Live At Leeds 2013

Photo: Leah Henson

As summer lazily crept across the land Leeds shone like a beacon for new music. For less than the price of the average ticket to see just one of the top tier bands on show, a hugely enticing line-up unfolded across a staggering number of venues. Naturally this had its drawbacks, venues were over-filled (you’ve got to earn back all that value in sheer numbers) and unless you’d been born and raised in a dim corner of Nation of Shopkeepers you’d no chance of getting into that venue and watching the acts.

After a couple of city centre false starts it’s the basement bar of Leeds University, the appropriately named Mine, that plays host to the strange bass-led screamo-punk of Castrovalva. A few songs in, a weird circle pit of middle aged men in Hawaiian shirts forms, held in thrall by the raucous and incredibly entertaining trio. After that a chance encounter with Australian act Deep Sea Arcade leads into a set full of perfectly crafted psychedelia that should be a welcome addition to the album collection of any Dandy Warhols or Tame Impala fan.

Photo: Leah Henson

The decision to stick resolutely to the Stylus room due to the strength of the line-up and sheer unlikelihood of getting in to any other venue proves right in minutes as Danish electro pop-ster MØ showcases an impressive array of energetic dance moves, insistent beats and a seductive swoon through brilliant tracks such as ‘Maiden’ and ‘Pilgrim’. With a sheen and intensity that only adds to the Lana Del Rey-meets-The Knife cocktail, MØ more than hints at a huge future for herself. The Dane would have proved a hard act to follow but if any band of the moment is to come to the stage with focus, drive and aggression, it’s Savages.

Photo: Leah Henson

Savages don’t need much invitation to confrontation and they are ably provoked as the sound technician causes the first couple of songs’ vocals to be heard no louder than a whisper. After a patient wait for the levels to be adjusted Jehnny Beth’s veneer cracks as she lets out a frustrated “this what you get when you play festivals!” It’s a breathless and rip-roaring set from the chaotic ending of second song ‘I Am Here’ to the wild shouts of “Husbands! Husbands! Husbands!” in the set’s closer. A bubbling undercurrent of discontent is fully vocalised as Jehnny Beth declares how apt a song with the repeated line of “Don’t let the fuckers get you down” is. It’s impossible to ignore the sheer talent of Savages (as anyone with debut album ‘Silence Yourself’ can attest to), perfectly embodied in the guitar playing of Gemma Thomson which is oddly reminiscent of the legendary Thurston Moore.

The experience of Savages leaves the room exhausted and with an appetite for destruction which makes Dutch Uncles the perfect act to just let wash over you as you recover. The Manchester act have mastered the art of not being particularly bad at anything and they held the stage well enough with the interesting flourish of ending on their Grace Jones cover, ‘Slave to the Atypical Rhythm’.

Photo: Leah Henson

Stylus’ final offering is arguably one of the most consistently good bands on the planet, The Walkmen. Somehow anachronistic, the band’s grace and friendliness puts them in between a new Rat Pack and a barbershop quartet with the fortune of being fronted by one of the best singers in the game. Whether he’s applying it to the vulnerable croon of ‘Line By Line’ or the raw throat-shredding growl of powerful indie anthem ‘The Rat’, Hamilton Leithauser holds the crowd in a unified sway, only breaking when he falls head first into the audience. The charming bounce of the organ or the resolute intricacy of the guitars, Leithauser makes the most of any backdrop.

If festivals live and die by the strength of their line-up then Live at Leeds is near immortal, but a lack of simple creature comforts, like adequate signage or actually being able to stand anywhere could detract from the experience. That disappointment doesn’t last long however thanks to the sheer depth of quality on show, ignoring the odd migraine-inducing clash. No matter how big the festivals are this summer, they may find it difficult to match the consistency of quality on display at this special little one.