Leave the house? Seems quite likely with all of this going on.
From headliners to hidden gems, Reading & Leeds remains a barometer of what’s happening at the overlap of alternative and mainstream culture, reflecting and influencing what’s happening right now in equal measure. As this weekend’s celebrations prepare to kick off, it’s latest evolutions prove it’s a festival that needs to keep moving or die, and it’s showing no signs of slowing down yet.
Words: Dan Harrison.
There’s something singularly British about the persistent pull of Reading & Leeds, twin titans of the festival circuit that have weathered the stormy seas of the pandemic era and the capricious tides of youth culture with the stoic resilience of a Union Jack beach umbrella. For decades, the August bank holiday behemoths have served as a rite of passage, a muddy (or dusty, depending on the weather gods’ whims) beacon calling to fresh-faced teens and slightly older grizzled veterans alike. It’s a place where, for one weekend, the humdrum of everyday life is traded for a heady cocktail of liberation and chaos, where the anthems of yesteryear collide with tomorrow’s earworms in a riotous symphony of sweat, beer, and questionable choices.
As Reading & Leeds 2024 looms on the horizon again, it seems poised to once again make a grab at the zeitgeist. The lineup is a veritable tapestry of genres, where the golden threads of nostalgia intertwine with the neon fibres of mainstream electronica. But what elevates Reading & Leeds beyond a mere cavalcade of performances is the festival’s ability to serve as cultural barometers, gauging the temperature of the alternative music scene with an accuracy that would make a meteorologist weep with envy.
For many artists, Reading & Leeds holds a special place in their journey. Jack Wilson, frontman of Kid Kapichi, reflects on their history with the festival: “This is our third time at Reading & Leeds, and it’s always felt like a very special one for us. It was our first ever big festival. We did the BBC Introducing stage in 2019, and it was the first time we felt like people outside of Hastings knew we existed.”
For others, like Anna Shield, vocalist of Dead Pony, this year marks an exciting first. “I’ve never been to Reading & Leeds,” she admits. “It’s been a festival that I’ve always wanted to go to – it’s so iconic, and the lineup is always amazing. Obviously, there are a lot of amazing and huge headline bands playing, but there’s also a tonne of amazing smaller bands, like ourselves, playing. It really shows how exciting and diverse the current UK music scene is at the moment.”
Sean Murphy-O’Neill from Courting, who make their bow on the festival’s biggest stage this weekend, has a deeper personal connection. “Reading was the first festival I ever went to as a teenager; it holds a lot of significance to me,” he reveals. “I want to say that I dreamed of being on the main stage when I first watched bands up there, but honestly, it felt unattainable. This year, we make dreams happen.”
For Halifax-based indie riser Ellur, it’s the northern leg which feels like home. “Leeds Fest is my absolute favourite festival,” she enthuses. “I’ve been too many times to count, and it’s a gig that’s been on my bucket list since I started writing songs when I was a kid. I even worked there a few years ago, in a burger van, just so I could attend.”
It’s certainly got something for everyone. Take the headliners, for instance. Blink-182, those perennial Peter Pans of pop-punk who bottled adolescent angst and sold it by the gallon, share top billing with Fred Again.., a producer who’s managed to distil the human experience into a series of pulsating beats that already feel to be near ubiquitous. Throw in the noir-pop of Lana Del Rey, and you’ve got a fascinating game of musical Twister that speaks volumes about the festival’s evolution.
This growth reflects broader changes in music consumption. As Wilson observes, “It shows that people’s taste in music has never been broader. People seem to be much more open to breaking genre, which I think is a really important way to enjoy music.”
Blink-182’s presence nods to the cyclical nature of music trends; their power chords and toilet humour are now a nostalgic comfort blanket for a generation more likely to be changing nappies than stage diving. Yet it’s Fred Again.. who might be the most intriguing headliner. His music, a savvy cocktail of electronic wizardry and heart-on-sleeve lyricism, speaks to the current crop of festival-goers with an almost eerie prescience. In an age where human interaction is increasingly mediated through screens and social media likes, Fred Again.. has tapped into something profoundly analogue – the raw, messy business of being human. His presence at the top of the bill signals that Reading & Leeds aren’t content to rest on their laurels but are instead keeping their finger firmly on the pulse of what’s driving the spaces where mainstream and alternative culture collide.
