggest ever outside London, so we are later informed by Willgoose, which should put them in good stead for their huge show at London's Alexandra Palace next month - but back to tonight, the Piece Hall is buzzing and expectations are running high.

First up this evening and also in the ascendency, are London indie rock band 'The Big Moon' - former Mercury Music Prize nominees with just over a decade of experience under their belts, TBM are virtually unknown to me, so as is required I'm all ears and open mind at the ready...

The Big Moon get off to a somewhat underpowered start initially, verging on indie generic, but pretty soon the energy on stage seems to increase, songs from their forthcoming album feel more interesting.

A serviceable cover of Fatboy Slim's Praise You, along with songs like You Remind Me that I'm Dying (but it's good to be alive) finally seal the deal and win the Halifax crowd over.

But now to the main event....the lights dim and the sounds of Public Service Broadcasting's by now customary pre set track - Bowie's Sound and Vision.booms out across the Piece Hall. It's a great song and a brave choice, but PSB are up to the challenge and get off to a blistering start with Electra and The Fun Of It – both tracks taken from their excellent 2024 album The Last Flight – a tribute to aviator Amelia Earhart.

They followed this great opening foray, with a great set comprised of songs from across their career, including The Pit, Night Mail, Korolev, Spitfire, Blue Heaven, The Other Side and of course Go! The band returned to the stage for a four-song encore which included the epic Gagarin and PSB classic Everest.

Assisted by the vocal and musical talents of regular live collaborator Norwegian singer songwriter Eera - who is particularly haunting on A Different Kind of Love. Although not officially a member of PSB, it does feel that Eera is very much integral to the band's live set up.

Also on stage at various points throughout the evening are PSBs all playing, all dancing brass section - who are always good value for money, as well as Derbyshire instrumental trio Haiku Salut and of course the 'astronauts' make their usual appearance.

There was a nice moment also, when Willgoose gave a shout out to someone called Dan, who'd seemingly and quite randomly gifted him with a guitar that he'd made - which of course was played (amongst many others) throughout the course of the evening.

I've been lucky enough to see Public Service Broadcasting a few times now over recent years and they're always a solid, reliable and impressive live band, but tonight seemed different, somehow everything felt bigger, broader, harder, more layered and expansive - almost as though they've shifted up a gear and taken things to another level and it's the best I've ever seen them.

It's testament to PSB that whilst their albums stand alone as great works without the accompanying visuals, however live...the visuals, archive and otherwise, along with live on stage footage certainly take things to a higher level and definitely enhance the whole experience.

All of the band members are great tonight, but it's founding member, multi-instrumentalist J Willgoose Esq who is key to everything - he cuts a very unlikely figure of guitar hero, in his suit and bow tie, but that's exactly what he is - just a very different kind of guitar hero.

Tonight's show was full of many standouts and highlights - the opening two tracks from their most recent album were stunning, as was of course, fan favourite Go! The Other Side, with it's central drop out section was great and unexpectedly moving.

A flawless set then and a truly great performance from Public Service Broadcasting at Halifax Piece Hall tonight then - long may they prosper.

Rhodes Media

Cuffe & Taylor

Review & photos - Huw Williams

Westside Cowboy are one of the hottest bands around right now, about to play Reading and Leeds Festival, the chance to get an up close and personal rendition of their new album - It Goes On - was too good to miss.

The crowd snaked from the door of Jumbo Records, past the Key Club and round the corner, well before the store re-opened to allow the fans to squeeze in front of the tiny performance space at the back of the shop. Packed in among the racks of vinyl, there’s a reverent cheer as the band emerge from the back office of the record shop and the band take their places, barely enough room for them all to fit on.

They play through the album, in order, although they self-deprecatingly pretend they can’t remember the order. They could have easily borrowed a set-list though from one of the many fans clutching a copy of the record, ready for signing after the show.

They kick off with Kick Stones (The Boys), Jimmy taking lead vocal over a brilliant drum performance from Paddy Murphy. It’s a quick run through the first half of the album, along with some more of that modest joking with the crowd. “Bear with us” jokes Jimmy. “We haven’t had time to iron everything out yet. It’s only been out 3 days!”

There’s no need to worry though. They’re flawless in their delivery with Jimmy and Reuben sharing the vocal duties seamlessly. “We’re at the point where we flip the record to what the critics call “the boring side"", jokes Jimmy again. Maybe it is more low key, but it certainly wasn’t boring. They show off their musicianship, vocals clear, sound well mixed and no tracks to hide behind. Pin Up Boys is delivered with groove and a barnstorming drumbeat (again, a lot of credit to Paddy here).

