Live at Leeds in the City 2025 – a day of discovery in the heart of Leeds

Last week I spent an incredible Saturday roaming across the city-centre venues of Leeds as part of the Live at Leeds in the City 2025. As someone who truly loves live music, it felt like the perfect opportunity to dive deep into the UK indie scene. The concept itself is irresistible: a multi-venue one-day event, held this year on Saturday 15th November, across various venues throughout Leeds city centre. With one wristband you could go from local bars to larger venues in the city centre, from emerging acts to more established names, and the student ticket option made it even more accessible for young music-fans. For any student, or anyone on a budget who loves discovering new artists live, this was a festival to fall in love with.

What struck me most about the day was how you could walk between venues: the festival doesn’t rely on huge outdoor fields or one big stage, but on the city’s network of bars, clubs and independent spaces. This means the vibe is more immediately intimate. You never feel stuck in one massive crowd for the whole day, you can hop in, feel a set, choose to stay or move on. The weather may have been grey and rainy (typical Leeds November) but thanks to the indoor venues, this didn’t dampen the mood. The day felt like a proper music-tour of the city, with new discoveries around every corner.

Artist highlights

Here are four artists whose sets really stood out to me. Their performances, their sounds, and what I knew about them beforehand.

1. Honeyglaze

When Honeyglaze took to the stage, it was a moment of calm-intensity. The South London indie-rock trio (Anouska Sokolow on vocals/guitar, Tim Curtis on bass, Yuri Shibuichi on drums) have already made quite a mark: their self-titled debut LP came out in 2022, followed by their debut album Real Deal in 2024. Their sound blends post-punk, math-rock, and melodic indie rock. They’re not about big spectacles but about structure, tone, and atmosphere. During their set, I was struck by the thumb-picked bass underneath, the three-piece format giving space for each instrument to breathe, and that dreamy emotional sound-scape they created. Spin Vibe Magazine described their performance as having “cool precision and refusal to overplay” which I felt totally matched. For me, the highlight was hearing how they can go from a laid-back groove into heavier territory, showing both restraint and punch. 

2. Radio Free Alice

Next up was Radio Free Alice, a Melbourne/Naarm-based band whose instrumentation kept shifting and whose bass riffs were quite unique. Their latest EP Empty Words (released August 2025) shows them expanding their sound into melodic post-punk with real emotional bite. They bring a sound that flips between jagged guitars, shimmering production, 80s backing vocals, and introspective lyricism. One track, “Toyota Camry”, was highlighted as a standout in the EP. On stage in Leeds, they delivered variety; the shifting instrumentation meant that the audience were kept on their toes, and the bass riffs anchored the set in a way that made me sit up and listen. For students or review-writers, it’s worth noting how the instrumentation shifts: they’re not a “standard rock trio” but have layers and textures that make a live show feel dynamic.

3. Divorce

Divorce brought something else entirely. This Nottingham-based alt-country/folk/indie-rock band released their debut album Drive to Goldenhammer in March earlier this year. Their music draws on alternative country, folk, grunge, shoegaze, indie rock, a broad palette with emotional resonance. Their live shows have been described as being “imbued with humour and heart” (DIY Magazine interview) and their harmonies are a strength.
During their set, the track Antarctica felt like one of the most beautiful moments of my day. A calm, majestic moment, friendly and lovely, and it gave the festival a moment of pause amidst the energy. For me, it felt like a space where the audience leaned in rather than danced out.

4. Westside Cowboy

Finally, to wind down the day, Westside Cowboy delivered a high-octane set. This Manchester quartet’s debut EP This Better Be Something Great (August 2025) has been hailed as something of a benchmark: their sound has been described as “Britainicana”, a British twist on Americana, indie rock, slacker rock and country influences. Their performance was full of rookie energy: raw, loud, joyous. The kind of show that felt like ending a day in the right way. You’re energised, a bit out of breath, exhilarated. It was the perfect closing act for the festival to me.
If I were to give one tip: if you’re at a venue towards the end of the night, and you catch Westside Cowboy, stay for the full set. There’s something special about how they built momentum and left the crowd on a high.

Overall, Live at Leeds in the City 2025 felt like a beacon for the live-music lover. It’s accessible (with student tickets), it’s city-based (so you can explore a real urban setting), and its lineup of emerging artists is top-tier. For a student, or someone new to the UK live-scene, it’s a festival that says: you don’t need to camp for four days, you can just dive in for one day, discover five or six acts you’ll love, walk home or back to your accommodation, and still feel like you had a full festival experience. If I were to suggest an improvement: check venue capacities and plan which sets you must see early (wristband exchange opens at noon) because popularity means some venues fill up.
In short: if you love live music, new artists, city-festival vibes, mark Live at Leeds in the City in your calendar for next year. I’ll definitely be back.

Words by Dain Lee, she/her