‘So Much Country Till We Get There’: Westside Cowboy’s Rolling Start to Stardom

There must have been dozens of live music events in Leeds last Tuesday night (3rd February) and countless more in the surrounding northern cities, the rest of England, Europe, and an unthinkable amount across the world. This popped into my head during the now-familiar scream-shout ‘WESTSIDE COWBOYYYY’ intro in the hit track ‘I’ve Never Met Anyone I Thought I Could Really Love (Until I Met You)’. I’ve never been to a gig where I’ve been so sure that I wouldn’t rather be anywhere else (until I saw Westside Cowboy at Brudenell).

Made up of Aoife Anson O’Connell (bass guitar, vocals), James Bradbury (guitar, vocals), Reuben Haycocks (guitar, vocals), and Paddy Murphy (famous ‘Westside Cowboy’ shout, drums), these fast-favourite newcomers formed in Manchester and, from their casual start in the music scene, have captured the ears and hearts of listeners across the UK. Now, ahead of their March 2026 gig supporting Geese at Leeds’ O2 Academy, Westside Cowboy play the iconic Brudenell Social Club. From the support act, Holly Head (a new favourite, I definitely recommend), to the final plucked guitar string, the gig was joyously entertaining and compellingly layered. Westside Cowboy brought a youthful energy to the stage whilst crafting an experimental yet cohesive set. I was surprised at their studenty appearance, not that their recordings carry the weighted heaviness of, say, Nick Cave, but just the sheer professionalism and onstage comfort and warmth told of a band far beyond their second EP (they haven’t even released an album yet!). Their novelty didn’t spill into naïvety however; their casual confidence and excitement rippled into the keen Leeds crowd. Formed as a ‘joke country band’, their style is instead more reminiscent of 2010s indie rock: rich with childish charm and nostalgic warmth. However, Westside Cowboy replaced cliché with innovative genre-mixing and tongue-in-cheek euphoric flair. With each stadium-filler style building guitar riff, Westside Cowboy subverts the indie-banger genre with skittering drumbeats and avant-garde lyrics. Even the seemingly simple ballad ‘Shells’ displays anti-sentimental twangs in the ambiguity of lines such as, “if the building doesn’t sway then the concrete’s gonna break” or the uncannily sudden ending, “so I’ll just sleep with a gun”’.

Wide shot of the crowd and the band onstage taken from the back of the crowd. The room is dark except for the vibrant blue stage lights. — Image credit: Daniel Brown

Wide shot of Westside Cowboy on stage taken from the side of the stage. There is the back of the guitarist in the foreground and further onto the stage, Aoife (bass guitar and vocals) is getting ready to sing. Part of the crowd can be seen in the bottom corner, also bathed in the warm purple glow of the stage lighting. — Image credit: Daniel Brown

As the set progressed, it became clear that this Manchester quartet’s popularity has boomed, further than perhaps even they expected. From the front of the crowd, the sound of lead vocals, shared between the band, was amplified by fans belting every word. Guitarist Reuben Haycocks had a disbelieving smile when singing the refrain “You’re scaring me now”, as if the level of crowd participation was a surprise to him too. Even in newer, unreleased tracks, ‘Paper Chains’ and ‘Dobro’, the audience matched Westside Cowboy’s high spirits.

Close-up shot of singer and guitarist, James Bradbury, singing into the mic which partially covers his face. The stage lighting in the background is an atmospheric dark green. — Image credit: Daniel Brown

The onstage band dynamic can be explained via their sound. They seem fueled by the fast tracks, chaotic guitar playing, and the contrast between the harmonious, at times beautiful, vocals and occasional tuneful shout. Coining the term ‘Britainicana’ – the UK alternative to Americana – Westside Cowboy brings together elements of disparate genres into something that could possibly revive some patriotism within me. In the latter half of ‘Drunk Surfer’, the heavy rock elements of the band (think Black Country, New Road or The Smashing Pumpkins) reaches heights that are softly brought down by moments of quiet. All of the band members contribute vocally, passing glances between them, making it clear that the band’s friendship and playfulness is abundant. Aoife and Reuben’s vocals were particularly outstanding in their subtle harmonies, with Aoife’s vocal dexterity and maturity mirroring that of folk favourite Adrienne Lenker. Indeed, Big Thief’s sincerity is often similarly underlying Westside Cowboy’s music, though Westside Cowboy’s infectious enjoyment of live performance and the sonic slotting together of their instruments gives them a lightness of touch, setting them apart from other young bands coming out of the scene. Like BC,NR, they bring a richness to their sound through the unexpected twists and turns of their music; like English Teacher, they elevate their lyrics with ingenuity and unpretentious poetry. But Westside Cowboy are all their own: trotting, grinning and galloping into their own entire world.

Words by Francesca Lynes, images by Daniel Brown.