There’s something undeniably special about the Howard Assembly Room, a venue tucked away next to Leeds Grand Theatre.
Many readers may have walked straight past it without even realising what is behind it’s doors. Gothic elegance, the intimacy of its scale, and its warm acoustics make it one of the most atmospheric venues in Leeds. On Saturday 11th October, the stage was set, literally and figuratively, for something striking, as Cate Le Bon brought her art-rock to town.
Visually, the gig was a treat. The stage was bathed in dreamy pastel lighting, soft pinks, dusty blues and delicate lilacs melted into one another, creating an ethereal backdrop that perfectly matched Le Bon’s otherworldly sound. You could tell that this was a show crafted with intention, from the light palette to the sparse but precise stage design.
Musically, Le Bon filled the stage with her many band members, navigating the angular turns and woozy melodies of her catalogue with finesse. Her voice was cool, aloof, sometimes obscured, sometimes cutting through with eerie clarity.
However, as someone not the most familiar with Cate Le Bon’s work (which is why I was excited at the opportunity to see her live, being aware of the Mercury Prize nominated artist and her six album back catalog) I found the experience slightly distancing. Despite the venue being ideal for an intimate, emotionally resonant performance, the show never quite broke through that fourth wall. There was a conceptual layer, and there was a comedic moment where they restarted a song, to which LeBon shyly asked everyone to turn around so they may restart, but there weren’t any huge moments that made me feel like I understood the translation from listening to tracks on my laptop, to witnessing it in front of me. It was beautiful, no doubt, but occasionally it felt like watching a moving art installation more than a live gig.
The evening began on a somewhat jarring note: Le Bon walked on stage to a pre-recorded voiceover stating that “Men have had too much time in power.” A bold, intriguing opener that immediately suggested a performance laced with commentary or confrontation. However, what followed didn’t quite deliver on that promise. Her band included male members, and the sound desk crew appeared to be all men too, which felt slightly contradictory to the message—or at least begged further context or exploration that never came. It left me unsure what the intention was. The moment felt loaded, but ultimately unresolved. If we look at artists like The Last Dinner Party, they were very proactive on having female crew and even ensured that the majority of photographers at their show were young females aiming to gain industry experience. Another amazing example is Addison Rae, who works with female producers and will feature them in interviews breaking down tracks.
Still, there’s no denying Cate Le Bon’s artistry. The show was impeccably produced, visually entrancing and musically rich. For long-time fans, I imagine it was a spellbinding experience. For newcomers like myself, it was intriguing but somewhat opaque, a beautiful atmosphere, yes, but one I never quite felt invited into. Maybe the mystery is part of the charm.
catelebon.com
Photography by Simon Godley.
