Surf-pop five-piece, Surfer Blood, kicked off my final day at Leeds festival. Entering the grounds on Sunday it was clear both the people and the festival itself were suffering from a two day bender. Under foot the grounds had turned to almost mud, despite hardly any rain, and I could have sworn the entire site stunk. Perhaps it was the port-a-loos (Australia - be thankfully, the things we get are luxury compared to festivals in the UK) or just the fact that of many of the punters had not showered since Thursday night. Either way today was slow and messy start.

           

I do feel sorry for the first three bands playing at the NME stage because although their sets were good, hardly anyone could be fucked to lift a foot to dance, or a hand to show appreciation. They were all still asleep!

Fronted by singer and guitarist John Paul Pitts, Surfer Blood opened the final day the NME tent with Floating Vibes, a song that brought about just that. Having only released one album the band was seemingly limited to tracks off Astro Coast, although towards the latter half of the set the guys introduced us to a fresh tune titled I'm Not Ready. Thick with echoes and distorted pedal groans, this new song sounded along the same vain of the bands previous work.  From the latest addition to their musical repertoire to the first, the quietened delivered the much anticipated Swim before closing with Anchorage. Don’t be put off by the fresh faces of these youngsters, Surfer Blood put on a powerful performance with impressively matures vocals and larger than life guitar riffs.

Next up – London new-wave quintet, New Young Pony Club, who on Sunday returned to Leeds for their second time. Since releasing Fantastic Playroom back in 2007 the band had been relatively quiet until earlier this year when they gave us The Optimist. Despite a number bands coming out dung this new wave movement few have managed to stick around. Since having slightly matured in sound, although still maintaining their pop sensibilities and unique sound thanks to vocalist Tahita Bulmer, the band are back on rotation on dance floors across the UK, US and home. Sadly their performance on Sunday was flat and poorly received. Perhaps it was because FLAT seemed to be the vibe all round as people struggled to get going.  Mixing up old and new material in equal measure NYPC only managed to get a few people dancing. Not even Ice Cream made all that big a difference when it came in to fruition mid set before closing with equally danceable, The Bomb

Making our way over to main for gypsy- punk outfit, Gogol Bordello who truly are a outstanding group (and still up there in best acts I have ever seen live!). With a line up that currently sits at nine members from counties including Russia, Ethiopia, Scotland and the Ukraine, its clear how Gogol Bordello have evolved into a highly theatrical collective built upon an eclectic selection of world music styles and instruments. The energy at Leeds was infections and people were up and dancing manically. Playing a selection of tracks of their most recent album – produced by Rick Rubin! The New Yorkers put on one hell of a spectacle. Dancing across the stage, red wine in hand, frontman Eugene Hutz was incredible to watch. The rhythm of this performance was truly relentless and if you had of been front and centre you will know what I mean especially during Wonderlust King!

Irish indie-electropop trio, Two Door Cinema Club put on yet another energetic performance on Sunday. Not straying far from their sounds at Splendour in The Grass this band are somewhere between Franz Ferdinand and Delphic. The power pop hooks of Undercover Martin and I Can Talk were crowd favourites as per usual and finally, by 3pm, did we witness the first glimpse of life from the horde at the NME stage. Moving as one to the enthusiastic beats this energetic set made way London electro-rock duo The Big Pink consisting of Robbie Furze and Milo Cordell.  .

Although turned off by their name they share Bloc Party’s producer and Coredell runs Merok Records (early home of Klaxons and Crystal Castles) so I was compelled to check them out. And besides, who isn’t a fan of Dominos? On stage the two multi-instrumentalists with their power chords and pop hooks received a massive response. Although breaking mainstream with their infections choruses and pop sensibilities their set was a more band orientated change in pace. Playing with a full line up including guitars and drums it was the synth sounds of MGMT mixed with the shoegaze of The XX that made for a distorted, lo-fi, 90’s electro pop performance that was mesmerizing!

Missing Yeasayer (FML) after a detour through the campsite in search of more alcohol to smuggle in we arrived in time for the second half of Delphic’s set.

