Leeds Festival returned to Bramham Park from Friday 28 to Sunday 30 August 2026, and York Calling had the whole weekend covered. Katie Stewart and Stuart Duthie split coverage across the stages, from first discoveries on the smaller tents to headline sets on The Grid. Here’s how all three days played out.

Feature photo by John Hayhurst

Friday

By Katie Stewart

Photos by John Hayhurst

Blossoms took to The Grid (Leeds Fest’s centre stage) just before 1600 today, lighting up the big screen with a certified picturesque flair. Lead singer Tom Ogden looked like he’d stepped right out of some kind of early 80s rock band – like a young Steve Perry – and commanded the stage with a similar cool-calm calling back to the era.

As a 22-year-old attending Leeds Fest for the first time with shamefully little-to-no knowledge of the modern artists headlining the festival, it was a breath of fresh air to discover the throwback-feel of this band’s music for the first time today.

Their stage set was literally draped in burnt-orange velvet fabric, oozing that signature 70s bohemian sleaze but in the best way possible; there wasn’t an ounce of disingenuity in Blossoms’ performance – the five-piece band all looked completely at ease on the stage, and confided in the audience their genuine love and passion for the game. An overarching impression given by the band’s performance today was a sense of true artistic collaboration, emphasised by infectious, coordinated parade-style marches broken out by the musicians (picture over-shoulder mounted bass drums, a slinged snare, a colourful keytar). At one point, everyone gathered around the drumkit in an instrumental break, each freestyling their own fills – just so much fun to watch.

Throughout, Blossoms’ music featured cascading synthesiser motifs, swingy-patterned tambourine jingle cymbal taps, thick dewy basslines, and a gorgeously groovy wah-wah pedal guitar effect – all contributing to this nostalgic summer aesthetic. The performance was true escapism in that regard. Meet Me In Love, a recently released single, was a particular standout – catchy, with rippling flute riffs, and delivered with charismatic sass. Ogden’s subtle hand gestures and demeanour were uniquely elegant yet punchy, totally in tune with the music, completely in his element. Sometimes it felt as though we needed more volume on his mic, to let it take more power in the overall performance, but perhaps this was intentional, lending itself to the collaborative nature of the band and their music.

I’ll certainly be keeping up to date with Blossoms’ music going forward. Their new album Songs From The Wedding Cake is available to pre-order now.

Blossoms hail from Stockport, Greater Manchester – proudly representing the North. They are Tom Ogden, Charlie Salt, Josh Dewhurst, Joe Donovan, and Myles Kellock.

Later that evening, Friday’s headline slot on The Grid belonged to Florence and the Machine.

Florence and the Machine is a band who needs no introduction. Producing music since 2007, their songs – ferociously sung by lead singer Florence Welch – have always packed a punch. Friday’s headlining performance at Leeds Fest certainly proved how indomitable the Machine truly is.

Florence Welch is simply ethereal. Her stage presence is indescribable. For every song performed, any moment her voice wasn’t ringing out (even just milliseconds), I couldn’t wait for her to sing again – it’s all you wanted to hear. It was blaringly clear that Florence and the Machine were the festival’s most seasoned performers; they had well and truly earnt their stripes and then some, possessing this commanding, effortless quality that comes with the experience they’ve gained over the years. Looking back now the weekend’s over, I stand by that sentiment – they were infinitely captivating.

Keyboardist and backing singer Isabella Summers has been with the band since the start – inspiring the ‘machine’ element of their iconic name, an old-school nickname – and is also an award-winning composer for film and TV, recently contributing music for Emerald Fennell’s Wuthering Heights. There’s no doubt that her incredible musical talent lent itself massively to the cinematic, epic nature of Friday’s sunset performance.

Across the site at The Ballroom, Paris Paloma was proving just as compelling.

