From Soft Launch to Alessi Rose, the future of music shines at Live At Leeds: In The City. Words: Finlay Holden, Jamie Muir, Neive McCarthy. Photos: Patrick Gunning.
Live at Leeds: In The City is the sort of festival where you're essentially guaranteed to walk away having discovered your new favourite band. The city's myriad of venues play host to some of the most exciting up-and-coming artists about, and there's no telling who you might stumble across — one thing's for sure, though, there will be something special.
Based on the crowds gathering at Key Club, however, many of those in attendance have already discovered one particular band. Soft Launch are kicking off proceedings, and with only four tracks currently released, they've filled the basement venue to the absolute brim. It takes just a few notes to understand why. It's abundantly clear that the five-piece have something special - 'Cartwheels' immediately wins the room over, inspiring a fever and energy in the crowd that never relents.
Throughout unreleased tracks and their especially bouncing latest single, 'Milkshakes', Soft Launch effortlessly switch between instruments and vocal duties to masterfully craft their contagious grooves in a set that feels like a continuation of a truly promising, exciting run for the band. (NM)
Luvcat, meanwhile, is putting on a captivating performance at The Wardrobe. Her theatrically lilting vocals transform the venue into a smokey jazz club, and it's enthralling to watch. From murderous housewives to unhinged lovers, her dark pop is weaved with vivid storytelling that is all the more bewitching live.
In Luvcat's soft yet haunted tone, those characters are brought to life, and her performance feels like a fully-fledged cinematic world. In just thirty minutes, Luvcat leaves the crowd longing to know more. (NM)
Having blown up before even dropping a track and following that viral moment up with a string of equally appealing singles, daydreamers have just dropped their self-titled debut EP and hit Leeds for an early set at Wardrobe to celebrate it in full.
With each show, the band are critically assessing how to heighten their impact, and the proof is in the pudding here; they lean into the drama of the cinematic 'Beach House', have the crowd side-stepping to utter earworm 'All I Ever Dream About', demonstrate their innate chemistry during 'Don't Delete My Number' and, of course, amp up the energy for 'Call Me Up'.
Frontman Riley is pushing himself at the front to nail vocal lines, put on a show, and have a good time, and it looks like a 3/3 score. While their actions to date have brought great success, daydreamers are focused on the horizon - engaging bigger crowds and creating bigger projects.
'Saviour' gives fans an early preview of album one material, which seems moody and guitar-driven compared to their upbeat pop-bop catalogue, but the fun is bound to continue. (FH)
It's Chloe Slater's first time in Leeds, and it's quite clear that it couldn't come soon enough for both audience and artist alike. Her songs are fired-up and riotous on record, but in a live setting, they're an act of release.
In a whistle-stop tour of her debut EP, 'You Can't Put A Price On Fun', Chloe's tracks become anthemic — her most recent single, 'Tiny Screens', is an especially formidable moment.
Whilst her politically charged lyrics are enough to get you seething at your landlord, influencers, and everyone in between, Chloe's enigmatic stage presence feels like a call to arms to feel those feelings and then let them go as you jump along with her.
Upcoming single 'Fig Tree' is a particularly emotionally charged moment in the set, promising that Chloe is on a strictly upward trajectory from here on out. (NM)
It would almost be rude to hit Leeds and not check out local talent L'objectif, a band started by Saul Kane in his teenage and landing a record deal amid GCSE exams.
Demonstrating their talent with each subsequent project, the group dropped their third EP, 'The Left Side', back in March, and cuts like 'ITSA' sound absolutely huge in the Belgrave Music Hall today.
A hometown crowd has rammed the venue to witness Saul's prowling presence as he dons a Beatle-esque grey suit and demonstrates their ongoing potential.
Synths and keys blast upon entry before settling into a shaking rhythm that carries through their setlist, especially the explosive 'Drive In Mind'.
Unreleased offering 'Goth Kids' hints at work to come, but the surprisingly emotional singalong closer 'The Dance You Sell' engages everybody in the room and emphasises the vitality of their work to date.
Saul & co blossomed into young artists no longer finding their feet but building up an impressive stride, and they've never sounded better. (FH)
The rise of Brummie quartet Overpass has been relatively understated over the past few years, with a gradual culmination of fans manifesting via persistently absorbing live shows and putting the four-piece in a poised position without even realising it.
As they soundcheck in the cavernous basement of Stylus, a big crowd watches every move and rejoices at their belated start.
Deploying anthemic choruses from the get-go, they're clearly a great pick for festival slots, and that relationship has been mutually beneficial.
Gentle vocals and fragile melodies steer just left of the typical bucket-hat crowd, and the title track of their upcoming debut LP is full of longing wails as well as shredding riffs, providing a melancholy drive that is perfect for a sunset that unfortunately can't be seen today.
Older songs like 'Other Side of Midnight' do spark that moshpit fire, though.
It's clear that fans have the time and energy for this music, and that will only expedite when it's delivered this well live.
When chaos ensues during the blissful '3AM', all frontman Max can say is, "Wow". (FH)
The Wardrobe is relatively tiny, but that doesn't stop a legion of fans from holding the fort at the barrier for Alessi Rose's set.