The Manchester indie-dance outfit played a invigorating selection of tracks from their 2010 album Acolyte in front an absurd backdrop of what looked like satellite dishes.  Thankfully the band saved the festival favourites – Halcyon, Counterpoint and Acolyte until the very end so we were lucky enough no to miss much of the hypnotic instrumentals that ever so successfully marry the better elements of rock music and dance music. But then again you could only expect as much having been produced by Berlin based DJ/genius Ewan Pearson

Of all the acts here this weekend, Queens of the Stone Age were MY most anticipated. Warming up the stage for Guns N Roses, QOTSA appropriately opened with Feel Good Hit Of The Summer. Only moments in to their set lead singer Josh Homme announced he wanted his music loud “so turn it up for these mother fuckers. I’m sick of this quiet shit”. Josh’s between song repartees continued much the same tone through out the bands hour and a half set. Playing only six or so well known hits Queens set was truly one for the fans. Powerful with raw energy the set list covered song from R Rated all the way through to Era Vulgeris and included Sick Sick Sick, Long Slow Goodbye, Misfit Love and of coarse Little Sister, Go With the Flow and No One Knows. The bands killer riffs and heavy bass lines made for an explosively loud performance. Couple that with the seductive vocals of Homme and you can see why this band are one of the best live acts around!

Despite initial rumours that Guns N Roses were going to pull the pin on their Sunday night Leeds performance after a spat with festival organisers, they arrived onstage 30 minutes late and after some desperate pleading for the audience to take a step back  avoid crushing fans at the front. Tainted from the previous disputes surround Reading Festival (GNR came on one hour late and as a result ran past the festivals curfew, to avoid paying penalties organisers cut the sound during the bands encore) the audience were hesitant about whether another dummy spit would follow. Having watched opening anthem, Welcome to The Jungle, we slunk out in search of LCD Soundsystem who were playing to a not so big audience but were thankful to those who chose them over the Gunners. 

Charming as always frontman James Murphy put on an extremely lively performance with a set list that was identical to Splendour. With mischievously quirky lyrics and vibrant hooks the NME was brought to life for the final time this weekend.

Returning to catch the end of GNR’s set we managed to see Night Train, and extend guitar solo and final track, Paradise City, which delivered lighting, fireworks, confetti and Axl Rose  shouting “from the crowd to the promoters – Fuck you”!

Jumping on a last minute festival ride before heading out to the campsite to watch the riots and party at Piccadilly (blogs below) Leeds festival was by far one of the best festivals of MWT. Although the location and surrounds were far from the beauty of Latitude or Coachella, the atmosphere was incredible and the people were so much fun. Leeds was probably the most like home (aside from the fact we don’t burn shit and blow things up on the final night)

Bec Clark 

Saturday at the festival saw just the slightest drizzle of rain but was windy as hell and freezing during the night. But first up - The Joy Formidable, a trio from North Wales who are doing things by their own accord.

Saturday at Leeds the NME stage was brought to life with the hazy reverb and dreamy, yet powerful vocals of female lead, Ritzy Bryan. Regularly receiving references to last nights performers Arcade Fire and even the Yeah Yeah Yeahs it was the powerful balance of rock music with the delicate voice of a chick that had the audience enthralled. Their set was filled with monstrous instrumentals and mind blowing crescendos, however in contrast the band was lyrically quite minimal. Towards the end of their first track Bryan began smashing her guitar, albeit unsuccessfully, this short haired blond lass rampaging across the stage screamed Courtney Love. The onstage dynamic of TJF was quite unique with the drummer located at the front of the stage but facing away from the audience, towards his fellow band mates. This live performance was loud and the bands music genuinely needed space to breathe.

Hanging out for Local Natives (formerly known as Cavil at Rest) this quintet out of LA have  recently been described as psych folk. Their boyish charm and measured harmonies of the first few track reminded me of Sydney's Boy and Bear – just less folk and more dance. Fromm immense drumming to pop hooks, the guys brought their west coast charm to the audience at Leeds. The complexity of each song becomes evident as three part harmonies are enhanced by tribal drumming and melodic guitar riffs. Alternating between lead vocals (I think I counted three changes) they were finally joined on stage by fellow Leeds performers Fools Gold for some full blown percussive break downs.

