MINCE: Talk of the Town

Written by Erin Clark
Edited by Eve Moat

Looking for your new favourite band, that offer succinct, yet uproarious post-punk that packs a hell of a punch? Then look no further, as I introduce you to Mince.

“Tenacious”, “rambunctious” and “captivating” are but a few words I could use to describe this Leeds-based five-piece. Yet, words in Mince’s case often fail to do the band a complete justice, as the energy that is conjured when they perform live is increasingly, (and rather ironically for me) hard to capture in words.

Comprised of bassist Clem, guitarist/vocalist Jamie, drummer Matthew, guitarist Owen and vocalist George (from left to right, as pictured), Mince are as musically talented as a cohesive unit, but they are also individually teaming with prowess and potential. I’ve had the great pleasure of seeing the band perform on several occasions, and each time, I have been met with a vigour that is hard to contain, music talent that is unthinkable to deny, and songs that are simply impossible not to like. The band are indubitably heading from strength to strength, and show no intention of slowing down anytime soon.

Since the qunitet’s conception, their aptitude has only been affirmed by the likes of BBC Radio 6’s Steve Lamacq, Chris Moyles, BBC Music Introducing and Amazing Radio USA, as well as admission to Apple Music’s ‘New in Alternative’ and ‘Breaking Alternative’ playlists. I could continue, how much time do you have? If this affirmation isn’t enough, the five-piece have become a common fixture on music venue posters throughout the city. Mince is one of the few local bands that come to mind when thinking of whose energy translates directly from live performance to their respective studio recordings.

Following the wild success of the recently released, ‘All I Ever Wanted, Was To Be,’ comes the freshly released ‘(Don’t Forget) You Can’t Swim.’ An electric, contagious and bright single, twinned with a campy, Yellow-Submarine-esque animated music video. With this theatrical maritime release, there’s never been a more appropriate time to ‘dive in’ to Mince.

For fans of: Pixies, Gilla Band, King Gizzard & The Lizard Wizard, Fontaines D.C & Shame
Socials: @mince.band / Instagram

Local artist, or a member of a local band, and want to be featured in our next print edition as a “Talk of the Town” act? Email music.leedsstudent@gmail.com with the subject line ‘TOTT’ to be featured!

LIVE REVIEW: JAWS are Biting Back into Business at Brudenell

Written by Millie Cain
Edited by Eve Moat

As we arrived at the crown jewel of Hyde Park’s independent music scene, Brudenell Social Club already had a swarming crowd of individuals in dark wash jackets with cans of £2 beer in hand awaiting JAWS’ arrival. The social club on Monday night was a warm haven against the treacherous October downpour, yet people still crowded outside clutching half-damp cigarettes with the distinctive smell of blue razz lemonade floating in the air. As soon as my flat mate (and occasional musical prodigy) Jack and I ran into the building, there was an immediate homely feel, calls across the room, and familiar nods of heads, made even more lovely by the eclectic soundtrack and cheap bar.  

There was a real fizz of excitement in the air, it didn’t feel like a Monday – the bar spun with the ambiance of a well-awaited Friday night, as students and locals alike bopped their heads along to Leeds’ own post-modern grunge band “Slow Team” who had the mighty job of supporting, and packed a punch as the alternative three piece burned out their souls to their home crowd and JAWS fans who were lapping up their seemingly endless energy.  

It was not long before arms were raised and clapping along to their new single “Match Point” which eclipsed the whole room, a bit more post-punk sound than the rest of their setlist- they’ve recently been leaning more into the sleek ethereal shoegaze indie that has weaved its way in over the last few years and has been done so fluidly by this band. Lead vocalist, Lucy, had ensnaring charisma, and her fellow bandmates Morgan and Max bounced off each other as their looping sounds pressed up against each other and filled the venue, cracking jokes throughout. There’s exciting potential with their recent change of tempo for huge growth, and they’re in the right place for people who will undoubtedly eat it up. 

