WORDS BY EMILY MAXTED / IMAGES BY ALEX RATCLIFFE
Back for a sophomore year in its summer home, it’s on Live at Leeds to carry the torch marking the beginning of a new festival season, as it throws open the gates of the historical Temple Newsam to welcome back a multitude of punters and soon-to-be crushed cups of cider.
The Cockpit Stage is locked down across the afternoon, the likes of The Lottery Winners and Black Honey paving the way for indie playlist-staple, Kate Nash, whose hit ‘Foundations’ from 2007’s Made of Bricks proves itself as a celebrated fan-favourite no less than it was sixteen years ago.
Over on the Big Top stage, despite battling technical difficulties that see a fifteen-minute delay to their set, The Big Moon consolidate themselves as laureates of their craft in a set that may as well be a performance masterclass. Opener, ‘Wide Eyes’, is a skyscraping euphoric anthem that evokes the sense of being welcomed home; however, it’s the broody ‘Don’t Think’ that proves the true testament to the band as live performers. A pulsing dark indie banger, tender three-part harmonies carry through flawlessly, before erupting into a punchy guitar lick. Their progression as a band evident from a meticulously curated setlist, the newfound maturity of recent track ‘Daydreaming’ complements a freeing fan favourite finale in ‘Your Light’. Always poignantly heartfelt and unapologetically honest in their lyricism – particularly owed to the experiences of frontwoman, Juliette Jackson – the quartet consistently hit the mark of turning the deeply personal into a universally felt experience.
Elsewhere, soaring straight into 2019 hit ‘Not Giving In’, Tom Walker’s dynamic vocals waste no time in demonstrating his aptitude for a main stage festival slot. Impossible to not thrive off his energy, it isn’t long before his crowd is compelled as they greet his trademark soulful roars with rivalling cheers. “This is absolutely delightful”, he grins before launching into ‘Wait for You’. A song written about a mate navigating a life-changing traumatic event, Walker’s ability to hold out a supportive hand through the intimacy of his songwriting, even just for a mere listener, is something that should not be understated. Kickstarting the tempo again for ultimate crowd-pleaser, ‘Just You and I’, the atmosphere within the grounds of Temple Newsam is almost palpable. He goes on to remind his audience to check on their friends, reflecting on the loss of a loved one to whom he dedicates ‘Stigma’, before rounding off with his breakthrough track, ‘Leave a Light On’.
Enter now, Everything Everything. Certainly a contender for one of the most highly-anticipated bands of the day, they prepare to welcome a Big Top stage almost fit to burst. The eclectic Mancunians, emerging to 2017’s ‘Night of the Long Knives’, wouldn’t sound entirely out of place as a potential Eurovision entry to score the UK some points next year. Whilst undeniably bolstered by frontman, Jonathan Higgs, fully living up to his duties – stage presence and soaring falsetto in equal measure – even the band cannot quite manage to fully evade the technical difficulties plaguing the festival this year. ‘Arch Enemy’, the third track of the set, sees brief issues with the drums before they jump back in time for their first live showcase of ‘Regret’ since 2021. Their set explores the versatility of a sixteen-year career, going out on a high with 2015’s ‘No Reptiles’.
Unfortunately, it’s somewhat of a similar story for The Lathums. Despite putting on a display of epic bangers, ‘Say My Name’ and ‘I See Your Ghost’ of particular note, are marred by technical issues that see their prowess undercut by the cutting out of both instruments and vocals alike. Armed with an incredibly tight discography, it is a shame that the energy of their performances live somewhat falls short of being able to quite match up.
Having signed a deal with Polydor Records, supported My Chemical Romance at Warrington, and released debut mixtape Loud Without Noise all within the past year, it all seems to be going from strength to strength for Liverpool’s Crawlers. Although down one regular bandmate, with the absence of guitarist Amy Woodall, it does not mean that the band are in any way prepared to let the dynamics of their performance wane. A classic rendition of ‘Sweet Caroline’ prepares the crowd gathered for the band’s entrance, as they throw themselves straight into the frighteningly cool ‘Too Soon’. Ravaging through fan favourite ‘Feminist Radical Hypocritical Delusional’ as vocalist Holly Minto saunters across the stage, they strip back to reveal a hint of wistfulness with latest single, ‘That Time Of Year Always’. Their audience not slowing down for even a second, the undercurrents of vulnerability in their set culminate in a crashing coup d’etat with viral hit ‘Come Over (Again)’.
With Cavetown next on the cards, it is interesting to see that despite championing completely antithetical genres of music, much of the crowd remains having stuck around from Crawlers. One thing that Live at Leeds always manages to thrive off, it’s their recognition of the need to consider a versatile demographic. Whilst predominantly young, the audience is by miles one of the most dedicated, an ode to the fast-moving era of bedroom pop. For what is undoubtedly the most wholesome event of the entire afternoon, Robin Skinner emerges to an outpouring of love and Build-A-Bear frogs. ‘Sweet Tooth’ is first up, before he drops into the complete earworm (yes, that may have been intentional) ‘Boys Will Be Bugs’. Defying the pressures of toxic masculinity, it is easy to see immediately why Cavetown is just so beloved as an artist. Exploring the trials of growing up and beginning to leave childhood behind, he is a beacon of reassurance for his listeners. A multitude of frog hats spotted over the festival grounds across the day, it leaves a certain pang of fondness in the heart to see them all together in one tent for ‘Frogs’. No need to worry, fan favourite ‘Lemon Boy’ is also on the cards before he turns his attention to newer hits ‘Fall In Love With A Girl’ and ‘1994’. Completing his set with ‘Devil Town’, it is time to prepare for the day’s headliner, Two Door Cinema Club, on a stage that will certainly be under Cavetown’s belt in the near future.
Taking the baton from last year’s headliners, Bombay Bicycle Club, Two Door Cinema Club know exactly what it takes to hit the ground running when closing out a festival. As soon as the green light is given from frontman Alex Trimble, we are taken back to 2007 for the nostalgically familiar guitar riff of opener, ‘This Is the Life’. A promise upheld throughout their set, it is a night for the seminal banger as the Bangor trio shred through hits ‘I Can Talk’ and ‘Are We Ready? (Wreck)’. Nodding to their roots, it is also a chance for the band to demonstrate their broadening into new horizons with last year’s single, ‘Wonderful Life’. Furiously optimistic, and no less infectious, the track’s ability to stand on its own two legs in the face of such renowned anthems is nothing but commendable. Delving again into their back catalogue for ‘Undercover Martyn’ and ‘Changing of the Seasons’, it’s clear to see that Two Door are the band who continue to hold the keys to the kingdom of the ridiculously catchy hook. They are a group still capable of demanding attention, and it’s theirs to lap up as a sea of punters surge up into the air for ‘What You Know’, before falling back to earth for a dazzling finale in ‘Sun and ‘Something Good Can Work’.
A festival still ironing out its technical kinks, Live at Leeds in the Park, well on its way to declaring itself a festival season staple, continus to build upon the foundations of last year’s inaugural edition. It’s not even really a goodbye, either. With preparations already in full swing for the festival’s sister edition in the city, scheduled for October, crowds are promised a mere ‘see you later’ – not complete without a flyer on the way out teasing its first waves of names…
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