Aoife takes lead vocals on Coyote, showing the quality the stretches right across the band. They throw in a couple of older songs once the album is complete - Can’t See and I Never Met Anyone I Thought I Could Really Love (Until I Met You) - much to the delight of the faithful fans.

As the set closes out, the queue stretches out again, this time around the counter and record racks, as the band cheerfully meet the fans and sign the records. It’s a quality performance from a band that has great things to come. The album is excellent. The live show, even better.

Review - Liam McEvoy

Wombats & Circa Waves photos - Liam McEvoy

There are few better places to spend a summer evening listening to indie anthems than Halifax’s magnificent Piece Hall, and The Wombats made full use of their surroundings on Friday night. Bringing their Oh! The Ocean tour to the historic venue, the Liverpool trio delivered an energetic, feel-good performance packed with huge choruses, infectious melodies and the kind of songs that seem tailor-made for thousands of voices singing along.

The atmosphere was building from the moment the gates opened, with the impressive stone courtyard gradually filling with fans of all ages. As daylight began to fade and the stage lights took over, The Piece Hall once again demonstrated why it has become one of the UK’s standout outdoor concert venues. The enclosed courtyard created an incredible backdrop, with the sound bouncing off the historic walls and giving every song an added sense of scale.

Before the headliners took to the stage, Circa Waves had the sizeable task of warming up the crowd – and they did so with considerable success. The Liverpool indie-rockers were a perfect choice for the bill, sharing The Wombats’ ability to combine upbeat guitar-driven indie with instantly memorable choruses. Their performance was energetic from the outset, and it wasn’t long before the audience was dancing and singing along. Circa Waves have developed into an excellent live band, and their appearance felt less like a conventional support slot and more like a second headline-worthy performance. Their familiarity with the crowd and their ability to fill the expansive Piece Hall courtyard made them an ideal precursor to The Wombats.

When The Wombats finally appeared, they wasted no time in getting the party started. “Moving to New York” was a brilliant opening choice, immediately followed by “Techno Fan” and “Cheetah Tongue”, establishing the pace and energy that would continue throughout the evening. 

The set struck a strong balance between the band's established favourites and material from their latest album, Oh! The Ocean. Tracks such as “Sorry I’m Late, I Didn’t Want to Come,” “Ready for the High” and “Can’t Say No” sat comfortably alongside older fan favourites, demonstrating just how consistent The Wombats' songwriting has remained over the years.

One of the biggest strengths of the evening was the crowd interaction. The Piece Hall was full of people who knew every word, and songs such as “Kill the Director,” “Give Me a Try” and “Pink Lemonade” produced some of the loudest singalongs of the night.

The mood briefly shifted during the acoustic section, with “Blood on the Hospital Floor,” “Lemon to a Knife Fight” and “If You Ever Leave, I'm Coming With You” providing a more intimate moment in the middle of the set. Even in this stripped-back section, Murphy's vocals carried across the courtyard, before the band gradually built the momentum back up.

As darkness settled over Halifax, the show became increasingly spectacular. “Tokyo (Vampires & Wolves)” and “Turn”pushed the energy levels back up before the band left the stage, although everyone knew there was still more to come.

The encore delivered exactly what the audience wanted. “Greek Tragedy” was greeted with a huge response before The Wombats closed the night with the irresistible “Let’s Dance to Joy Division.” By this point, The Piece Hall had effectively become one enormous dancefloor, with thousands of people bouncing, singing and celebrating together.

The Wombats have always understood the importance of making their live shows fun, and this performance was a perfect example. There was no unnecessary spectacle or complicated production needed; just three musicians, a collection of brilliant indie songs and an audience more than willing to throw themselves into every chorus.

With Circa Waves providing an excellent support performance and The Wombats delivering a set filled with nostalgia, new material and huge singalong moments, this was another memorable night at The Piece Hall. The historic surroundings may provide the setting, but it was the music that made the evening so special.

Set List:

1. Moving to New York
2. Techno Fan
3. Cheetah Tongue
4. Sorry I’m Late, I Didn’t Want to Come
5. Kill the Director
6. Ready for the High
7. Can’t Say No
8. Give Me a Try
9. Pink Lemonade
10. Holy Sugar
11. Method to the Madness
12. Lethal Combination
13. Blood on the Hospital Floor
14. Lemon to a Knife Fight
15. If You Ever Leave, I’m Coming With You
16. Tokyo (Vampires & Wolves)
17. Turn
18. Greek Tragedy
19. Let’s Dance to Joy Division

Rhodes Media

Cuffe & Taylor