Last night was my first time experiencing Paris Paloma, live at The Ballroom at Leeds Fest 2026. I had heard of her previously because of her hit song Labour, which went viral on social media platforms back in 2023 for its deeply dark and sincere confrontation of the ideals and restraints created by the patriarchy that men and women conform to every day. Its steady, gut-punching rhythm and intense, chant-like chorus make the message unavoidable. It’s urgent, it’s honest, it’s powerful. It’s no surprise, then, that Paris opted to close her hour-long set with the track, with the crowd passionately singing along with their chests.

Each artist I have the privilege of covering for York Calling (both pre-recorded and live music) reminds me of something different that music has the power to do. Sometimes it’s the way it can uplift you immediately (like Blossoms’ music played earlier at Leeds Fest on Friday), sometimes it’s how one specific musical element can rise above the others within a song, carefully chosen with intent to make the music take hold of you. For Paris Paloma, the main unavoidable takeaway from each song she performed was the ingenious way in which music can be used as a platform for messages – about personal experiences, yes, but also of bigger-picture societal issues that need to be addressed. Paris Paloma’s work is a perfect example of how art can be one of the most powerful tools for change – something artists have been doing throughout history. Paloma’s sound, her wide-ranging vocals and strong lower tones, her drummer’s exciting use of tom-drums to create momentum, and her acoustic guitar melodies that appeal to a contemporary pop sound, all work to show how she should be recognised as one of our current major musical messengers. Like Bob Dylan and his new take on folk music in the 60s, addressing relevant social issues with music craved by audiences of their specific history, Paloma is a spokesperson for the 2020s.

Introducing each song with a detailed description of what exactly it was saying, the 26-year-old was meticulous in ensuring her music was understood and effective. Good Boy confronted men blindly following patriarchal systems, Heaven is a Fed Girl was an empowering song about body image, and Miyazaki celebrated the irreplaceability and value of human art, criticising AI.

A range of potent songs with masterfully written lyrics, delivered with a necessary passion.

Saturday

Review and Photos Stuart Duthie

As we walked into the arena area on Saturday morning, it was much quieter than we expected. Then we found everyone – they were in the Ballroom. The tent itself is finished with sumptuous burgundy fabric and huge chandeliers, evoking the theatre venues that many of the bands who play this tent often occupy.

And everyone was here for Bleech9:3, a band also high on our list. Unfortunately, circumstance conspired against us, so we only saw the last song, but it was clear they had built an energy and a following right in that room.

After that we hot-footed it down to see their touring mates Keo. Yet to release their first album (it’s out on 25 September), they were playing the main stage. I had been really looking forward to seeing them again – this was the third time, and by far the biggest audience to have seen them play. Previous gigs have been tribal affairs with arms aloft and the whole room singing every word. On Saturday we had a good showing from the tribe members but also much fresh blood ready to be converted. Having played Reading the day before, it was clear that playing to a large audience hadn’t quite sunk in, with singer Finn looking quite emotional at times and guitarist Jimmy peering over the top of his sunglasses to get a proper view. They put on a strong performance, and you could see they were enrolling the uninitiated to their tribe as the set progressed.

Next up we had a wander and caught some of People I Met in the smaller Canopy tent. I hadn’t heard of them, and it can be a challenge for newer bands to catch people’s attention, so we moved on to see what was going on in a packed Gallery. It turned out to be Adela, not an artist I am familiar with, but judging by the makeup of the audience and the high-pitched screams and cheers, she has a strong teenage girl fan base. Accompanied on stage by a group of dancers, there was a degree of entertaining interpretive dance, once involving a shoe rack full of red stilettoes being thrust at Adela. Entertaining stuff, but we had Day We Ran on our list back in the Canopy.

This was the second time I had seen them, and it was a pleasure having them back in Leeds (last time they played the O2). I had listened to them for a while, so was looking forward to hearing their mellow post-surf harmonies. The warm sounds heated up the whole tent, and the band clearly enjoyed the love being radiated from the audience, so much so that at the end they reappeared in the pits to talk to their fans and sign setlists.

After that we hung around for Villanelle, a new band to me. We really enjoyed their wall-of-sound dirty indie sound – definitely maybe some Oasis influence, more in the production of their songs, but they’re definitely not Britpop (in a good way). We had kept our position at the front, but looking back, the tent was rammed, so either they had a following or their sound had pulled people in.