JAWS’ arrival onto stage was met with louder cheers than could’ve been expected from the venue: a familiar hum of excitement, a sparking buzz filled the air as they launched straight into their arguably most popular single, “Stay In”, with a well-oiled groove, and especially cool elegance from bassist Leon Smith catching the whole room. The popularity of the song had a huge immediate impact on the crowd, with heads bobbing, and arms high, as the band slowed down for the instrumental builder of the song that gives it a real textured, layered quality from the Birmingham 4 piece.  

Image Credit: @musicthroughemiescamera on Instagram

The second song of their set, “Top of My Skull” from their new EP If It Wasn’t For My Friends, Things Could Be Different, released in September, had a huge increase in tempo and the disjointed bridges injected a new lease of energy into the space. This new single is really taking a step away from the synth-heavy shoegaze indie that initially shot them to fame in 2012. Drummer Eddy Geach appeared almost as a sci-fi hero, nearly drowning under the crazy amount of cymbals, but which he appeared to navigate with incomprehensible ease.  

Noticably, the green lights flooding Brude added to the almost nonchalant, casual air of the band, while sounding so technically tight, as if it was a live recording. It was evident how polished and practiced every member was before embarking on this tour- especially it being their first one since 2021.

Image Credit: @musicthroughemiescamera on Instagram

New song “Are My Friends Alright?” brought back the synth, pop sound, and was well received by their cult-like crowd. JAWS’ fanbase has certainly been strong for the last few years, following them up and down the country on each and every new tour. In the recorded version, it has a faint autotune (almost Casablancas-esque) mumbling sound to it, that was mastered live by lead singer Connor Schofield.  

Their stage chatter however, was few and far between, with brief thank yous, an introduction and an actually quite funny anecdote about their previous Brudenell show, in which someone had crashed the stage to brush their teeth, was the extent of the conversation between the band and their audience. While they held a very well-respected and professional presence in the room, I couldn’t help but wish to hear a bit more from the band themselves.  

Before I knew it, they were closing with fan favourites “Be Slowly” and “Gold”, and the audience were electric from the first light riff of their final song, chanting along and polishing off an exciting show that was wrapped up in talent and drowning in potential.

JAWS have toured new EP If It Wasn’t For My Friends, Things Could Be Different, which was released on 15th September, whipping around Northern-heavy venues in Newcastle, Glasgow, Manchester, with a home show in Birmingham, and a couple of Southern trips to Bristol and London. With how clean and polished they’re sounding, and the punchy new EP, there’s no doubt we’ll be hearing more from them soon, hopefully with some festival shows in the coming year.

Their new EP is available on all streaming platforms, and the band can be found @jawsjawsjaws on their respective social media platforms.

Setlist: 

Stay In  

Top of my Skull  

Driving at Night   

Are My Friends Alright?  

What We Haven't Got Yet  

Right Infront Of Me  

17  

Just A Boy 

Sweat 

Donut 

Be Slowly 

Gold

Dolores Forever Proving Themselves as an Indie Staple at Oporto, Leeds

Written by Richard O'Brien
Edited by Eve Moat

Let me take you back to March 2023, strangely with snow still on the ground in Leeds. Sat in the Leeds Student Radio office browsing a list of new songs provided by a promoter. While the list may have had 20 or 30 songs, one stood out. It was continuously clawing away at my attention each time I tried to continue my way through the list. That song was Dolores Forever’s ‘Good Time All The Time’. At the time, the band’s YouTube channel had 2 songs without videos. Since then, the band has slowly grown under the radar but is now ready for your attention with their first headline tour. While this may be their first headline tour, the indie pop group has been in the music scene far longer than you might expect.

