Festival Review: Leeds Festival 2024
In the face of adverse weather, mesmerising performances from Liam Gallagher, The Prodigy, Lana Del Rey and Fred Again captivated crowds at Leeds Festival.
An iconic staple of the UK festival calendar, bumper bank-holiday bonanza Reading & Leeds Festival has always marked the end of summer. The Bramham Park edition was added as a second site in 1999 due to the immense popularity of Reading festival, finally making the shindig more accessible for the north.
Due to a blustery start on Friday, BBC Radio 1 stage, Chevron Stage and the AUX Stage was closed after a night of heavy rain and 60mph winds. Unfortunately this meant Leeds festival-goers were robbed of the chance to see indie-pop poster boy Alfie Templeman, Brisbane alt-dance band Confidence Man and seasoned songwriter Beabadoobee. After a 2-hour delay to enter the arena area due to the adverse weather conditions, jungle maverick Bru-C appeared onstage, moments after Renee Rapp announced via her Instagram that the gusts made it impossible for her crew to set up onstage.
While it was an unexpected development, the rapper won over the audience with trap-hop flavoured anthems such as ‘Wavey One’ encouraging carnage, turning confused punters into dancing fans. Despite insinuating that the production crew were ready to pull the plug on the unofficial show, thankfully he was able to finish with ‘Streetside’ and the front row dubbed “the mosh-pit crew” by the artist had their first glimpse of activity.
Australian rock titans Pendulum brought their thrilling live show to the Main Stage this year, a step-up from the BBC Radio 1 tent in 2018. Six years on, long-awaited new material such as ‘Napalm’ and ‘Come Alive’ found them rediscovering their love for the stage. While their post-Covid music was suitably apocalyptic, the background visuals matched the vibe - tinged bloody red emanating hell. The manic ‘Watercolour’ sparked the earliest mosh pit of the day.
“Louder!” commanded Swire, as the crowd trilled the opening instrumental of ‘Propane Nightmares’. They made a habit of encouraging a pre-singalong of the chords, doing the same for ‘Crush’ and ‘The Island’. Swire dramatically declared “If you’re going to move, you better move now as its this the last time we are playing this one!” before shutting it down with ‘Tarantula’. After a slow start to the day, their stellar performance was a lasting reminder that frenetic drum & bass is Pendulum’s ultimate calling card.
Rapper 21 Savage is no stranger to the Main Stage following his recent Saturday headliner slot at Wireless 2024. Unfortunately as he arrived 45 minutes late, a ravenous crowd were given a meagre 7 songs, a significant downgrade from his Reading setlist where he performed 19 songs in total. However early highlight ‘Jimmy Cooks’ proved a popular choice for the Leeds crowd - the rapper breathed new life into Drake’s discography with features on ‘Rich Flex’ and ‘Knife Talk’, but don’t underestimate his talent. His effortless flow dominated on ‘redrum’, a bloody reflection on his experience dealing on the streets of Atlanta. Yet with little time to hit his stride, a karaoke quick-fire concert from 21-Savage left a lot to be desired.
In preparation for their 2025 arena shows, another Main Stage slot at Leeds Festival for Catfish and the Bottlemen was a welcome warm-up after a 5-year gap between albums. Coming of age fodder for thousands that have just received A-Level results, the angsty charge of ‘Kathleen’ took hold just as the sun peeked out. The defiant chorus of “but fuck it if they talk” on ‘Cocoon’ saw frontman Van McCann undergo an artist rite of passage – the acapella audience singalong that the Welsh rockers deserved.
30 years on from the release of Oasis’ debut album Definitely Maybe, the stage imitated art from the record cover, as a giant inflatable globe was hung above the microphone. A minute-by-minute countdown took us down from 2014 to 1994 – the year that Definitely Maybe was released, at which point Liam Gallagher sauntered in. The rallying chant of ‘Rock ‘n’ Roll Star’ was the perfect way to launch into an iconic anniversary show. Famous for his on-stage banter and witty Twitter quips, Gallagher piped up early on “Any Man City fans here?” which prompted a mixed response – the majority being Leeds United supporters.
Britpop mainstays ‘Slide Away’ and ‘Supersonic’ garnered far more cheers, but the greatest moment of the night was the seismic ‘Live Forever’. Even without Noel’s high notes, it remained an iconic staple in the Oasis catalogue. It also stoked the biggest singalong that carried forward a headline show filled with electric guitars, a smattering of grunge and a boatful of nostalgia. While Gallagher said ‘Digsy’s Dinner’ was for the vegetarians, more interestingly he dedicated ‘Half The World Away’ to his brother Noel. Ending with a cover of The Beatles ‘I Am The Walrus’ and a cryptic message reading 27/08/24 which has now confirmed the rampant rumours of an Oasis reunion, Liam Gallagher’s legacy as an important half of one of the greatest rock bands of all time may not be over just yet.