This broadening of the musical palette hasn’t been without its detractors. Including more electronic and pop acts over the past decade has ruffled more than a few feathers among the old guard, those who yearn for the days when Reading & Leeds were bastions of rock, punk, and metal, unyielding in their guitar-driven orthodoxy. It’s a criticism levelled at festival director Melvin Benn with the regularity of a metronome. But Benn, with the pragmatism of a seasoned general, has made it abundantly clear that for the festivals to survive – let alone thrive – in the cut-throat world of modern live music, evolution isn’t just desirable; it’s necessary.
This year’s introduction of The Chevron Stage is a move with that in mind. This 40,000-capacity open-air colossus, complete with a floating video canopy made of programmable LED lights, isn’t merely a technical flex – it’s a statement of intent writ large in pixels and decibels. By dedicating this stage to electronic and hip-hop acts like Skrillex, The Prodigy, and the rising star Nia Archives, Reading & Leeds are planting their flag firmly in the soil of future-facing live music. It’s a future that’s immersive, technologically advanced, and, crucially, inclusive of genres that would once have risked a barrage of piss bottles.
The mention of The Prodigy sparks a particular excitement in Shield. “There’s a video of the Prodigy doing ‘Firestarter’ in 2009, and it’s honestly one of the best things I’ve ever seen,” she enthuses. “I love Keith Flint so much, and I was lucky enough to see them perform a few times when he was still alive. He has such a memorable and hypnotic energy.”
It’s a testament to Reading & Leeds’ ability to create moments that resonate long after the last note has faded. Matched only by Glastonbury, it’s an event that could make a viral moment long before social media was even a thing. From Kurt Cobain’s legendary entrance with Nirvana in the 90s to Daphne and Celeste turning a bottling into a win and Paramore’s triumphant power-cut epic – Reading & Leeds has a habit of finding those lightning in-a-bottle situations that sit long in the memory.
Ellur’s Reading & Leeds highlights span years and genres. “I got an hour’s break the year I worked it and watched Sam Fender with my mates who’d bought tickets,” she recalls. “I fell in love with that huge, full-band sound that has so much depth.” Billie Eilish, Holly Humberstone and Stormzy are other highlights she namechecks, proving the festival can continue to make those moments that live long in the memory.
The Aux Stage, another new addition to the festival’s arsenal, is a masterstroke of cultural synthesis. Designed to bridge the chasm between digital content and live performance, it’s a nod to the influence of social media and digital creators on youth culture. In an era where a viral video can make or break careers, including content creators alongside musicians isn’t just savvy – it’s survival. Then again, Dork’s flagship podcast-slash-radio show, Down With Boring, is appearing for the inaugural year, so we would say that.
These developments reflect a broader trend in the music festival industry, where the boundaries between different forms of entertainment are becoming as porous as a cheese grater. By embracing these changes, Reading & Leeds are ensuring they remain relevant, even as the definition of a music festival continues to evolve.
But Reading & Leeds have never been just about the headliners or the stages, no matter how shiny and new. They’re about the atmosphere, the visceral thrill of being part of a heaving mass of humanity, all united by a shared love of music and the intoxicating freedom that comes with it. This ineffable quality makes Reading & Leeds unique, a sense of community and rebellion that permeates every muddy inch of the festival grounds.
For performers, this energy is palpable. Wilson notes, “Reading & Leeds has one of, if not the most responsive crowds of any major festival. Everyone is so up for it, and I’m sure this year will be no different.” Shield concurs, adding, “Honestly, the crowds are always up for it! We always have the best crowds at these festivals. Also, being able to see so many legendary bands in one day is amazing.”
For Murphy-O’Neill and Courting, playing the main stage represents both a thrilling opportunity and a nerve-wracking challenge. “I think us on the main stage is a crazy move,” he admits, before adding that it’s “one that I am very excited for.” His enthusiasm is understandable — it’s a massive moment for the band, reflecting the festival’s continued commitment to giving the next wave of bands an early shot on their most sizable platform.
Former Dork cover stars Big Special echo this sentiment about the unique energy of festival performances: “The bigger stages are such a different experience than the club shows we are used to. It feels like such a big spectacle. There’s always an energy at these larger, more prestigious festivals.” It’s not all sunshine, though, as they also point out the added pressure of playing a major festival: “They rip people off on ticket prices, so people expect it to be good. You have to make sure you deliver.”
