Liam Gallagher:

Liam. Gallagher. What more needs to be said, really? The former Oasis bad-boy has not changed a bit, despite the intervening decades. Though he might not belt around the stage like some of his younger protégés, his presence is still as commanding on the stage as it ever was. And while you might assume that the younger crowds who flock to his shows today are only there to relive their parents’ glory days (and boy, do they give the indie kids of the 90s a run for their money!), in fact, you would be dead wrong. For Liam’s newer material garners just as much appreciation from his fanbase as the classic chart-toppers – this crowd will lap up whatever he gives them, and enjoy every single second of it.

Though I’m sure he has already said this himself, I will say it again for emphasis: this man is probably as close as you’re going to get to a musical god.

Biffy Clyro:

Biffy Clyro are one of those bands who are unfathomably huge. Strings of hit singles, albums that still soar their way up the charts, and sold out shows in some of the country’s largest venues. Yet, watching them perform always feels like a much more personal experience, despite being just one in a crowd of thousands. Whether it’s the sheer heart behind song like ‘Many of Horror’, or the gargantuan delicacy of tracks like ‘Bubbles’, they are something of a contradiction in every way. And we love them for it.

Yet, what is not in binary opposition is the reaction from crowds when they perform. Uplifting sing-alongs from the crowd that send shivers down your spine, forests of waving hands and phone lights – it is the same every time. Biffy’s sets are incredibly unifying in their nature, and what better way to cap off an evening of singing and dancing with your friends after so long apart? Magic.

YUNGBLUD:

It’s not often a disembodied mouth is a better hype man than any human being could be – but, such is the magic of Yungblud. Erupting into a chaotically enchanting maelstrom, there was not a second throughout his set where he stood still! Throughout each and every song, he bounded about the stage, harnessing all the energy of the Duracell bunny who had downed ten cans of Red Bull! The songs too were uncompromising, as each lyric was spat at the crowd with unparalleled ferocity that is carved from pure punk rock fire power!

As he commanded the stage beneath him, Yungblud also never faltered in his unwavering insistence on compliance, and his young audience were more than happy to comply with his every demand- you can’t get much closer to a finite definition of stage presence. There was never a moment when there wasn’t noise- call-and-response, shouts from the crowd, or thundering guitars crashing like tidal waves from the speakers, it was a delightful assault on the senses from start to finish! If you can get an entire crowd jumping without the music even playing, that’s when you know you’ve cracked it!

Wolf Alice:

Wolf Alice often fly under the radar of lovers of the alternative rock pantheon of greats, but see them live and you will soon realise what a terrible oversight that is! Undoubtedly, the most captivating part of their performance is the insane vocal talents of guitarist and vocalist Ellie Roswell, who can flit between fiery and intense lead lines, to dainty and beautifully ethereal at a moment’s notice. The energy rolls off her in waves, swirling around the rest of the band and seemingly pulling them physically towards each other, such is the incredibly tight nature of their performance.

What seems to have captured the hearts of especially the young women in the crowd, however, is the raw, unsullied nature of the band’s lyrics, in particular on tracks such as ‘Lipstick On the Glass’. Here is a band who do not need to hide behind bravado or their dress sense – they are being candid with each and every one of their listeners, speaking directly to them with each word. Make no mistake, however, Wolf Alice are still every inch the rock band, with enough tearing guitar parts and thunderous drums to get your Friday night alive and kicking! Who doesn’t love some darkly seductive rock and roll, eh?

Blossoms:

A band whose origin story is arguably as famous as their music these days, Blossoms have built a striking image for themselves, both stylistically and musically, and it has evidently garnered them a hugely loyal fanbase, both within their hometown of Stockport, and outside of it. Never ones to shy away from doing something daring, the band’s iconic 1970s get-up was in full swing today, as frontman Tom Ogden walked on sporting a dashing pale pink suit, in addition to his well-documented long-haired do.

