Live at Leeds in the City turned eighteen this year on this damp blustery Saturday in November.
Review and Photos by Stuart Duthie
It’s in good health having grown from around 50 to more than 150 acts across seventeen venues. I braved the weather to sample fourteen acts over seven locations and almost twelve hours.
Kicking things off at midday was Nxdia. Of Egyptian Sudanese heritage, she has grown her fame through TikTok and opened proceeding at The Wardrobe. Live she was more guitar-driven than on her records, leaning a little more towards indie rather than the alt-pop her music is often categorised under. She was a great opening act for the festival and drew a decent crowd.
As a Skunk Anasie fan the next stop was The Key Club. I have heard good things about So Good’s act from when they supported the rock legends. First onto the stage were the drummer and bassist in onesies and masks. I am not sure that prepared us as the girls burst onto stage. Full of energy, synchronised dancing, and humour – go listen to If I Had A if you want to know what I am talking about. We even had sleigh bells on their off-message, newly unwrapped, Christmas single.
We hung on in the Key Club for the next band who introduced themselves with “Hola, Soy Tooth.” It turns out they aren’t from Madrid, but from London and not easy to track down online (try tooth.os.fan). So just as well we are watching them live, and this was one enjoyable set. I was going to say “particularly if you like guitar driven indie rock” but they had something a bit more than just that and quickly filled the venue.
Next a change of venue and a change of pace: Honeyglaze at Becketts University Student Union. I was only there last week to photograph and review Palaye Royale, The Hunna and The Molotovs and this was altogether a more mellow affair. I was looking forward to seeing this band and have been enjoying their material. The audience seemed to enjoy them, and my friend commented that this took him right back to the bands he loved in the ‘90s, but for me, today, they just didn’t seem to click in the same way as they do on record.
After a short wander to the Stylus, it was time for the Clause. Playing Oasis’s Morning Glory over the PA got the crowd in the mood and singing along. It set the tone for this performance, drawing influence from Britpop and repackaging it for today with strong clear vocals and anthemic guitars. The song In my Element was perhaps the highpoint with a lively mosh pit and a celebratory audience.
Next up I managed to catch Kean Kavanagh playing the second stage at Becketts Student Union, a band that mixes flat caps and Moogs.
Then it was to the main stage to see Keo. There was a definite buzz around the festival about this band, and I wanted to find out why. With a vibe that inherits from ‘90s grunge and early Radiohead this is one of the types of music I love, and something we need more of right now. They already have a strong following (including someone who has already seen this young band 23 times.) You know when a Yorkshire audience starts chanting “Yorkshire, Yorkshire” there is some love there (even when the band is not local!) There was an aura surrounding this show that transcended expectation and you can’t help thinking you are catching something special before it gets big.
I hadn’t planned to see Leonie Blimey, but came across her playing at Becketts second stage. A lovely voice this was a stripped back performance that let her sweet vocals shine through.
Next, Radio 6 favourite Katy J Pearson back in the main room at before heading to Becketts Uni Theatre for a change of gear with the delightfully named Clitspit. With a name like that, you know what you are going to get. And that’s what we got with a raucous female punk duo, more than ably supported by drummer Lucas. With a sound completely at odds with the rather clinical surroundings, their songs included one assembled from quotes that men had said to singer Ash. As they closed the announced they were playing The Packhorse later this month and I suspect that’s a more fitting venue for the full experience.
Then it was back to Becketts bar for some chips and a beer, but what is that beautiful 1960s soul sound percolating from the 2nd stage? Turns out it was MT Jones. What a voice! What an unexpected treat! And a fantastic warm up for those seeing festival headliner Jalen Ngonda. If you like Simply Red, Plan B (Strickland Banks version), or Amy Whitehouse, then check him out.
Next up: Divorce on the main stage. Having seen them supporting Bombay Bicycle Club earlier this year, I definitely wanted to see them again. Last week Remington Leith was complaining of losing his voice. Tonight it was Tiger Cohen-Towell who was complaining of it. . Maybe it’s the room; maybe it’s the time of year. Nevertheless, a great set, and you will have to wait until next year now to see them.
After this I went for a change of gear, back to the subterranean venue which is the Key Club for some Hot Wax. With the performance turned up to 11, this was a visual explosion and really good fun.
Next, a trek up to The Lending Room. I had been looking forward to seeing Fletchr Fletchr and was disappointed when I tried earlier in the day when originally scheduled. Not on until 11pm, this was going to make it difficult to catch our last train. Perhaps this was why the venue was so quiet. Not to be put off, even after a problematic ferry trip that turned into an 18-hour epic, a rushed set-up, and some technical gremlins they came on full throttle. I am so pleased I caught them, they were excellent and up there with my favourites from the day.
Live at Leeds in the City took place across Leeds City Centre on Saturday 15 November 2025.