For Ellur, the anticipation of performing is mixed with a deep love for the festival. “I think because gigs like this mean so much to me, I’ve spent a long time planning the performance. How it’ll look and sound and feel,” she shares. “This has been on my mind since long before I got the offer to play. My mum and I made my outfit the other day, and the band and I have been rehearsing ‘like it’s the real thing’ for weeks. My favourite bit is getting to witness the outcome of all that planning and connect with a crowd in the moment.”
It’s a place where friendships are forged in the crucible of chaos, where the stories you’ll be boring your grandchildren with 50 years from now are written in real time. The friendly rivalry between Reading and Leeds adds an extra frisson of excitement to proceedings, a north-south divide that’s less about cultural differences and more about who can claim bragging rights for the wildest crowd or the biggest circle pit.
Yet, for all this talk of evolution and innovation, some aspects of Reading & Leeds remain the same. The persistent issue of gender imbalance in the lineup is the elephant in the field that refuses to be ignored. Despite the repeated assertions that the festivals book acts based on their ticket-selling potential rather than their chromosomal makeup, the continued underrepresentation of women, particularly in headlining slots, is a glaring oversight that feels increasingly anachronistic in 2024, where virtually all the biggest success stories are female.
Yes, Lana Del Rey is on the bill, her presence a welcome splash of oestrogen in a sea of testosterone. But she remains one of the precious few women to have graced the top of the main stage in recent years, a fact that’s less a reflection of talent disparity and more a damning indictment of the music industry’s ongoing issues with gender representation. This imbalance isn’t just a numbers game – it’s a microcosm of a broader problem within the industry, one that these festivals, as cultural touchstones, have both the power and the responsibility to address more proactively.
That said, the 2024 lineup does showcase a wealth of female talent across its stages. Fresh off her chart-topping success, RAYE brings her soulful pop to the main stage, while Renée Rapp’s star continues to rise. Jorja Smith’s silky vocals and genre-blending sound will surely be a highlight, and Beabadoobee has everything required to create her own Reading & Leeds moment.
While there’s still work to do, Ellur is pleased to see representation where it’s most prominent: “I’m loving seeing the rise of the solo female artist. Lana Del Rey, Reneé Rapp, RAYE, Beabadoobee, Ashnikko, Nia Archives. I feel like it’s really happening for women in music at the moment. It’s so inspiring.”
She’s particularly excited about some of the rising female acts. “RAYE is one of the most exciting artists I’ve discovered in a long time. She’s like a modern-day Marilyn Monroe with the voice of a goddess,” she gushes of a star who stands as proof that Reading & Leeds can be a crowning glory as well as a step on the ladder. “Also Rachel Chinouriri! I’m such a massive fan of Rachel. What a star.”
Despite criticisms, Reading & Leeds remain vital cultural institutions. They’re about the experience, the memories made, and the sense of belonging that comes from being part of something bigger than yourself. They’re a right of passage about the heart-stopping thrill of seeing your favourite band live for the first time, the joy of discovering a new artist who speaks to you in a language you didn’t even know existed, and the camaraderie that comes from sharing these moments with thousands of others escaping the real world for one late summer weekend.
In a digital age – something the festival embraces – there’s also something profoundly, almost defiantly analogue about Reading & Leeds. The Reading experience is a stubbornly physical, visceral experience. Sure, people are Instagramming and TikToking every moment, but the crowd has a shared sense of purpose that transcends the digital realm. It’s a place where, for one weekend, the usual rules of engagement are suspended. You can lose yourself in the music, the mud, and the mayhem and emerge on the other side changed.
Of course, the sense of freedom – often from teenagers on their first big weekend away – means Reading & Leeds have a reputation for a particular strand of anarchy. The chaos that makes Reading & Leeds so thrilling can also be a shock for first-time attendees who might find themselves wondering if they’ve accidentally stumbled into a re-enactment of Lord of the Flies. The notorious Sunday night, when the festival’s energy reaches a fever pitch, and things can get a bit out of hand, is as much a part of the Reading & Leeds mythology as any headline performance.