But while their fashions may be a few decades behind the times, their music most certainly is not. Blossoms have managed to harness typical indie tropes of big choruses and light-hearted snarkiness, even when life is pretty bleak (see ‘There’s A Reason Why (I Never Returned Your Calls)’ for a prime example!), but weave in amongst them new and exciting elements – synths, samples, and percussion galore! And, at a festival headlined by a man as infamous as Liam Gallagher, to open a track with the first verse of ‘Half The World Away’, penned by his brother, takes a lot of guts! That, and pausing on a pinhead mid-song, only to come crashing back in, perfectly in time, a second later, takes an incredible amount of talent. Hats off to you, fellas!

Tom Grennan:

With funk and fun infused into every line, few take the Main Stage East by storm like Tom Grennan. Despite the spitting rain, Grennan and his backing band brought all the sunshine and vitality of a seaside club night to the dreary Yorkshire countryside! The big radio singles came one after the other, encouraging huge crowd sing-alongs and mosh pits popping up seemingly from nowhere at all!

While Grennan held the focus of the crowd without effort (even more so when he removed his top in the throes of his closing song!), the musicians supporting him could also have been no more deserving of praise. The pulsating, undulating keys fluttered and floated through the insanely catchy melody lines, infusing them with another layer of groove. Both backing vocalist also harmonised with the lead line to perfection, Grennan hailing them for their own adulation from the crowd – and deservedly so! Sample pads prodding their way through the mix, jazzy guitar lines, and reverberating basslines – this really was a team effort, which was only crowned by Grennan’s unmistakable voice, which allows small moments of his accent to creep through in his inflections. It is safe to say, that by the end of half an hour of partying, nobody was feeling the rain on their faces anymore!

Neck Deep:

Pop punk prodigies Neck Deep are always guaranteed to bring their impish sense of humour and seemingly endless energy to any and all stages which they grace, however, the combination of the Wrexham quintet and Leeds Festival is a match made in heaven! Vocalist Ben Barlow commanded the crowd as though they were his own personal army, stirring up mosh pits and fields of swaying fists seemingly without effort. It must be said that their older songs captivated the crowd with more ferocity than their newer material, but in many ways, their set was better for it. Heartfelt love songs like ‘When You Know’ sat side-by-side with anarchic, youthful ragers, such as the band’s hallmark track ‘Gold Steps’ and one slid into the other incredibly seamlessly.

The accolade of ‘set highlight’, however, has to go to closer ‘In Bloom’. With its soaring chorus which was just built for gang vocals to sing their hearts out along to, and its powerful message of hope’s triumph over adversity, it rang out, even more resonant now than ever before. Pop punk is often branded as a genre with something of an upper age limit, but when it comes to bands like this, whose appeal never wavers no matter what your age, it is simply a joy to dive headfirst into being a teenager again!

The Hunna:

Firing up on the Main Stage East, pop-infused rockers The Hunna brought gut-punching energy from the get-go! Highlighting vocalist Ryan Potter’s lilting idiosyncratic vocals, the pummelling drums pounded your ears, driving the whole set forward with irrepressible force. The atmosphere of pure, unadulterated joy never wavered from the opening notes, in particular captured by ‘Dark Times’ – a perfect ode to all that the music industry, and the world as a whole has been through the past couple of years, while also doubling as exactly the rousing rise from the ashes that we all needed!

Across the set, there were many lots big, chunky guitar riffs and shredding basslines thrown into the mix – though, it was also not without it’s radio-crafted charms either. The drop into ‘Can’t Break What’s Broken’ fell like an incendiary match, firing up the packed crowd into a sea of waving hands and bouncing bodies. Potter kept the audience’s eye firmly fixed on him throughout, bounding about the stage with all the energy of an excitable puppy, resulting in a spectacular jump up onto (less than impressed!) guitarist Daniel Dorney’s shoulders shoulders! This was a masterclass in producing radio-ready rock which is built for just such huge stages as this.