After becoming friends at a house party, both working as songwriters at the time, the duo of Hannah Wilson and Julia Fabrin decided to form a band. Dolores Forever was formed releasing their first single ‘Kilimanjaro’ 2 years ago. Since releasing that debut track, the band has been progressing towards their original goal of playing in stadiums. Although it could be easily misunderstood, this dream is not born from a place of vanity. Rather, it is a fear of being labelled an acoustic band despite producing songs that demand to be played loud. Over the summer, Live at Leeds in the Park was filled with that noise. On Wednesday night, Oporto was the next stepping stone towards that vision. While the end goal may not be playing Oporto, the duo certainly didn’t show that. Making their way through the sellout crowd, admittedly a small one given the size of the venue, the two were dressed in Alice in Wonderland-esc dresses. The perfect contrast to their grown-up lyrics focused on the trials and tribulations of womanhood in the modern age. From the bands perspective, most songs focus on either money, death, expectations, or a combination of all three.

As a band still awaiting their big, breakout hit after 2 years, the setlist felt evenly weighted. Rather than waiting the full hour set for their biggest hit at the end, the earlier parts were evenly balanced with the latter. I would argue the band fired out the blocks swinging with their best tracks. As evidence, three of their four most-played songs on Spotify and their latest single all appeared in the opening third of the set. Reliably, Dolores Forever bingo was checked off with all songs featuring at least one of the themes of money, death, or expectations.

Another band with similar existential fears is The Big Moon. And fans of the indie queens should look out for Dolores Forever’s new track ‘Shut up and Eat the Pasta’ which previewed halfway through the set. Much like The Big Moon’s ‘Dog Eat Dog’, the song combines genuinely emotive lyrics with humour and the mundane. “Is this as good as it gets?” The band asks dejectedly before shortly moving on to singing “Shut up and eat the pasta, it’s going to taste great”, something all students can attest to. A slightly less enjoyable part of the shared human experience, break-ups, are vividly detailed in the aforementioned debut single. Although most seasoned gig attendees could have spotted the change in tone as the drummer exited the stage two-thirds of the way through the set, the stripped-back acoustic style came as a welcomed surprise. With an emphasis on lyrics, the duo drew attention to their songwriting capabilities leaving no listener questioning their origins in the industry. Just take the lyrics “When I fell, I hit so hard. Landing on the bones of mountain climbers.” Despite this brief change in tone – and lyrics – the duo were down but not out. An unreleased song about the pressure of the music industry and the need to keep going, sung with both vocalists facing toward each other for the majority of the track, felt like an insight into the band’s genuine friendship. That friendship was on full display as Julia laughed whilst explaining how she had previously (and more importantly, accidentally) set her hair on fire in Oporto, or as Hannah nervously reminisced about her phobia of talking in front of large numbers of people.

If the closing of the set is anything to go by, Dolores Forever should get used to the crowds. Arguably no lyric felt more relatable to the audience than “Serotonin in my mind keeping me awake” featured in the closing song ‘Party In My Mind’. Leaving the packed Oporto, every member of the audience knows exactly what Dolores Forever meant with that lyric.

ALBUM REVIEW: Jorja Smith’s New Album is Not Falling Down but Flying High

Written by Emma Randall
Edited by Eve Moat

Jorja Smith’s highly anticipated second studio album Falling or Flying (2023) encapsulates a symphony of smooth jazz melodies whilst engaging in a steady empowering narrative through syncopated basslines. The prerelease of ‘Little Things’ remixed by DJ Nia Archive catapulted the song into a viral sensation providing a fiery, club track which served to highlight the genius of the singer. The hugely positive reception to the remix allowed excitement and anticipation around the newly released album to blossom. A perfect soundtrack to the new season of autumnal cosiness, demanding the quietness of your own presence while listening alone, Smith’s rich voice comforts the ears whilst her sweet melodies flow throughout each track.