Those navigating a festival camping weekend for the first time have their own challenges ahead. Wilson offers some hard-earned wisdom: “Fail to prepare. Prepare to fail. Always pack your own tent, or you’ll end up with no poles. Drink lots of water and bring baby wipes.” Shield, gearing up for her first Reading & Leeds experience, advises: “It can be hard, especially cause you’ll likely not have much phone signal to stay in touch with your friends. My advice is to just enjoy yourself, make a meeting spot with your friends in case anyone gets lost, mosh lots, drink lots and stay hydrated.” Ellur, with her years in Leeds’ trenches, has some practical tips: “If you bring Super Noodles, make sure you bring a pan to cook them in. Also, sleeping in your car will not bring you more comfort than sleeping in a tent.”
Murphy-O’Neill has the most practical tip, though: “Reading Festival has a booth that sells stacks of American pancakes. They are the best hangover cure of all time.” Though it may be festival-saving advice, turning a potential morning-after disaster into a syrup-soaked salvation, the fact Sean then tries to tell us it’s by a stage that was last at the festival in 2016 suggests maybe the hangover was still to really hit.
As Reading & Leeds barrel towards their 2024 incarnation, their enduring appeal lies in their ability to take all the strands of the musical world and draw them together in one giant bowl of pop punch. From the big mainstage narratives to the constant search for what new band is going to ‘do an Arctic Monkeys’ and block out the Festival Republic tent mid-afternoon, Reading & Leeds are places where the state of the nation isn’t just reflected but occasionally written.
For bands like Kid Kapichi, Reading & Leeds continues to be a pivotal moment in their career trajectory. “Now we’re high up on the Festival Republic stage and itching to play,” Wilson says. For Dead Pony, the festival represents both a performance opportunity and a chance to reconnect with friends. “I’m looking forward to being reunited with our pals in Kid Kapichi,” Shield shares. “Luckily, we’re playing the same stage and days as them, so we’ll get to hang out a bunch.”
Big Special are particularly excited about catching some acts they’ve been chasing all summer. “Excited to see Overmono, been meaning to catch them for a while, and their album has a Doberman on as well, so must be decent,” they share. They’re also determined not to miss Lambrini Girls (“We’ve played the same festival about 1000 times this summer. Ain’t missing them again.”)
From the pure euphoria party-starting of Confidence Man to the immaculate vibes of The Japanese House, there are artists that stand out from the crowd to be found around every corner. But what truly sets Reading & Leeds apart is its ability to be all things to all people. For the seasoned festival-goer, it’s a chance to relive past glories and discover new favourites. For the first-timer, it’s a baptism of fire into the world of live music at its most intense and exhilarating. For the bands, it’s a rite of passage, a measuring stick of success, and a platform to reach new heights. Be it the raucous pits of the main stage to the new discoveries, Reading & Leeds continue to offer an unparalleled glimpse into the heart of the culture – chaotic, slightly bonkers, and forever evolving.
READING & LEEDS’ BIG MOMENTS AND MUST SEE SETS
Fred Again..
Fred Again..’s ascent to Reading & Leeds headliner status has been swift, but hardly unexpected. His knack for turning intimate moments into communal anthems has struck a chord with a generation raised on social media’s strange mix of hyper-connectivity and isolation. With a new album on the horizon, Fred’s set promises to be a curious blend of the personal and the universal, and a sign of just how much Reading has evolved over recent years.
Lana Del Rey
Lana Del Rey’s brand of noir-pop feels almost comically out of place in the mud and chaos of a British festival, which is precisely what makes her appearances at them so intriguing. Her latest album, ‘Did You Know That There’s a Tunnel Under Ocean Blvd’, further refines her talent for weaving Americana, personal mythology, and cultural critique into a sound that’s uniquely her own. Del Rey’s set is likely to feel like a surreal interlude in the festival’s usual pandemonium – a moment of hazy, dreamlike calm before the storm. Providing she turns up on time, anyway.
Spiritbox
Spiritbox’s high billing on the main stage speaks volumes about their current position in the hierarchy of rock music. Their blend of punishing riffs and ethereal melodies has carved out a unique space in the metal landscape, proving that heaviness and nuance aren’t mutually exclusive. Courtney LaPlante’s vocal gymnastics – equally at home with guttural screams and soaring cleans – provide a focal point for the band’s technical prowess. Their set may well serve as a litmus test for the future direction of heavy music at Reading & Leeds.