Catching the tail end of Cardiff eight piece Los Campesinos, who had pulled an impossibly large crowd, I got in a good position for Wild Beasts.

Performing with falsetto croons and deep tenor moans in perfect measure, this band seemed to transcend a number of genres and influences. Front men Hayden Thorpe and Tom Fleming both extremely talented and did a stunning job of introducing  Leeds Festival to their mercury nominated album Two Dancers. Stunning the audience at the NME stage, Wild Beasts’s set was filled with unique melodies and an expansive range of daring vocals, the passion and sheer talent of this group strikingly evident.  Trading instruments as the set progressed the band closed their 40 minute time slot with a chilling performance of Hooting and Howling. 

I hate to say it but I used to be a bit of a Limp Bizkit fan. Admittedly I was much younger and musically naïve, but I had to check these guys out for nostalgias sake. But sadly their performance was less than average. Entering the stage to the beats of DJ Lethal with his signature basketball singlet, this time the Celtics, and hat, (but no the NY one we have some to know and love) Fred Durst’s performance was bland. And , showmanship, almost not existent. Occasionally screaming “yeah…LEEEDs” into the mic there was often long pauses between songs and no real banter to fill the void. As for Wes Borland – this was by far the creepiest on stage ensemble I have aver witnessed. Painted black legs, a dark grey coat, fox fur around his neck, long black hair and a fringe with bangs,  white make up with giant red clown lip and then his teeth – ohhh his teeth… covered in black grime. Opening with Rollin crowd favourites My Way, Break Stuff and Take a Look Around were play before the boys closed with their anticipated cover if George Michael's Faith. Sadly there was to Nookie

Next up was west coast rappers - Cypress Hill who seem to be just an excuse for everyone in the audience to light up heir splifs. Considering the fact that there is no drug searches or dogs at this festival people could get in anything and everything they pleased. As expected How Could I Just Kill A Man and Insane in the Brain went off.

Finally making it over to the dance tent for the first time this festival I caught UK electro-pop (with a hint of post punk) quartet Metronomy, this is one of those bands who are really hard to pigeonhole. Coming out among a midst a sea of bands in a simular vein, it seems as though people are becoming less and less interested by this genre. The turn out was unimpressive but the energy on stage eventually got people involved. The bands twitchy riffs and sharp vocals were drizzled with enough synths to keep the dance floor alive and maintaining momentum. You Could Easily Have Me, Radio Ladio and Heartbreaker were vibrantly welcomed by the audience although by the end of their set is was sadly apparent how much this band have changed their vocals for the album. Sounding sometimes off key, Metronomy were fun but really not worth seeing live.  

American rockers Band of Horses, previously known as Horses had packed out the NME stage by 6PM on Saturday. Gaining popularity after their second album Cease to Begin the 5 piece are renowned for their indie country-rock revival and southern American sound.  The vocals of Ben Bridwell echoed ever so magnificently through the tent at Leeds and enticed references to My Morning Jacket, the Flaming Lips or even soft rock sounds of Crosby, Stills, Nash and Young. Soundscapes encapsulated the audience as did the powerfully evocative lyrics and earnest choruses. As raw guitars give way to a softer side, the delicate and genuine verse on tracks like Ode to LRC and No One’s Gonna Love You came the focal point. Hitting each note with perfection and an uncanny ease Band Of Horses were simply beautiful to watch.

Opening with Total Life Forever, Oxford quintet  Foals are stuck with a wall of applause at the audiences first recognition of the songs melodies. The NME stage once again packed but this time it was impossible to move, especially in the front D, which was a little dangerous as people just kept coming and coming. The Levels of reverb echoed through out the tent only to be brought to a halt by the chilling falsetto vocals of Philippakis'. Saturdays performance was bold and the bands musical scope monumental. Playing tracks from both Antidotes and recent release Total Life Forever the immense vocals of Philippais weaved their way through out venue creating vivid aural landscape amidst a blooming wash of blue lights. Despite the slow and gradual build of Spanish Sahara the audience never waivered in captivation. Climbing up poles one side of the stage and down into the audience, the Foals frontman was brilliant to watch, breath taking in every aspect. Highlight of the set – the cacophony of instrumental and electronic layers that is Miami. 