After that we crossed back to see the later-starting Florence Road in the Ballroom (I will let you cover that one, Katie) before heading to find the Warehouse closed. Apparently, this was due to audience members climbing over the barriers at the end of an earlier show, and it was unclear whether it would reopen for the day. A shame – maybe tomorrow?

Then Charli XCX on the main stage. This was a performance for the screen generation, with Charli performing as much for the camera as the audience. What was impressive was not just the choreography of the dancers but also the camera crew, as we watched a polished video on the huge screens, all created live in front of us. This wasn’t the usual guys-with-beards and fixed camera points; instead, the crew were on the stage and an integral element of the art form.

The set included a large cast of models. Their moves ranged from Marks and Spencer’s shop window to empoweringly sexy (drawing mainly female screams). In the crowd, the girls were singing, with most of the boys watching and nodding. But by the time we got to 365 party girl we were all infected with the dance.

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While Stuart criss-crossed the smaller stages, Katie Stewart spent Saturday camped out at The Grid, The Gallery and The Ballroom.

Hailing from York, it only feels fitting to cover pop-rock star Beth McCarthy. Busking in St Helens Square at the age of 13, the now 29-year-old has certainly refined her craft, deserving of the main stage (and electric crowd that accompanies it) at Leeds Festival this year. Every song was performed with high energy and confidence, with strong vocals gliding smoothly over heavy-hitting electric guitar melodies.

McCarthy performed some of her more recent songs, including She’s Pretty, which lent itself to some fun crowd work, with a simple, catchy chorus quick to pick up and sing along to, and Treat Me Like a Rockstar, which celebrated her long-loved journey within the music industry. She certainly earnt rockstar status on Saturday, holding the midday crowd in the palms of her hands.

I had only vaguely heard of Keo before seeing them at Leeds Fest; a friend had raved about them one evening when sharing recent music obsessions. It was clear that they have developed a loyal and doting cult fanbase, especially impressive considering they only started edging onto the scene in the mid-2020s.

Photos by John Hayhurst

The audience on Saturday were clearly enamoured, screaming out every word of the band’s excellently crafted 90s-inspired soft-rock discography. That’s Me is their most reputable song, and for good reason. Hard-hitting, sincere, classic rock with textured, fast-paced, fill-heavy percussion, sung with unwavering vocals by lead singer Finn Keogh, it’s no surprise this band have captured the hearts of modern indie-rock fans.

Keo is made up of brothers Finn and Conor Keogh (singer/guitarist, bassist), Oli Spackman (drummer), and Jimmy Lanwern (lead guitarist). Their new album Put A Smile On For Me is available to pre-order now.

James Marriott entered The Grid with a certain sense of swagger – an aesthetic he naturally radiates, and which had the crowd enraptured from the get-go. A gorgeous pale turquoise drumkit and glossy Fender Coronado-style electric guitar to match, his set design was understated but effective – allowing the showman to shine.

Yet again, I was unfamiliar with Marriott’s music before attending on Saturday but knew of the musician from his YouTube videos, in which he lets loose his inner goofball personality, often taste-testing snacks and meal deals (it’s more entertaining than it sounds), and promotes his music on the side. It’s no surprise that his younger fanbase were having the time of their lives, despite a downpour of rain (which had so far been mostly avoided over the festival, defying weather reports). Marriott embraced the rain and the crowd, coming out to join them on the apron of the stage for most songs, often ripping on his guitar as he did so. His vocals were exceptional and mighty throughout but, fittingly, really packed a punch during California Rain. This track also captured the appeal of all of Marriott’s songs; scattered guitar riffs and a generally pop-leaning sound, but with a harsher, more rock-rooted undercurrent. This style envelopes what modern audiences are looking for – authenticity, self-written, more alternative-style pop music. There’s no room for generic with modern audiences; Marriott seems to have cracked the balance of pop and indie that appeals to that attitude.