RAYE
RAYE’s presence on the main stage feels like the final act in a redemption story that’s been years in the making. Fresh from her BRIT Awards triumphs, she arrives at Reading & Leeds not just as a chart-topper, but as an artist who fought the system and won. RAYE’s set is likely to feel celebratory, a hard-earned victory lap from an artist who refused to be pigeonholed.
Fontaines D.C.
The timing of Fontaines D.C.’s Reading & Leeds appearance, coinciding with the release of their new album ‘Romance’, feels almost too perfect. The Dublin quintet’s brand of literate, intense post-punk has been steadily gathering momentum with each release, each album expanding their sonic palette while maintaining the urgent poetry at their core – but ‘Romance’ is an explosion on their horizons. Drawing from outside the expected, yet making it unmistakable theirs, they’re a band starting to look and sound like the future. Their set will serve as both a showcase for the new record and a test of their readiness for a potential future headline slot.
Bleachers
Jack Antonoff’s Bleachers project has always felt like a love letter to the grand, sweeping pop-rock of yesteryear, filtered through the lens of modern production sensibilities. Their self-titled fourth album continues this tradition, offering up anthems that seem purpose-built for festival sing-alongs. Antonoff’s reputation as a hit-maker for others often overshadows his own output, but Bleachers’ Reading & Leeds set may serve as a reminder of his capabilities as a frontman in his own right.
Photo credit: Patrick Gunning
The Last Dinner Party
The Last Dinner Party arrive at Reading & Leeds with the weight of considerable hype no longer on their shoulders. Such is the bombastic nature of their debut album, it’s less a case of if they can live up to the billing, and more when it will kick up to the next gear. Their set will likely serve as a litmus test – not on if they’ll be the next big thing, but just how gigantic that beast will be.
Courting
Courting’s graduation to the main stage is a big statement for Liverpool quartet. Their brand of witty, genre-hopping indie rock has been turning heads, and their album ‘New Last Name’ showcases a band unafraid to toy with expectations. Their Reading & Leeds sets give them a platform to bring their brand of controlled chaos to its biggest platform yet. Don’t expect them to go quietly.
Barry Can’t Swim
Despite the name, Barry Can’t Swim is keeping his head well above water in the crowded pool of electronic music. His debut album ‘When Will We Land?’ is a vibrant blend of house, jazz, and Afrobeat influences, showcasing a producer with a keen ear for melody and groove. With Fred Again.. showing the headline sets are a possibility, Barry Can’t Swim is here to prove he’s one to watch.
Photo credit: Frances Beach
Crawlers
Liverpool’s Crawlers arrive at Reading & Leeds with a reputation for raw, emotionally charged performances. Their debut album ‘The Mess We Seem To Make’ is a collection of grunge-tinged anthems that tackle weighty themes with a deft touch. The band’s knack for turning introspection into communal catharsis makes them the perfect Reading & Leeds band. Expect them to prove it with every screamed back chorus.
Denzel Curry
Denzel Curry’s particular brand of hip-hop feels like a jolt of electricity in human form. His latest album, ‘King Of The Mischievous South Vol. 2’, further cements his reputation as one of the most versatile voices in rap. Curry’s live shows are known for their intensity, his rapid-fire delivery and boundless energy capable of igniting even the most lethargic festival crowd. His Reading & Leeds set is likely to be one of the weekend’s most kinetic performances.
Kenya Grace
Kenya Grace’s swift rise in the electronic music scene speaks to her talent for crafting tracks that work equally well in headphones and on the dancefloor. Her productions blend deep, infectious beats with ethereal vocals, creating a sound that’s both intimate and expansive. At Reading & Leeds, her set offers a chance to see if she can translate her studio wizardry into a compelling live show, potentially confirming her arrival as a major player in the UK dance scene.
Photo credit: Frances Beach
Renée Rapp
Renée Rapp’s transition from Broadway to pop has been smoother than most, her theatrical background lending her performances a dramatic flair that sets her apart from her peers. Her debut album ‘Snow Angel’ showcases a voice that can shift from vulnerable to venomous in a heartbeat, backed by production that nods to pop’s past while remaining resolutely current. At Reading & Leeds, Rapp’s set may well serve as a taster of her next big move, but also a statement at how far both she, and the festival she’s playing, have come.