Tracing her journey into womanhood, the album opens with ‘Try Me,’ a lively and indie pop sound, allowing an expression of fierce independence to assert itself at the very beginning of the album. Smith sings to her past relationships and refuses to alter her true self-image creating her own identity absent of men. The second tack ‘She Feels’ reaffirms Smith’s attempt to create a version of her true self, she sings “They think that they know me here/ But I know you’d know I haven’t/ quite been myself for years.” After newfound fame during the release of her debut album Lost and Found, the singer’s five-year break and relocation to hometown of Walsall allows this album to meditate the effects of fame, challenging the ideas of self-identity. In a change of melody, ‘Little Things’ brings vibrancy and pace to the album following the opening two tracks. The syncopated, old garage style recounts the story of going to a club and having your eye on someone. This universal feeling is emulated in the track, the butterflies felt are literally imitated by the fast-paced synths. Blending seamlessly into ‘Flights skit’ British rapper J-Hus is introduced. Known for his features of Afroswing, the pairing works perfectly. The smooth R’n’B tones of Smith’s voice partnered with J- Hus’ slower rap provides ‘Feelings’ with a slower opening only to pick up power and pace towards the ending of the song. Smith’s deep voice also echoes Amy Winehouse in her ability to sing in a lower vocal range.

The titular track of the album ‘Falling or Flying’ reinforces Smith’s acceptance of life within the public eye and her ability to adapt her mindset to deal with the pressures of fame. Unable to tell the difference between flying up high or falling down low, Smith’s indifference to her perceived fame reassures the listener of her grounded mentality. Smith encourages the listener to think about the consequences of fame. The work that Smith has poured into the album resembles the work put into her own mentality against these pressures. The pop punk feel of ‘GO GO GO’ in the middle of the album showcases the wide variety of Smith’s vocal range, once again highlighting her versatility and ability to change the mood of the listener through a change in melody. ‘Try and Fit in’ continues the slower, indie inspired tone allowing for moments of peace and contemplation during the middle of the album.

Smith’s collaboration with Jamaican singer, Lila Iké on ‘Greatest Gift’ emphasises the importance of being there for each other through hard times. A clear friendship between the two singers manifests out of the track. Iké’s verse layers Smith’s vocals providing complexity and range to the track, as heard in ‘Cause you’re the greatest gift, just know that where you are is where you’re meant to be’. The song was recorded on Iké’s birthday, emphasising the title of the track, not only as a gift for Iké but also for their listeners.

In ‘Broken is the man’, Smith’s assertion of identity is clear. Her knowledge of her self-worth and independence speaks to past relationships and places the blame previously put on her to the men that have hurt her. In a sharp twist, ‘Make sense’ recounts the true and healthy love which provides Smith with a ‘home in you I’ve found.’ Smith’s smooth, deep vocals are echoed in ‘Too many times’ ‘Lately’ and ‘What if my heart beats faster?’ In ‘Backwards’, Smith’s higher pitched melody provides a welcomed change to the final tracks of the album, serving again to show the immense vocal range so unique to Smith. Smith’s assured voice and confident earthy tones propel this album into one of the best releases of the year. Her vocal ability soaring from low gravelly tones to high aerial notes signify Smith’s ability to cover the height of feelings between both states of flying and falling.

LIVE REVIEW: Mahalia at O2 Academy, Leeds

Written by Hannah Hudson
Edited by Eve Moat

Kicking off her UK and EU tour, Mahalia shook off her first-gig-of-tour nerves in an emotionally intimate show at the O2 Academy in Leeds, with a stunning performance that left the audience in a buzz of positive energy. For listeners like me who are curious to understand the stories behind the songs of an artist like Mahalia, this gig was a brilliant example of an artist inviting their fans into their world and personality. Weaving witty song introductions and off-the-cuff, goofy remarks between hip-hop beats and smooth neo-soul vocals, her authentic and open approach to live performance allowed her to completely claim the stage as her own.

Ahead of Mahalia’s performance, the crowd was warmed up by supporting band No Guidance, whose swoon-worthy harmonies, coordinated choreography and sculpted physiques transported listeners back to the heyday of boybands of the likes of NSYNC and Backstreet Boys. Finishing up with their 2023 EP title track ‘Is It A Crime?’, whose chorus asks “is it a crime to want them all? […] Too many beautiful girls in this world,” it was no surprise to see one band member casually throw up a ‘call me’ gesture at one lucky listener down below.

