On the weekend of the Platinum Jubilee, millions across the country were seeking some sort of celebration and/or escape. I, like many others, was no different, however, for me my escape of choice was not a bunting-lined street party but Nottingham’s very own Meadowlands Festival.
Spirits were high as punters poured into Camden’s Roundhouse for Miles Kane’s headline show.
First came a 30 minute set from newcomer Brooke Combe, her powerful vocals soaring through a cover of ‘Why’d You Only Call Me When Your High’ much to the audience’s delight. Brooke’s voice captivated the crowd, as she sang to them, “Do I impress you?”. The answer is yes, very much so, and we can’t wait to see more from this artist.
Sunnies are needed as the sunshine begins to pierce through the clouds as the Live At Leeds team debuts their brand new Temple Newsam Park Festival. Advertised as a multi-genre festival with a diverse and abundant body of artists set to perform. Some of those on the bill include Easy Life, The Vaccines, Sports Team, Sea Girls, Holly Humberstone, Arlo Parks and Finn Askew.
After days of cloudy weather, the music industry was met with blue skies and sunshine as they descended to the seaside town of Brighton for The Great Escape 2022.
Taking place across the city’s countless music venues, The Great Escape consists of new artists from all around the globe and is the perfect place to see the next big thing play before anyone else.
Alt-rock trio Dinosaur Pile-Up proved their continual popularity at their London headline show, which due to Covid-19, finally took place two years after it was originally scheduled, with herds of free-spirited fans from start to finish thriving on the enticing zest of the set.
As the sunset on an unusually warm Sunday evening, the maskless masses took to their seats at the London O2 Arena. We filtered through the isles of metal chairs on concrete flooring, welcomed by soundscapes of birdsong and soft glowing amber lighting. Having arrived uncharacteristically early I sat and listened. The birdsong subtly moved from America to Britain, across to south Europe. Amplified through giant monitors to fill the space, the size of the venue was striking. Ever the optimist, I’d describe it as half full.
On the last night of their two-week stripped back UK tour to promote their new album ‘Give me the future’, Dan and Charlie Barnes, from Bastille, shuffled onto a minimal stage in what I can only describe as ‘their comfies’, hoodie and cap.
Fred Again is to a millennial anxiety-fueled generation, a composer and visual performer that touches them in a way far deeper than his peers in the most humbling of ways.