Featured image: Georgina Hurdsfield

Despite the dreary weather forecast, it seems the explosive noise of the night before has blown away the expected torrential rain, as the sun fights through the clouds to shine over Leeds Festival on Friday. With the opening of the ‘other’ stages, the first double headliner, and a very special birthday, punters are in for a treat as they fly through the gates like moths to a flame.

Westside Cowboy make their debut at Leeds Festival in the midst of celebrating the release of their new album, It Goes On. The critically acclaimed band pack the brand-new Ballroom Stage to the brim, bringing a seriously infectious energy as they bounce on stage, perhaps having even more fun than the adoring crowd in front of them. The band never stop moving, and neither does the music. Kicking the show off with ‘Kick Stones (The Boys)’ and ‘I’ve Never Met Anyone I Thought I Could Really Love (Until I Met You)’ they ricochet from song to song with no reprieve.

Gary, the 8ft tall fibreglass gorilla, looms over The Grid stage, signalling the arrival of Stockport’s own Blossoms. Sauntering onto the stage with the air of a young Morrissey, Tom Ogden and co. bring their own blend of indie-synth into the fray, perfect for an afternoon of dancing and grooving. ‘The Keeper’ sees waves of punters perched on top of shoulders, while Ogden scours the crowd for the most fashionable individuals during ‘I Like Your Look’. From ‘Gary’ to ‘Charlemagne’, the crowd never seems to take a break from the boogie, while somehow still managing to sing every word.

There’s no time to catch your breath before we’re back dancing as breakout country star Role Model takes the reins and the crowd dons their cowboy hats and boots. A roaring scream erupts from The Grid from the second Tucker Pillsbury sets foot on the stage. It soon comes time to whip out your best line-dance and two-step as the first big singalong arrives in the form of ‘Writing’s On The Wall’. A mixture of people, phones and even a laptop – to quote Pillsbury, “Is that a fucking laptop? What is that?” as he trips over his own lyrics – all rise above the rippling waves of the crowd. The iconic ‘Sally, When The Wine Runs Out’ has the entire crowd doing their best country jig as even more festivalgoers run into the crowd to join the fun.

The Grid is packed to the rafters once more for the ethereal return of Florence + The Machine. It’s a special set not just for Florence Welch’s return to Leeds after 14 years, but also because today marked Welch’s 40th birthday. The crowd are united in love and joy under a glorious sunset throughout the entire show, with an early performance of ‘Shake It Out’, followed by portions of the crowd singing “Happy Birthday” showed that Leeds has always got the love for Welch.

Between danceable classics like ‘Spectrum (Say My Name)’ and the more recent releases such as ‘One of the Greats’ this show felt like it was half festival set, half religious experience, with Welch’s backing dancers performing a ritualistic routine throughout. 

The much-awaited ‘Dog Days Are Over’ is made all the more special by Welch pleading for the audience to put away the phones and live in the moment as the crescendo approaches. The vast majority oblige, united in dancing like nobody is watching. Welch appears genuinely moved to tears by the amount of people who’ve chosen to spend her birthday with her, and it is a celebration like no other.

Away from the chaos of The Grid and The Gallery stages, Paris Paloma takes centre stage in the Ballroom, eager to make a statement. “If you use generative AI, you’re effectively wiping your name from your own gravestone,” says Paloma as she introduces ‘Miyazaki’, a passionate and protective ode to all human creatives whose work is threatened by the rise of GenAI. Named for the legendary Studio Ghibli co-founder Hayao Miyazaki, the song features lyrics such as, “I’m not a violent person, but I make things with aggression,” highlighting the emotional importance of making real art in an increasingly disposable digital world.

‘Good Boy’ and ‘Good Girl’ both take aim at dismantling the patriarchy that harms us all, targeting the men who perpetuate patriarchal values and taking down the destructive beauty standards, respectively. 

Paloma treats the crowd to a dramatic rendition of the Hall and Oates classic ‘Maneater’ before bringing her set to an end with the rightfully loud and angry smash-hit ‘labour’ which skyrocketed her to notoriety on TikTok in 2023. A battle-cry against the systemic issues women still face in the modern world on a daily basis, it provides a powerful and emphatic end to Friday night in Bramham Park.