The brief interval following the support saw the majority female audience chatter between
themselves and slowly shuffle forwards towards the stage, eager to become part of the swell at the
front of the venue in full view of the stage in anticipation of the performance to come. Taking in the
audience around me, I felt a sense of comfort that I imagine many others feel when they come to
see artists like Mahalia – to some extent, you can assume the kind of person in the crowd by the
artist that they’ve come to see, and Mahalia’s distinctly feminine and emotionally candid lyricism
prompts the same feeling as having a coffee in the company of close friends (or depending on the
song, maybe a rum and coke in the club with your girlfriends).

Image Credit: @musicthroughemiescamera on Instagram

As the lights were suddenly lowered at 9pm, a supportive screech burst from the crowd as Mahalia
bounced onto the stage, a mane of long blonde braids flowing behind and visibly full of positive,
nervous energy. It was only suitable that the first track to be performed was ‘Ready’, the
introductory track to her most recent album IRL. This was swiftly followed by popular 2019 single
‘Simmer’ featuring Burna Boy, which saw both the audience and artist ease into the set as Mahalia
danced up and down the stage, singing to the crowd on all sides.

The end of the first two songs saw Mahalia take a sigh of relief, saying, “Okay I’m not nervous
anymore, I feel like I can release that energy!” Past her initial nervousness, the young artist
immediately eased straight into contextualising her new album IRL by joking about its creation
during the COVID-19 pandemic: “We had a panoramic, and that wasn’t ending, and it really felt like
heartbreak season; I definitely got my heart busted and broken but we’re here and we made it and
I’m very excited to just be here and just to be doing something real!” Seemingly feeling back at
home on stage, she breezed through a mix of songs from the new album such as ‘Isn’t It Strange’,
‘Plastic Plants’ and ‘Cheat’, mixed in with other fan favourites such as ‘Do Not Disturb.’

An acoustic, stripped back version of 2019 single ‘Grateful’ mid-set further showcased the strength
of Mahalia’s captivating vocals and songwriting capabilities, as she donned an acoustic guitar and
sang the melody to the crowd just like a lullaby. In similar stead, new album track ‘November’
featuring Stormzy continued the romantic atmosphere, with young couples in the audience
wrapping arms around each other and swaying to the rhythm.

The set then seamlessly slipped back into electronic backing tracks and funky live accompaniment,
with the band grooving alongside Mahalia and the audience to another swaggering new track,
‘Wassup’. ‘What You Did’ and ‘It’s Not Me, It’s You’ played out the set just before a brief run off-stage, swiftly followed by an encore of the new and old classics ‘Terms and Conditions’ and ‘I
Wish I Missed My Ex’ respectively.

Image Credit: @musicthroughemiescamera on Instagram

Even after the final song, Mahalia stayed up on stage and danced with the audience members at the front as the exit music played out. Her infectious warmth was felt throughout the room and as the crowd dispersed, each friendship group left buzzing with post-gig satisfaction while dancing out of the O2 Academy’s doors. Her deeply personal music and intimate approach to live performance will undoubtedly continue to attract devoted fans for years to come.

New Upcoming Artists: the reformed Live at Leeds in the City

Written by Richard O'Brien
Edited by Eve Moat

Up and coming, varied, independent – all words that could describe Leeds as a city and it’s most
authentic music festival Live At Leeds in the City. While Leeds Fest may grab all the headlines, it’s
Live at Leeds which truly represents Leeds musically.

Held annually in October, the festival run by Futuresound and Leeds City Council is played across
venues in the city center and surrounding areas. The aim – prompting new, largely undiscovered,
and emerging musicians.

Like a pick and mix, as you dive your hand in and scoop out an assortment, some you will like and
want more of. Others, you might put back in the box. Similarly, a dive into the previous acts who
have performed at the festival will bring up some acts that have aged well and others verging on
cringe-inducing. Mumford and Sons, Bombay Bicycle Club, Ed Sheeran, James Blake, Jake Bugg, Alt-J,
Catfish and the Bottlemen, Royal Blood, Circa Waves, The Academic, George Ezra, Clean Bandit. The
list goes on. I will let you decide which side of the aged well to cringe-inducing kaleidoscope the
previously named acts end up on. Undeniably, however, the festival attracts global artists when their
resale tickets are closer to £5 than £500.