She may have only released her debut single last year, but Alessi Rose is every inch the pop star.
Her confessional lyrics are always endearing, but live, they feel akin to a giggly conversation with your best friend.
It's playful, fun and celebratory as she spins her way through recent releases like 'oh my', the kind of track you find yourself humming hours later.
Alessi's vibrantly anecdotal, resonant brand of pop makes for an enigmatic set - it's hard not to dance along with her. (NM)
An effortless swagger engulfs the Dork Hype stage as Cardinals step into the spotlight.
An attention-grabbing set follows, showcasing a band fully embracing their boldest and most expansive era yet.
From the outset, they exude confidence, commanding the room with a sound that bursts into glorious technicolour.
With the cool of The Strokes and the hypnotic power of Joy Division, Cardinals deliver a refreshing performance for the here and now.
Tracks like 'Twist And Turn' effortlessly transition from timeless songwriting to roaring post-rock breakdowns, while the insatiable pop hook of latest single 'Get It' hits with undeniable precision.
By the time 'Roseland' serenades the Dork Hype Stage to close their set, the magic is palpable, leaving an indelible mark.
That's how you make an impression. (JM)
Manchester-formed, London-based Balancing Act have built an intense cult worshipping at their indie altar with rapid speed.
Pulling on their experience from previous projects (Anteros, BlackWaters), they combine the fruits of poppy hooks and grungy guitar tones into a new indie-rock foundation, as demonstrated on last month's 'Tightropes and Limericks' debut EP.
The theatrical 'Cheshire Smile' has singer Kai Roberts caressing the microphone in animated spirits, ever the showman - his jacket is whipped off to much applause when a sweat is worked up after just three songs.
All offerings summon similar delivery, with 'She Plays The Theremin' being sung back the loudest despite some tricky phrasing; this crowd has been practising behind closed doors.
"Has anyone here seen us before?" he asks to much applause, and he's surely able to forge some new returning customers today. (FH)
STONE take to the Stylus stage with a ferocity that refuses to bow to adversity.
Even technical difficulties fail to dampen their impact as they storm through with resilience and raw energy.
Like a flare set off in a packed room, they light up the space with tracks from across their debut album and career to date.
Mosh pits ignite, limbs fly, and frontman Fin surfs the crowd to songs like 'Waste', as arms are raised and voices roar.
Tonight is a testament to everything STONE have achieved so far, setting out their intent for what's next.
If their debut album, 'Fear Life For A Lifetime', felt like a culmination, tonight proves it's just the start.
STONE's performance at Live At Leeds: In The City cements them as a force to be reckoned with. (JM)
Mercury Prize winners English Teacher are on something of a victory lap, and this set is their homecoming.
They've been here, there and everywhere since the release of their storming debut album 'This Could Be Texas', but tonight, they're hometown heroes.
Emerging onstage and launching straight into 'R&B', there's no messing about for the four-piece.
'I'm Not Crying, You're Crying' is a fervent, disruptive moment, while 'You Blister My Paint' sees Lily Fontaine's vocals bring the room to an arrested standstill.
Their set is magnetic, and the joy from the band is palpable - it's one for the books, this one. (NM)
Swim School's set at The Key Club caps a phenomenal 2024, and they seize the moment with unrelenting energy.
In the packed basement venue, their burning hunger threatens to shake the foundations.
Lead singer Alicia commands the space, diving into the crowd and driving the trio through a set that balances crunching hooks with shimmering delights.
Tracks like 'Anyway', 'Give Me A Reason Why', and the eruptive 'Delirious' are standout moments in a performance that embodies everything Live At Leeds celebrates—bands poised for greatness.
Swim School end their 2024 on a high, with a clear trajectory into 2025 that demands attention. (JM)
On the surface, northern unit Everything Everything may be a group of four ageing white men performing music predominantly grounded in rock, but everything that they've done since their inception has deviated wildly from the norms.
Twice Mercury Prize nominated, the group have broken the UK Top 10 six times by discussing topics including trauma through the lens of technology and societal conspiracies that grow to cult-like levels.
So, relevancy and eccentricity go hand in hand for this group.
They have one hell of a job to do when it comes to curating a setlist.
However, fans scouting the songs between festival slot changeovers can't fault any of their picks, and it's an hour-plus of consistent highs for both the fans and the band, with frontman Jonathan Higgs sporting a beaming grin throughout.
Co-headlining a festival and having your words screamed back can't be a bad feeling.
'Wild Guess' from this year's 'Mountainhead' LP kicks off proceedings with a feverish buzz.
Shaking off a rage with hefty, extended instrumentals is a great way to put the record into focus for the set.
When it contrasts with their older material - such as when 'Spring / Sun / Winter / Dread' transitions into 'Cold Reactor' - it's a joyous reminder of their artistry and cemented relevance that has been a mainstay for 15 years.
