Three years ago, I was invited to check out what the hoopla was about when it came to Live at Leeds: In The City.
A line-up with a massive variety of lesser known or unsigned talents, all of which I didn’t know for the most part, it turned out to be a warm spell in a dreary November time.
I didnt realise it would so swiftly become an institution for myself and Leeds Livings Music, and be a hallmark of what we do.
In previous years, I have had the pleasure of covering and witnessing talents who went on to greater things, whether it be The Last Dinner Party, Wunderhorse, Pigs Pigs Pigs Pigs Pigs Pigs, English Teacher or theroystonclub. Since seeing them, I have either come across mutual friends and big fans of these artists, to catching them on big line-ups for shows, even hearing them played in HMV when browsing for Christmas gifts.
Witch Post at The Wardrobe. Photograph by Emma Gibbon
After having the absolute pleasure to cover Live at Leeds: In The Park earlier this year, there is a charm to the divide in branding: where the Temple Newsam all-day festivals in May dignify the art of those more established, grandiose acts, one has to favour the gift that keeps on giving of attending these multi-venue all-day events spread out across Leeds City Centre.
It’s urban and right in the middle of the magic of the City culture. It puts the emphasis and business on a plethora of independent venues, and allows it to showcase creative spaces for artists and fans alike to gather, and share that sense of entertainment and camaraderie.
New and emerging, by my count there were 148 acts booked, spread out across seventeen stages. From Leeds Stylus to Leeds Beckett’s three stages; Key Club to Lending Room; Sela Bar, Oporto and Headrow House, these are all places I’ve been for quiet nights (and not-so quiet nights) – and it felt great to enter that lexicon of music brilliance.
Unfortunately, time is everything – and on a day like this, where that much is going down, it can be incredibly difficult. If I had the time, and if the days were stretched over weekends (or probably longer, actually), I’d try and see a whole lot more. But it was a great showcase from what I did manage to see on a cold November afternoon.
As Storm Claudia loomed, another energy burst across West Yorkshire. Arriving at around 12:30, with
my bus from native Rodley delayed, bustling with people, I made my way to familiar grounds. For three consecutive years, the organisers have transformed The Wardrobe into a hub, and as such, have refined the art of sorting out press passes to a refreshingly easy process.
Fittingly, this turned out great logistically: with a walk out of the door, and into the neighbour’s, I descended down the turning staircase to step into the ever-immaculate Wardrobe gig venue. I was a bit late coming in for Nxdia, but from what I did see, they brought a fuzzy sense of awareness to the political backdrop of our modern day.
Born in Cairo, Nxdia’s sense of self comes from adolescence living in nearby Manchester. Coming up through the age of COVID-19 and the cost-of-living crisis, much of their work has come from their surroundings. This alt-pop ability has enabled Nxdia to expand from the thrill of social media, making their way to levels of fame, including reaching #74 in the UK Singles Sales Chart last year for their
track “She Likes A Boy”.
While I wasn’t able to see much more than the tail-end of Nxdia’s set, I do however look forward to catching them in the near future.
After a bite to eat at a local café (shout-out to 200 Degrees Coffee on BOND Street), it was time to pop back across the centre towards Wardrobe for Witch Post. Another new band for me to check out, I later learned the lore as to how they came to be. From ventured parts of the western world, Dylan and Alaska came together to allow their spirits merge in the form of song. What came from this was a soundwave of expression, emotion and raw power, demonstrated through words, through rock and through the simple touch of feeling.
Such a short-tenured band have quickly become an unsung saint of the uprising scene – “The Wolf” depicted their artistic credibilities onscreen, and in watching that after hearing and seeing them for the first time at Live at Leeds, it provided a fully illustrated picture of what great potential this band can have. With songs delving deeper into the skin of fears, anxieties and angst, these youngsters make for a perfect combination – I came away sold on them, after spending just the 25-minute set with them.
After spending the past two years across town at the University of Leeds & Leeds Beckett University campuses for the most part, it felt pretty alien to be venturing up Albion Street for the one and only set I would see that way – Keo are a band I have crossed paths with before.
Keo. Photograph by Emma Gibbon
Like ships in the night, they have burst onto the scene and I am increasingly spotting them light up line-ups with their three-lettered presence.
With an ear-tearing sound synonymous with the Seattle alternative grunge movement of the 1990s, walking into Beckett’s main stage told me all I needed to know about how conditioned their fandom has become. A lively and even ratio of lads and lasses filled out the crowd, from far more backgrounds than I actually imagined.
The alt-rock four-piece have really made an impression, gained from artists such as Radiohead and Jeff Buckley.
It felt at times like a punk show I would have witnessed down at Temple of Boom, and at others like a pop-punk show that I’d have gone in on right here at Beckett, just a few years ago. No joke, these guys reminded me of Wunderhorse two years ago: they sounded like they were right on the cusp – and with that, another artist to throw onto the stockpile of talent for listening this week. It helps that “I Lied, Amber” is an absolute rager, too.
Dialling it down some, a cold and dim evening in Leeds saw the gang meet up! It was a pleasure to catch up with most of the Leeds Living cohort at Headrow House – the place I have spent many polite pints in my time. As is tradition for Live at Leeds at this point, it must be noted that I was attached to the hip to Emma Gibbon, a very gifted photographer and longtime friend from back home in Grimsby, Lincolnshire. The rest of the team – Maddie Armstrong and Millie Stephens – were on their mission at other Live at Leeds venues.
I met Charlotte Gill back at Temple Newsam for Live at Leeds: In The Park. Charlotte is great at organising and sound with social media! I also met her partner and writer Will Sutherington, and photographer Jazz Kane – great company all round.
The reason we were altogether, though – truly, was Grace Gachot. Homely and comfortably, Grace turned the second floor of The House into an ice palace of fairytale whimsy. This dreampoppy pixie provided a window into her world, one that has revolved around the exposure of innocence; of love betrayed.
“Naked”, her newest hit, was a captivating and expressive piece that moved a pretty packed space to her every word.
Polite, friendly and seemingly shy, I saw much potential in Grace and wondered where her career would bring her to.
Wrapping up one more sensational year, I headed up to see The Rooks at Lending Room. Where, you ask? Beats me! I kept on following the road, and I walked and walked. Never have I ever in my life heard of this place, and after popping up on the radar, it hit me that this place was very chill.
Up past the University of Leeds, my old stomping grounds, The Rooks had an intimate house to play for, and with much to live up to – I think that they exceeded all possible expectations set. With their ruckus and noise, the anthematic and rocky stylings of the Glaswegian gang fired up a chilling late evening with the hits.
Every single year, I commit myself to tripping down to the City Centre to check out Live at Leeds. Filling my boots and pockets with artists, they are oh-so very rarely the only time I ever hear of them again. This is the proving ground of unsigned artists; the place to get seen; the breaking point of the glass ceiling. It’s above and beyond for all artists who rise to prominence, and this year, I think, was no exception.
Here’s to next year!
Main image Nxdia. Photograph by Jazz Jennings.