This year’s iteration of the festival, like previous years, will take place at the city’s most iconic
venues. Expect more niche bands to be playing at Brudenell Social Club and The Wardrobe. Whereas
the headline acts will inevitably perform at the bigger venues including O2 and Leeds Beckett’s
Student Union. For those unfamiliar with Leeds, Live at Leeds in undeniably one of the best ways to
explore the city’s music scene and venues.

While seeing one or two of the headline acts and a couple of medium-sized acts might justify the
admission fee of around £45 (after the “administrative fees” are added on), the joy of the festival is
discovering those unheard-of acts. Hanging around for the next act because you have an hour free.
Getting to a venue early to ensure you have a front-row spot for the following act. Or, for some,
staying at one venue throughout the day with the only excursion into the sunlight being to grab a
bite to eat. Almost by design, the festival ensures you see artists you otherwise wouldn’t.

Another consequence of the design of the festival, which I am still undecided if it is intentional or
accidental, is that it answers the critiques of summer music festivals. No more wardrobe nightmares
due to unexpected weather, leaving you in the cold to think about your mistakes. Rather than
vendors capitalising on a captive audience to hike prices, a quick Tesco meal deal (other
supermarkets are available) while journeying between venues buffers the assault on the bank
account. Yes, it does have it’s downsides, namely a longer journey time between venues, but the
format certainly alleviates some turn-offs for those less keen on summer festivals.

Despite my disappointment at The Mysterines seemingly removed from all mentions of this
upcoming lineup since the initial reveal, the overall picture of artists still looks exciting.
Wunderhorse, Cassia, and Corella appeal to my admittedly basic, indie pop/rock music tastes. But
with nearly 125 acts confirmed so far, there will undoubtedly be something to appeal to those with
more niche music tastes.

While Leeds Fest or headline acts grab headlines and attention, just like the city itself, supporting
smaller acts and venues is the purpose of Live At Leeds In The City. Like a music-themed open-top
tourist bus, the festival allows you to tour the city’s best venues and some of the latest emerging
talent. And as with Ed Sheeran, you can say I saw them before they were cool (or uncool).

Live at Leeds In The City takes place on Saturday 14th October with tickets still available online
from Live At Leeds’ official website for £42 plus booking fees.

Local Artist Shaene plays Hyde Park Book Club

Written by Emie Grimwood
Edited by Eve Moat

On the 9th September, I had the pleasure of watching Leeds based, emo/lo-fi
project Shaene at Hyde Park Book Club. Following the release of her debut
album time lost/time regained, Shaene took to the stage and graced
audiences with a fresh sound, one previously unheard in the Leeds scene. The
album is an exploration of how childhood experiences have long lasting effects
on her current relationships, featuring themes of mental health, familial
alienation, and the trans experience.


The performance itself translated the message of the album. From set design,
to lighting and delivery of the songs. The blue lighting felt synonymous with
the album and Shaene and using the balloon display, typically associated with
birthday parties and celebration, felt like an ode to a loss of innocence. The
tainting of something so fragile due to traumatic experiences. The display
partnered with the music demonstrated how despite all, Shaene was taking
something back, regaining control and re-imagining experiences for what they
should be.

Image Credit: @musicthroughemiescamera on Instagram


The set was magical. The way the band took stripped back songs and elevated
them to a point that had the entire room captivated. The album time
lost/time regained
was entirely self-recorded and self-produced, which
makes it more impressive. She displays an incredible ability to create beautiful
music, and on a technical level, can produce it too.

Artists such as Shaene are rare. It is no wonder that she is making a name for herself, being recognised by
names such as BBC Introducing, Yellow Button, Get in Her Ears and Wax Music. Shaene is such a unique voice, one I look forward to hearing more of and I’m excited to see what she does going forward.

Track List time lost/time regained:
1. june
2. bleach
3. sad
4. fair
5. dumb
6. snot
7. maybe