Other stops include the twisted but eloquent humour of 'Raw Data Feel' through funny but trauma-inspired bop 'Pizza Boy', the inspired but dark inner relationships of 2020's 'RE-ANIMATOR' that bring a psychedelic dance experience to the stage via 'Arch Enemy', and the more traditional but still charmingly weird hits from 'Get To Heaven'.
For an obsessive fan, this setlist truly has it all.
Jon is not only an ideas man but boasts the best falsetto in the business, and art-rock crowds have never been so lively as when he points his finger into the audience and demands an answer.
It's a wonder how cool a few bright lights and matching outfits can make some pretty normal duds seem, but the true cause is that their underrated music is anything but common. (FH)
Keo's performance on the Dork stage at the Brudenell is a spellbinding display of ambition and raw emotion.
It's not just a set; it's a release, every guitar crunch and pulse brimming with intensity.
'Fly' electrifies with its unrelenting force, while tracks like 'I Lied Amber' and 'Roadkill' pull the room into Keo's world, the rawness of frontman Finn's voice punctuating every moment.
Pin-drop silences between songs give way to explosive grunge and US alternative punches, making Keo stand out in today's lineup.
In a new music world that often plays it safe, Keo deliver a set with a clear and unapologetic vision. (JM)
The Wardrobe transforms into a celebratory haven as Lime Garden close the night with a euphoric performance.
Already boasting a back catalogue that many bands would envy, they take their club-twisting indie sound to new heights.
Tracks like 'Nepotism (Baby)', 'Mother', and 'I Want To Be You' leave no room for doubt as fans line up outside, hoping for a glimpse.
The twisting 'Bitter', the roaring 'Clockwork', and the irresistible 'Pulp' solidify Lime Garden as one of the day's highlights.
When it comes to throwing a party that reaches the very top, there's no one better suited than Lime Garden. (JM)
It's rare to get instructed to get "up on your fucking tippy toes", but when Master Peace tells you to, there are no questions asked.
It becomes mantric throughout his set on Dork's stage, and under the disco ball, the crowd is scarcely flat on the ground.
It's non-stop grooves as Peace races through hit after hit, and chaos descends upon the Brudenell for the likes of 'LOS NARCOS' and 'Save Me'.
Master Peace might deftly blend and shift between genres, but he never eases off the throttle when it comes to energy.
The guitar riffs are thrilling, the beats leave the crowd bouncing, and you'd be hard-pressed to find anyone leaving that set without a grin on their face. (NM)
As he prepares to conclude a UK tour run at Kentish Town Forum, indie darling Alfie Templeman makes one last pit stop to headline Live At Leeds festival.
A Saturday night in the students' union, beers abound, and dance-pop to fuel the night ahead - what could be better?
We all thought we had a grasp on Alfie's capabilities, and his debut full-length (2022's 'Mellow Moon') played right into them, but its follow-up 'Radiosoul' has redefined those expectations.
He's always been an exceptional instrumentalist exploring new sonic arenas - see side-project Ariel Days for more on that - but fusing that with his mainstream appeal is where the challenge lies.
Getting the energy flowing first with some greatest hits, '3D Feelings' could be a showstopper for anyone else but is just the beginning tonight - even with initial sound issues, the room is vibrant and bouncing: "I know a Leeds crowd when I see one!"
Funk is introduced with 'Obvious Guy', and 'Film Scene Daydream' slows down for some bass groove.
It is those more dynamic cuts that show the most promise, though, such as a reworked live version of 'Beckham' that boasts the same staggered choruses but with a huge guitar solo closer.
The Nile Rodgers' featuring 'Just A Dance' unsurprisingly goes full send, and Alfie is super energetic and chatty even after so many back-to-back dates; it's clear this record has reignited his passions.
"I don't know why we're headlining tonight when there are so many great bands on, but it's great to see you here," he beams as the room swirls for 'Circles', 'Movies', and the entrancing' Happiness in Liquid Form'.
Alfie Templeman gifts Leeds the perfect end to Live At Leeds, and the perfect beginning to a Saturday night in the town - the spritely crowd is clearly grateful. (FH)
Dork's Hype stage proves to be quite an educational place, even at nearly 11pm on a Saturday night.
Perth natives Old Mervs have taught the audience some Aussie slang (ken oath, anybody?) and served it with a side of fresh surf-rock that brings a bit of that Australian warmth to a chilly November evening.
Their latest single, 'Parched', gets its first debut in this hemisphere, and the slightly grungier riff feels like an exciting taste of what might come next for the band.
Earnest but infectious, Old Mervs make a strong case for their refreshing brand of indie rock. (NM)
Closing the Dork stage with a bang is Moonchild Sanelly, who is on a mission to get everyone in Brudenell dancing.
It only takes approximately half a song for her to accomplish that, with her tongue-in-cheek lyrics and funk-pop beats sending the crowd into a frenzy.
With tracks like 'Undumpable', in which she frankly refuses to be dumped — and rightly so — she stakes her claim as a witty figure of self-love and celebration.
'Do My Dance' lends itself to a carefree singalong, and it certainly gets that.
Moonchild Sanelly commands the audience with ease, drawing the day's fun to a gleeful, vivacious end. (NM)