Photos by Stuart Duthie

Performance of Humungous was peak Declan McKenna – his crystal-clear vocals, which first hooked audiences back in 2015 with his hit, prodigious song Brazil, fell from his mouth like a waterfall: effortless, bright, light, yet all-encompassing.

He brought a change of pace with Beautiful Faces – which had a heavier rock sound, with ringing guitar jabs, taking demand of the venue. McKenna also took command; his cool-calm, composed nature also somehow felt dangerous and unwired at the same time – he radiated electricity.

Throughout the various unique and genre-spanning songs, McKenna’s casual and sarcastic comments and crowd work fit his political-forward agenda – I’d coin his style/approach ‘quiet riot.’ Whilst his songs are often regarded as protest songs, McKenna has said himself that he doesn’t see himself as a leader of those conversations; he simply sings about topics his peers are already talking about. In his performance, it seemed as though he had a sort of humble hunger for highlighting issues he felt passionate about, presenting them in a way that feels like a conversation with friends. An effective way to shed light on relevant issues, just sharing this message that it’s cool to care.

Never heard a crowd roar so much – Geese’s inventive sound is clearly a breath of fresh air for listeners in 2026, their skill at pushing and pulling with the crowd’s energy maintaining this casually chaotic atmosphere throughout. I got the overwhelming sense I was incredibly lucky to be there – I think Geese is simply one of those acts you just must see live if you get the chance.

Photos by John Hayhurst

As I left just over halfway through their set, with sights set on catching Florence Road in The Ballroom (trying to optimise coverage), I felt very aware of the fact that, spread across Bramham Park, were these little pockets of immense energy – nuclei of passion concentrated in canvas tents. Stepping outside, you’re immediately back in the real world, with groups of welly-wearing festivalgoers going about their day, queuing for drinks, and browsing vintage clothes stores. Meanwhile Geese were in The Gallery, making historical memories for hundreds of fans gathered in their hive. It was a cool feeling to have.

The band – Cameron Winter, Emily Green, Dominic DiGesu, Max Bassin – is just brilliant. Their music feels unique, brand new, like nothing you’ve ever heard before, yet it’s made up of those same fundamental ingredients most bands are made of (guitar, drums, vocals, bass, keyboard). Towards the start of their performance, they hammed up the crowd even more, teasing us with the iconic Tainted Love by Leeds-hailing band Soft Cell, amplified through lead singer Cameron Winter’s iPhone pressed against his electric guitar strings. Geese have this playfulness, and relatability that’s so refreshing to see – despite their superstar presence.

As I approached The Ballroom tent, coming from Geese, I couldn’t help but run-skip as I heard the buzzing bass, ripping guitar and percussion-heavy sounds of Florence Road ringing out. Lead singer (and guitarist) Lily Aron was simply phenomenal – her vocals were relentless.

One song, Heavy, came in with just a couple of dials of guitar, repeated with rhythm. Immediately we were hooked – the song had this seemingly low-key impression, yet its chorus was on fire, with the crowd singing along mightily. The bridge was particularly fun, gripping. I’d soon come to find this was the case for many of the band’s bridges – something I always appreciate (something about a strong bridge just hits different).

The band treated us to a new song, White Smile, the bassline of which dropped an enticingly moody weight in the air. Lily and guitarist Emma Brandon showed off their fine-tuned harmonies. Unique harmonies are always exciting; the ones in White Smile certainly delivered – almost alien (and fun). It became clear to me with this track how, across all acts at Leeds, new songs were always an absolute knockout. Every new piece shared by artists felt markedly sharp and creative, often standing out from the rest – this is exciting to see, as it hints at the trajectory all the artists are headed on. Exciting developments.

Figure it Out was a highlight for me (though White Smile still echoes). As a drummer, something about the simplicity of this rock beat, alongside an effective bassline, scratched an itch I didn’t know I had. I hadn’t heard of Florence Road before the gig but would already call myself a fan now.

Sunday

Review and photos By Stuart Duthie

Amma brought her vulnerable self to the stage, honest about her poor memory for her own lyrics and with an endearing primary-school-teacher vibe. Her set seemed to pass very quickly with her delicate jazzy pop.

