As I approached The Brudenell Social Club, I was struck by the sheer number of people milling around. Queues of people were forming everywhere, like a bus station at rush hour and the atmosphere was one of both anticipation and impatience. Having been tasked with reviewing The Slates but covering Jamie Webster too, I was unsure where to head, first. I went with my instinct and headed for the main room and only just managed to secure that all
important barrier position before the swarm of photographers and hardcore fans descended.
Just beforehand I had a little nosey around the merch stands and spotted a garden gnome. I had to find out more. Belonging to second support band ‘The Cases’ the parents of one of the band members explained that it had just turned up. They had no idea where it had come from, but it now apparently goes everywhere with them. I loved hearing this little anecdote before the evening’s entertainment began.
When Garage Flower appeared on stage to an already packed-out room, they brought three things instantly: energy, power and attitude. It struck me immediately how unusual it was for a room to be so full so early in the evening and for an opening band and one in position three of the line-up. Perhaps the band’s antics in Manchester recently, had drawn in a bigger crowd than expected? But from what I could see, it was perhaps because they’re playing in
venues smaller than they ought to be. Whatever the reason, the buzz around them was undeniable.
If the indie movement could have gone straight from the 90s to 2025 and cut out the indie landfill era, maybe they would have landed on Garage Flower. Citing their influences as The Charlatans and The Stones Roses, perhaps some of that was evident in their set, but first and foremost they knew their way around a solid guitar sound. Their music
was as tight as it was melodic with an insatiable energy that captivated a hungry crowd. It was hard not to be wowed by their performance and even though they may be accused of trying to be the ‘next oasis’ I admired their tenacity and fresh take on indie that was fit for 2025.
Next up, The Cases had come all the way from Preston. Not just bringing their parents, their merch stand mascot (who I decided should be called ‘no name gnome after being told that he had no name) but a loyal following too. With a sound that is clearly influenced by the likes of bands such as The Courteeners and The Kooks, The Cases manage to bring a fresh 2025 approach to a bygone era that is evidently making a comeback. As I took a moment to survey the room, I noticed how young the crowd was.
And after having seen Garage Flower previously, it was evident how the 90s and 00s were clearly a huge influence on this fresh new era that is emerging on the scene in 2025. I’d say The Cases were a new and more appealing version of bands of the bygone era of the early noughties and judging by the reactions of the crowd this is a genre that is here to stay. New single ‘ Leaving Behind’ had all the trademarks of a modern-day indie anthem and more than a small handful of the crowd were wearing a t-shirt to prove it. As they left the stage I had one thought: Catch The Cases in a small venue while you can.
Exiting briefly from the main room to check out was going on in the community room I caught a few songs from The Lags who were making their Leeds debut on this warmer than usual November evening. Just the lead singer alone on stage and strumming away on his acoustic guitar, the songs were as pleasing as they were familiar and went down well with the crowd who had packed out this slightly smaller room in anticipation of the main act, Jamie Webster.
I nipped back in to catch a few of his tunes before The Slates appeared in the next room and it was clear that Jamie had a very loyal following.
I couldn’t get anywhere near the stage in a space filled with fans who knew every word to his well-known tunes including the popular ‘ Living for yesterday’ which was as catchy as it was entertaining to hear live. If felt as though I’d entered a private party where I wasn’t invited, but not in a bad way, so after hearing several more tunes, I headed back to the main stage where I felt the energy was really at, just in time to catch the full set of the headliners: The Slates.
This band were very grateful to be here. They had an air of being very humble and kept thanking the audience and stating how this was the best night of their lives. I could tell they were a special band because they came with their very own chant. Whether this was purely football related, I’ll never know, but when the audience started singing ‘Oh when the saints come marching in’ I knew there was something special about this act. I felt like the whole evening came with a sense of anticipation and excitement about what was to come, and almost as if the end of 2025 symbolised a new wave of indie pop that was fresh and new.
The crowd was heaving, with many of its members down the front knowing all the words as they wore their band t-shirts. “Down the road” was a clear all round pleaser, but the slower “watch life burn” was the highlight for me, with its slower melodic grooves and gorgeous three-part harmonies. As they played an unreleased tune “Try it again” it struck me what a great frontman this band had, for his ability to get the whole room singing along and feeling they were a part of something special for doing so.
After pronouncing that “The second half of the set is gonna be a serious party” I realised that this band really knew how to work a crowd, and they very much did. I’d say they were a party band and clearly didn’t want the night to end, which it didn’t have to for some as they continued the night at an aftershow party in popular Leeds city centre bar Oporto for those who wanted to keep the vibe going into the wee small hours.
As I left for home, what I took away was a sense that 2025 had given birth to a new wave of Indie pop. With its roots in the early 00s but its head clearly looking forward, these bands have all the trademark sounds of a time gone by with and injection of energy and attitude that was perhaps missing from this era. Watch this space, as I fully expect these bands to continue making waves way into 2026 and beyond.
WORDS BY JULIA GRANTHAM
PHOTO CREDIT – WILL GREAVES
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