The first taste of the weekend on Saturday brought the unfortunate news that the BBC Radio 1 stage and the Aux stage were closed indefinitely. However we were still blessed by the presence of the most exciting new punk acts on the UK gig circuit – starting off with Big Special on the Festival Republic stage. Singer Joe Hincklin had the kind of big Americana vocal that echoed Brandon Flowers, unmistakable on ‘BLACK DOG/WHITE HORSE’ and ‘TREES’. Vocal similarities aside, Big Special are far more interesting in their own right - no matter what comparisons come their way, may their delirious disorder continue.
Next up but by no means second best, proud bastions of feminism Lambrini Girls channel riot grrl energy. ‘Lads Lads Lads’ took aim at alpha male archetypes with their wifebeater vests, pints of Carling and beloved Crystal Palace – a humbling serenade for the far-right which given the recent riots is more relevant than ever. On ‘Help Me I’m Gay’ a full-blown sexuality identity crisis had never sounded so compelling, addressing Mum, Dad and everyone who had the audacity to even think they were straight. A blistering take-down of the patriarchy, Lambrini Girls proved themselves to be a powerful force to be reckoned with.
Against all odds, introspective soul star Jorja Smith followed later in the afternoon after the BBC Radio 1 stage closure. ‘Blue Lights’ and ‘Teenage Fantasy’ shone a spotlight on her stunning vocals – despite the serene tone of the songs Smith sang with a disarming smile that emanated pure joy. Sunny dancehall slow-burner ‘Be Honest’ kicked off the gyration for the nation, showing her duality as a performer as she crept into new territory. The garage-tinged ‘On My Mind’ propelled us in the same direction before 90’s house number ‘Little Things’ found the singer getting into the groove.
As Spiritbox began their show, frontwoman Courtney LePlante revealed herself to be a Charli xcx stan, re-creating the viral ‘Apple’ dance on opener ‘Cellar Door’. Her uncanny ability to transition easily from the most melodic arrangement into full screamo vocals is impressive, especially on heavy metal anthems ‘Angel Eyes’ and ‘The Void’. For their last UK performance of the year, ‘Circle With Me’ was the monumental release fans had been waiting for.
Another casualty of Storm Lillian, in the Festival Republic tent Ashnikko returned to Leeds for an afternoon of gaudy debauchery. Dressed in a leather corset adorned with a baby blue pom-pom bra, her innuendo-heavy show was both ridiculously fun and raucous. Starting with a haunting melody ‘Tantrum’ evolved into a riotous stomper backed by fist-pumping cheerleaders. “Are you ready to get soaked?” she said with a sly grin as she delved into ‘Supersoaker’. Bratty and chaotic, the 24-year old exhibited her wicked humour and infectious effervescence. She proclaimed “I’m shy, I’m so shy” while edging out of ‘Slumber Party’, the electro-trap banger that prompted thousands of fans to scream with her “I gave your girlfriend cunnilingus on the couch” - a prime example of just one of the many entertaining moments that make Ashnikko an amusing watch.
To round off a rowdy Saturday, 90’s guardians of rave The Prodigy headline the brand-new Chevron stage. This 40,000 capacity venue has a built-in canopy housing thousands of LED lights to create an immersive experience. Opening with the ominous synths of ‘Breathe’, they charged ahead with a fierce trio of their greatest hits ‘Omen’, ‘Spitfire’ and ‘Voodoo People’. For ‘Take Me To The Hospital’, bright green First Aid signs shone across the netting of the Chevron stage. As ever ‘Firestarter’ stood firm as the timeless dance classic that defined an era – lifted from the 90’s, a frantic laser show lit up a new generation of Gen-Z ravers.
After the tragic passing of Keith Flint, frontman Maxim took the helm. Driving us through ‘Invaders Must Die’ and ‘No Good (Start the Dance)’, they engaged the crowd that needed no instruction. Reggae-infused ‘Out of Space’ closed an unforgettable show with stars lit up on the canopy and blue lasers firing in all directions. Yet with the looming image of the former frontman’s silhouette on the screen fresh in our minds, Flint’s wild spirit lived on in an astounding showcase that singled out The Prodigy as one of the best live acts of the moment.
Sunday began with post-punk collective Courting who certainly knew how to cause a stir on the Main Stage. From a not-so-subtle dig at Ed Sheeran “Everything here, is going so well, but if you stream Shape Of You? You’re going to hell” from the Pulp-esque rocker ‘Popshop!’ to an Oasis cover that Liam Gallagher overlooked, a small section of ‘Don’t Look Back In Anger’ cut and pasted into their song ‘Crass’. An unmissable early set from a promising young band, Courting possess the sound and vision of a band looking ahead to bigger things.