Next, we went to explore Garage Flower in the Ballroom. Not a band I have come across before, and what we discovered was, as the name suggests, garage-band vocals backed by refreshingly musical bass as part of a nice, tight rhythm section with well-played slacker fuzz guitar riffs and solos. Given their name, it would be lazy to compare them to the Stone Roses, but their sounds all come together rather well. It was still early, but as they played the tent filled up, energised by the raw energy, and we left thinking that this is a band we would see again.

Next, we caught the end of Ruby Roberts’ set opposite in The Canopy. The great thing about festivals is that you find music that is maybe not your normal taste, and this was one of those. But you could see from the audience that for some, it is definitely what they look for. It’s just nice to see artists in their ascendancy.

We then opted for Bashd’s energy back in The Ballroom. You don’t get too many mosh pits at Reading… maybe you did back in the day when it was much more ‘rock’… so this was the only one we experienced. While definitely not heavy and not metal, you still get the gist.

The heavens opened, and we opted to stay in the dry of the tent for Bar Italia. With 15 minutes to go and the rain easing off, the tent was still pretty empty. This was a bit of a surprise, as I thought Bar Italia were better known, although this isn’t their usual crowd, evidenced by a congregation of some of the older festivalgoers. Their set opened with a bang, full energy from the get-go, singer Nina Christante whirling around the stage. With three vocalists, individually the songs were energetic, interesting and engaging, but as the set progressed, we longed for a little more variety.

After that, and a bite to eat, we went to take residency at The Grid, the main stage, for Sombr and then Raye.

Sombr’s set started with him filmed on a golf cart, chased by road crew, then rushing backstage, ushering his cameraman behind him. After a few press-ups to hype himself up, he was on the stage to the delight of the crowd. After deciding that Leeds was better than Reading (we all knew that already – this is Yorkshire after all), he was off again, greeting his crowd. Ever the entertainer, I wonder if it was these antics that led to him over-running and the PA being turned off in what became his last song.

Then Raye, in what became a set worthy to close the festival in terms of style and content. We were transported to a high-end cabaret club with the diva Raye accompanied by strings and brass sections, decked in dinner suits and, incongruously – particularly for a performer who elects not to wear shoes – white trainers. The set, dedicated to hope, opened with Escapism. Raye had shifted focus from her dance-drenched roots towards a bigger band style, and both stage and song reflected that, while displaying her excellent vocal talents. Later in the set, a huge V was hoisted, replacing the Y in Raye. This was the part I was looking forward to hearing – some of her older collaboration work. But the rave never really got going. We were treated to excerpts from Prada and You Don’t Know Me (with the whole crowd singing the words), but this wasn’t the dance mega mix that it could have been. The V was lowered, and we were almost at a close. There was just time to bring on collaborators Amma and Absolutely for some Joy before closing with Where Is My Husband. I wonder if the person waving the banner “Where is my Mum’s husband” (complete with picture of Mother) found him? With the audience heavily weighted towards those who have just completed their GCSEs, I don’t rate her chances. But other than that, a highly successful headline act.

Feeling that Raye should have been the headliner, we headed off for a post-festival vibe in the shape of The Gallery, to dance to the sounds curated by DJ Josh Baker. It was absolutely packed, and so it was a pleasure to finally find enough space to properly dance. A last chance of escapism before heading back into the real world.

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Meanwhile, over at The Grid, Katie Stewart was tracking the day’s headline-bound acts.

The final day of Leeds Festival swung around surprisingly fast (despite the sleepless nights in a soggy tent), and it was a day of high anticipation. With back-to-back acts my plus one is obsessed with, I was keen to see what all the fuss was about.