Finally for the much anticipated Punk-pop trio – Blink 182 who seemed to entrain themselves as much as they did the audience. Regular outburst of profanities and burping on into the mic, Tom Delonge shortly announced “Leeds is going to kick the shit out of Reading." To which the response was mammoth, the sibling rivalry between these two festivals is hilarious. Initially performing in a shirt with 'RIP DJ AM' sprawled across it (shortly being removed after becoming drench with sweat) drummer Travis Barker was phenomenal to watch, especially during his extended drum solo that took place later in the set.

Screaming Fuck, shit, C_nt and blow jobs in to the mics at random, Blink 182’s set was insane from the get go. On stage banter continued as much the same level including mark announcing Thank you - "We are Mark Hoppus and the other two guys." The band hour and a half set opened with Dumpweed and included The Rock Show, What's My Age Again, I Miss You, Don't Leave Me, All The Small Things, Josie and closed with Dammit. 

Bec Clark 

Catching one of the many regular National Express bus services to Leeds from London, I faced a four and a half hour trip, but considering the 14hr flights we have become accustom to, this was nothing. 

Arriving at Leeds Coach Station I experienced my first dumb tourist moment – got into a cab and told the driver where I needed to go. He said it’s not far so he would cut me deal, not turn on the meter and I could just pay 5 pounds. Well stupid me for agreeing to trust him because not only did he take me to the wrong hotel but the amount he charged me was much more that it should have been. Jerk.

Eventually go to the RIGHT hotel around 2pm, checked in and arranged to meet with Dan to head into the festival. For 17 pounds we got an unlimited bus pass that took us too and from Leeds Festival as much as we wished, bearing in mind that the last buses leave at 1am (something I forgot to factor in on my final night). 

Check points getting in to the festival were brief, only two in fact - one leading to the campsite that checked bags for glass bottles and our arms for wrist bands, and the latter heading into the festival grounds, supposedly checking bags and persons for any other grog. With the amount of people going though this section the searches were not thorough and almost every second person got drinks in. Brilliant – saved some dosh there!

Friday’s weather was pleasant, although the masses had prepared with wellies and raincoats on the off chance the sky would turn. The layout of the festival was well planned and getting from main stage to the other areas was a breeze. Bars were plenty as were the food outlets, offering a simular selection to Latitude with just as steep prices…but you get that at every festival.

Musically your options were

Leeds Mainstage – headline acts

NME/ Radio 1 stage

Dance/Lockup stage/ Cinema 

The Alternative stage – occasionally offering comedians and entertainment of the sort 

Festival Republic Stage – the company that runs many of the festivals over here

BBC introducing stage – supporting up and coming local talent. Many band who play here go on to play the bigger stages in a few more years

Festival fashions were a bit of a mixed bag. Many chicks seem to just layer things on to keep warm (side from the ones getting around in denim shorts) but still manage to look good. Guys on the other hand were less capable of pulling it off and trackies and hoodies were a popular option. I keep forgetting that on this side of the world most festivals are all ages – it makes for a more energetic crowed but also more immature and idiotic. Mainly referring to the cups of piss that get thrown through the crowd by little dick heads who think it’s funny. If your manning a spot for your favourite band and you have been there for hours – guys feel free to piss in a bottle and drop it, hey chicks would too if we could. But there is no need to throw it forward. You would see it hit someone and they would wipe the wetness and smell it – sometimes it was only cider and the look of relief on the faces was apparent. Either way I’m thankfully I never got hit.

We have been told the vibe is way different to Reading and of coarse everyone here says Leeds crowd is better - friendlier and more chilled out. I have to say the people were a lot of fun, very welcoming and easy going. I’ll get back to you on the vibe difference if I ever get to do Reading.

Enough dribble… now for the music…. (still on its way)

Bec Clark