Touted as the hottest new band of the year, the meteoric rise of The Last Dinner Party has been both scrutinised and celebrated. But the gravitational pull of their enchanting operatic pop gems are undeniable, synth-studded ‘Burn Alive’ was a fittingly grandiose introduction. Prior to ‘Gjuha’, keyboardist Aurora told the crowd “I’m going to sing this next one, it’s about being ashamed about not knowing my mother tongue too well”, a rock & roll nod to her Albanian roots. After a brief interlude to sing Happy Birthday to Aurora (complete with a berry covered cake) they finished on their debut single that started it all ‘Nothing Matters’ that sounded like ABBA with a lick of baroque.
Stadium-sized arena rock came to play thanks to Bleachers, led by enigmatic frontman and producer Jack Antonoff. What really gave them the edge was saxophonist Evan Smith whose impressive solo on ‘Chinatown’ dazzled fans. Antonoff teased the crowd with the opening synth line of ‘Rollercoaster’ by saying “We take it away, now put it back – you feel that?”. And feel they did, the euphoric indie jam full of “woah-ohs” had all the trappings of a festival crowd-pleaser.
Experimental DJ, Barry Can’t Swim took control of the Chevron stage in the afternoon. Serving up delicious slices of jazz house like ‘Always Get Through To You’, it was a welcome tonic for those fatigued by a morning of Main Stage rock acts. World music heavily inspired ‘Kimbara’ and ‘El Layali’, summer anthems that cut through the grey clouds that hung above a colourful Chevron canape filled with vibrant abstract shapes and eyeball flowers.
Queen of 21st century blues RAYE reworked her biggest hits ‘BED’ and ‘You Don’t Know Me’ back on the main stage, complete with funky trumpets and a full choir. Reborn with thundering drums, crashing cymbals and a lick of bass guitar ‘Prada’ was a blockbuster standout that benefitted from a live makeover. By now everyone knows the runaway success story of how RAYE broke free from the shackles of her record label, the epic ‘Escapism’ truly encapsulated the moment she needed to cut loose and become the most authentic version of herself where she jumped and screamed onstage as thousands sang back – evidence that there are far more chapters to come in RAYE’s twisted fairy tale.
Gothic pillars and grey balconies adorned with green ivy certainly set a sombre and striking sight for the arrival of Lana Del Rey. She made the slightest deviation from her usual set list used for previous years, ‘Without You’ and ‘West Coast’ both made surprise appearances where Rey handed over the choruses to the crowd. The ‘Video Games’ singer got ready in the mirror for a measured ‘Bartender’ and demonstrated flawless falsetto in ‘Pretty When You Cry’ amidst cascading riffs. It was a jarring tonal shift ahead of the Sunday headliner, but the tide changed when she swivelled into the second part of ‘A&W’. The trap earworm wore her common gangster Nancy Sinatra comparison as a badge of honour. Signing off with ‘Young & Beautiful’, the sentimental closer rounded off an opulent show with equal measures of beauty and melancholy.
Guaranteed to amplify the mood, Fred Again took over the Main Stage for the biggest moment of the whole weekend. The brilliance of the DJ is how he has created such personal moments from his tracks – ‘adore u’ is dedicated to his little sister Georgie while ‘Angie (I’ve been lost)’ came with an intimate onscreen montage featuring songwriter and friend Angie McMahon. The buoyant rhythms of ‘places to be’ twitched and hopped between the recorded vocals of Anderson Paak and CHIKA, it whipped a jubilant crowd into a frenzy. But his unique superpower is uniting audiences through his music, he made a point of acknowledging those who may have lost their friends in the masses.
This special brand of everyman charisma propelled him to fame in lockdown, ‘Marea (we’ve lost dancing)’ was created thanks to The Blessed Madonna where she responded to Fred’s simple ask of how she was feeling during the Covid-19 era with such an eloquent voice note he sampled it – live it was simply electrifying, a crazed mash of jumping bodies that celebrated this mid-pandemic beacon of hope. The full stop to close the bank holiday weekender was of course ‘Delilah (pull me out of this)’. With an organic build-up brushed lightly with his tender synths, the much anticipated beat drop lead into a spectacular fireworks display – with such remarkable talent and a winning personality, this headline slot is just the beginning for Fred Again.
Despite an uneven weekend cursed by Storm Lillian, the carnival of chaos came back stronger than ever - heightened by a burgeoning sense of community. For the 2024 edition, Leeds Festival has rightfully gripped on to the crown as one of the brightest jewels in the UK festival calendar.
Words by Oliver Evans