Nia Archives
Nia Archives stands at the forefront of a new generation of artists breathing fresh life into jungle and drum & bass. Her debut album ‘Silence Is Loud’ demonstrates her ability to honour the genres’ roots while pushing them firmly into the future. After supporting Beyoncé and headlining her own tour, Nia’s Reading & Leeds set should be perfectly pitched for the Reading & Leeds of 2024.
Jorja Smith
Jorja Smith’s return to Reading & Leeds comes with the star most certainly hitting the second option from her most recent full length ‘falling or flying’. Smith’s voice remains her strongest asset, capable of conveying complex emotions with the slightest inflection. With a record that proves she’s a talent like few others, this should be a standout moment.
Confidence Man
Confidence Man’s particular brand of dance-pop feels like a neutron bomb of pure joy in the often crushingly serious world we live in. The Australian outfit’s upcoming album ‘3AM (LA LA LA)’ promises more of the infectious beats and playful lyrics that have made them festival favourites. Their Reading & Leeds set is likely to be one of the weekend’s most unabashedly fun performances, a chance for the crowd to leave their inhibitions on the campsite and just dance.
The Beaches
The Beaches arrive at Reading & Leeds trailing buzz generated by their latest album ‘Blame My Ex’. The Canadian quartet’s brand of razor-sharp rock and roll feels both classic and contemporary, with hooks sharp enough to snag even the most jaded festival-goer. With their rise not slowing down any time soon, Reading & Leeds feels like the perfect time for a statement performance.
Wunderhorse
Leading Wunderhorse, Jacob Slater has crafted a sound that feels both intimately familiar and startlingly fresh. With upcoming album ‘Midas’ building on the promise of their debut, it’s a collection of songs that showcase Slater’s gift for melody and his knack for lyrics that cut to the quick. Their Reading & Leeds appearance should be one of the must see sets of the weekend, if you know what’s good for you.
Beabadoobee
Beabadoobee’s journey from bedroom pop prodigy to bona fide star reaches a new milestone with her latest album ‘This Is How Tomorrow Moves’. Now headlining a stage at Reading & Leeds, Bea is no longer all potential, but a realised force with three full-lengths and more behind her.
Photo credit: Frances Beach
Ashnikko
Ashnikko returns to Reading & Leeds – a festival that by this point she can basically call a home fixture – with a reputation for provocative lyrics and boundary-pushing visuals. Her music defies easy categorisation, mostly because it’s everything exciting and never boring. Known for her theatrical live shows, Ashnikko’s set promises to be one of the weekend’s most visually striking performances. We already know Reading & Leeds will lap it up.
James Marriott
James Marriott’s transition from YouTube personality to serious musician reaches a new milestone with his second Reading & Leeds appearance in two years. His debut album ‘Are We There Yet?’ showcases a knack for introspective lyrics and earworm melodies that belie his relative newcomer status – proof that this isn’t just a sideline for a content creator looking for an extra platform.
Mannequin Pussy
Mannequin Pussy’s brand of cathartic punk feels well-suited to the Reading & Leeds experience. Their latest album ‘I Got Heaven’ is a study in tension and release, veering from tender vulnerability to full-throated rage in the space of a breath. Their set is likely to be one of the weekend’s most intense performances, a potential highlight for those seeking a more visceral experience.
Lambrini Girls
Brighton’s Lambrini Girls arrive at Reading & Leeds with a growing reputation and a refusal to keep quiet. With punk fury and wit, they’re a band that refuse to let the bastards get their way, which should give a shot of energy that Reading & Leeds can thrive on. Not one for the early hangover.
Photo credit: Derek Bremner
Big Special
Big Special’s debut album ‘Postindustrial Hometown Blues’ offers an unflinching examination of working-class life that has already struck a chord. The Black Country duo’s raw, honest approach to songwriting translates into the kind intense live performances that Reading & Leeds embraces. They’re already special, and they’re only getting bigger.
Viagra Boys
Viagra Boys’ sleazy, saxophone-punctuated punk rock feels tailor-made for the more debauched moments of the Reading & Leeds experience. Their latest album ‘Cave World’ sees them pushing their sound into even weirder territories. Led by the deadpan delivery of frontman Sebastian Murphy, their set promises to be one of the weekend’s most unpredictable performances, a potential cult highlight.