Photos by Stuart Duthie

Absolutely was the first act of the day on the main stage. Her stage set was endearing and intriguing, with a large projection of a Coraline-esque DIY cardboard doll’s house taking up the background. As she entered the stage in a flowy, layered corset dress, approaching a customised knick-knacky mic stand, you couldn’t help but smile and watch with wonder. Absolutely’s vocals were fittingly entrancing: soft yet powerful, clear, and smooth. Exciting vocal runs, rippling like honey. One song, No Audience, was lovingly introduced: “This song helps me to relax and be my whimsical self.” That was certainly the theme of Absolutely’s joyous set – whimsy, freedom, a deep and genuine passion for music. Her final song, Paracosm, completely tied up her performance in a bow – opening with twinkling keys and radiating, fantastical-sounding production effects, it felt like falling down a rabbit hole. It’s amazing how an artist’s work can all feel so unified and connected, and in turn reflect personality. One lyric brought this feeling home in particular: “it’s such a big world, sometimes I feel small / like I’m a child and everyone’s tall.”

Maisie Peters later took to the stage, bright and airy. Guitar in hand, Peters delivered an excellent, faultless, pop-laced singer-songwriter style set to The Grid. Another joy to watch, the energy she brought was charming, laidback, yet gutsy. Peters’ voice was delicate, unique, but cut through her music with assured clarity. A tribute to Dolly Parton, covering Here You Come Again, was compassionate and beautifully sung, spun to fit Peters’ unique style.

Photo by John Hayhurst

JADE was next – one of the few artists I knew of before the festival. I was keen to see the former Little Mix member’s solo music live, as she’s come out with some brilliant, fearless, experimental songs since entering her solo career. Breaking out with Angel of My Dreams in July 2024, JADE showed the world that she’s not afraid to take risks, creating fresh, exciting pop music that plays with the genre, going from fast to slow, loud to quiet, cluttered to stripped-back. Live, the song didn’t disappoint. JADE has always been an incredible performer, getting complex dance routines locked down to a fine art, and showing off her genuine, charismatic personality through her singing, physicality, and crowd work. A medley of Little Mix songs partway through, performed with explosive energy, demonstrated JADE’s long-documented love for the band, and her appreciation for the opportunities, people, and music it has brought her. A true professional, a true performer.

Photos by John Hayhurst

After JADE came Sombr, a more recent breakout artist a lot of the crowd had seemingly come to see. Sombr was certainly aware of his fans’ adoration, putting all he had into delivering a high-voltage show. He put a massive emphasis on involving the crowd, hyping them up and reminding them why they were all there (to let loose, have fun, get lost in the music), and ran laps around the place, getting up close and personal with as many crowd members as possible. Whilst I wasn’t a huge fan of the music, I had to appreciate the passion he brought. He’s already developed an iconic reputation – when his unique silver ball-based mic stand came out, I heard one girl scream ‘it’s the stand!’ His hit song 12 to 12 is deservingly popular, too – full of life, fun traditional disco licks, funk, pop, rapid bongo beats. There’s a lot going on, and a lot to love about it. Sombr performed it with his signature, fully committed enthusiasm.

Photos by John Hayhurst

Finally, the act my friend had been waiting for, the reason we were now just one row away from the front barrier of the stage pit: Raye. And wow was she worth the wait.

Photos by John Hayhurst

Raye’s music is so dynamic, so massive, so larger-than-life. Her character, her way with the audience, was so understated, yet her presence was astronomical. She was there to make sure everyone had the time of their life, which was her mission, and she most certainly succeeded. Bringing out her iconic orchestra of musicians, all taking to the red velvet stage in classy tuxedos, there was a true sense of grandeur to Raye’s performance, and you couldn’t help but get swept up in it. Raye will certainly be an artist for the history books – with her exceptional, time-and-space-spanning spectacular vocal ability, her undeniably genius musical ability, and her effortless, down-to-earth, easy-going personality that made you feel completely safe, it felt like the craziest privilege to see her perform live on the Leeds stage. Her act felt truly showstopping – a shame that Dave would follow as the final act of the night. Not quite the same vibe, but I didn’t stick around to see it, so won’t comment further.

Leeds Festival 2026 was a fantastic event, really reminding us just how exceptional the standard of musicians we have today is.

Leeds Festival took place between Thursday 27 and Monday 31 August 2026.