Militarie Gun
Militarie Gun arrive at Reading & Leeds armed with a sound that pushes hardcore into new territories. Their latest album ‘Life Under the Gun’ blends punk aggression with moments of surprising melody, showcasing a band unafraid to toy with genre conventions – something that should stand them in good stead to steal the show.
The Japanese House
As The Japanese House, Amber Bain has consistently pushed the boundaries of indie pop. Her latest album ‘In the End It Always Does’ continues her exploration of identity and relationships through a prism of shimmering synths and intricate production. A moment of beautiful respite amidst the weekend’s more boisterous performances.
Photo credit: Patrick Gunning
Rachel Chinouriri
Rachel Chinouriri arrives at Reading & Leeds on the back of her debut album ‘What A Devastating Turn of Events’. Her blend of indie influence and lyrically compelling songwriting has long marked her out as one to watch, but now that potential is starting to realise. 2024 should be the year that Rachel Chinouriri proves she’s ready to claim her throne. Reading & Leeds feels like a perfect place for a coronation.
Paris Paloma
Paris Paloma’s swift rise from TikTok sensation to Reading & Leeds performer speaks to the changing nature of music discovery. Her hit ‘Labour’ showcases her gift for combining folk-inspired melodies with sharp social commentary, and with a debut album to follow imminently, there’s far more to her than a trending sound.
METTE
METTE’s brand of sleek, danceable pop arrives at Reading & Leeds fresh from opening for Taylor Swift. Known for her polished choreography and powerful vocals, she’s marking herself out as a pop star in the making.
FLO
FLO have been one of the most talked-about new acts in British pop over the last couple of years. Their blend of 90s-inspired harmonies and contemporary production has earned them comparisons to some of R&B’s greatest girl groups, but as we start to get twitchy with the wait for that debut album, Reading & Leeds should be a chance for them to reaffirm their Next Most Likely status.
Swim School
Scottish indie rockers Swim School bring their brand of dreamy, grunge-tinged rock to Reading & Leeds. Combining hazy guitars with earworm melodies, their set offers a chance to stand out in a crowded field. We already know Swim School have everything they need to be your new favourite band. Now they’re going to prove it.
Photo credit: Patrick Gunning
Alfie Templeman
No-longer-a-boy wonder Alfie Templeman’s genre-hopping indie-pop circus arrives at Reading & Leeds following the release of his second album ‘Radiosoul’. The record sees him pushing his sound into more adventurous territories, blending elements of psychedelia, funk, and classic rock, solidifying his status as one of our most intriguing young talents.
Good Neighbours
Good Neighbours arrive at Reading & Leeds with a growing reputation – their first early moves as a band spreading like wildfire. Their music blends classic indie sensibilities with a modern edge – now it’s time to see if they can live up to the hype. No pressure.
Soft Launch
Soft Launch arrives at Reading & Leeds trailing considerable buzz as one of the most exciting new bands on the block. With a rabid fanbase growing, and a capsule collection of material out there that proves there’s enough spark to start a fire here, this could be the marker set before a very big 2025.
Ellur
Ellur hits Reading & Leeds fresh off a UK tour and the release of her latest single, ‘God Help Me Now’. Co-written with Benjamin Francis-Leftwich, the track blends raw emotion with anthemic indie energy, drawing from the likes of Sam Fender and Sharon Van Etten. With momentum in her corner, her set will be a marker for what could be a rapid rise on the horizon.
Photo Credit: Jake Evans
Aziya
Aziya arrives at Reading & Leeds with a growing reputation and some of the best singles of the last twelve months in her back pocket. Her music, which draws influence from classic rock while maintaining a contemporary edge, has been turning heads, but this is a chance to send them spinning. Just watch her go.
Welly
Welly are a band in the best way – a chaotic gang of pure joy and sardonic brilliance, they’re already providing the kind of whip smart observations and ramshackle brilliance that mark out a band who really get ‘it’. With a DIY ethos and boundless creativity, Welly could be anything – but they’ll never be boring.
Daydreamers
Daydreamers arrive at Reading & Leeds on a roll. With a dreamy blend of indie pop and shoegaze that’s been earning them plaudits from all corners, their ear for a hook should see them drawing attention like a bright light to a punch drunk moth. A potential Next Big Thing in waiting, Reading & Leeds feels like a festival they could be playing for years to come.
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