Review by Pete Finn for MPM
The two old Muppets Waldorf and Stadler are on a road trip. So, with packed lunches consisting of sandwiches, Jelly Babies, Yorkshire ales and Diet Coke, MPM Tog Manny and myself are off up to Yorkshire and The Steel City, Sheffield.
The home of several great music events and venues. Rockin’ The Bowl at The Don Valley Bowl, The Corporation, O2 Academy and the home of snooker The Crucible Theatre.
Also added to that list is tonight’s venue The Leadmill. After experiencing all of the others, The Leadmill is a first for both of us.
Situated less than a 10-minute walk from the train station on the south east side of the city is The Leadmill. It is the longest running live music venue and nightclub in Sheffield, and, despite its name, was a former flour mill.
It first opened in 1980 in the building that previously housed The Esquire, a club during the sixties that saw gigs from Jimi Hendrix and Small Faces. The Esquire was housed in one of the upper floors of The Leadmill building, it is now occupied by the venue’s box office.
The red neon ‘The Leadmill’ sign hanging down the side of the building reminds me of The Moulin Rouge in Paris, another venue famed for its entertainment.
We arrive in good time but there’s already a large queue waiting patiently outside for the 19:00 Doors. Right on time the queue starts moving efficiently and we’re ticked off ‘The List’ without any problems and venture inside. It’s a good size with a 900-capacity for tonight.
The main hall is wide and not too deep, so good viewing all round, there is a labyrinth of rooms off it housing various bars and the merch. I like it.
Tonight, there are three acts on the bill, headlining is Sweden’s In Flames, with support from Vexed and Defects, apparently although rescheduled, it’s a Sold-Out tour across all of the venues. With a 22:30 curfew, as the kids are in after us, it’s going to be a quick one.
First on are Defects, who are a collaboration of experienced young musicians, featuring past and current members of The Raven Age, Shvpes, She Must Burn and Wild Lies. As to date they’ve released a couple of singles, the most recent being this year with ‘End Of Days’. Defects are Tony Maue (vocals), Luke Genders (guitar), James Threadwell (guitar), David Silver (bass) and Harry Jennings (drums).
The house lights are out, and on walk Defects to a good cheer, this is acknowledged with fist pumps and waves. There’s massive bass wash and Jennings fires a shattering drum beat, Maue dispatches a huge growl and we’re into ‘Scapegoat’, the guitars of Threadwell and Genders smash the chords into your face.
This is heavy. It’s got The Leadmill’s attention straight from the off. The crowd are already nodding and jumping. Maue holds his clenched fist in the air, the crowd copy.
No pausing for breath and it’s straight into the new single ‘End Of Days’, Maue is bouncing around the stage, James Threadwell is joining in on vocal duties.
The rhythm section of Silver and Jennings is relentless and brutal as they pound out the beat. This is a high energy band; the Sheffield crowd are impressed.
Maue commanding the stage, “You’re looking good Sheffield, this is great after 2-years of shit. This next one was written during Lockdown. Raise your middle finger to Lockdown.
The crowd comply, and Lockdown is told to ‘Do one’, it leads us into the next track ‘Lockdown’. Genders is leaning back as he powers through the riffs, a double-edged attack with Threadwell aside him.
The track has the feel of Linkin Park, with a full sound and tempo variations. Maue tells us this is the band’s first tour, and calls for lighters and phone torches to be swayed above, The Leadmill becomes a starry galaxy.
Dream Awake’ is next, It’s slower, controlled and melodic. The band are demonstrating their musical range. Maue is off the stage and in the pit, singing from the crush barriers. Jennings is driving out a steady beat whilst Threadwell and Genders are duelling with him.
It’s ‘Modern Error’ next, “Get the fuck up!” cries Maue, The Leadmill bounces as one. They’re loving this. A very fast vocal with the support of a rapid drum beat.
The pace slows occasionally and becomes more melodic before returning to the ‘foot to the floor’ beat. Threadwell adds vocals to complete the sound, the track momentarily pauses, and we’re encouraged to raise our fists, before a high-speed finish that stops right on the money.
A big thank you Sheffield. If you’ve got any energy left, lets get a pit going”, ‘Recurring’ is the final track we’re a few beats in and the mosh pit starts.
Jennings’ thumping and double tapping bass encourages the pit to go faster. Maue is back down on the barriers, leaning back with the mic clenched in both hands as he belts out the lyrics.
Thank you, Sheffield, it’s been a pleasure” says Maue as the track concludes, guitars are pointing at the ceiling as they hit the final notes. The crowd give a huge cheer and applaud as the band have their photo taken in front of them.
Tonight, Defects have done the job admirably, the audience have been warmed up, maybe even roasted. They have a great stage presence and would comfortably suit a bigger environment. They have created a lot of new fans, good luck in the future.
Setlist: Scapegoat; End Of Days; Lockdown; Dream Awake; Modern Error; Recurring
With a very impressive 15-minute changeover from the two crews, Vexed are up next. Formed in Hertfordshire around 2019, although they were in a previous band together.
Their debut album ‘Culling Culture’ was released last year, previous to that they have released a couple of singles too. This four piece is made up of Megan Targett (vocals), Willem Mason-Geraghty (drums), Jay Bacon (guitar) and Al Harper (bass).
The lights go out in the hall to be replaced with blue stage lighting. The band walk out and are warmly received by the waiting audience.
Megan Targett follows a few seconds later as the band starts playing the instrumental ‘Ignorant’ the opening track from ‘Culling Culture’, it’s only a minute or so long but it sets the tone for the set instantly. Melodic and powerful.
A huge roar from Targett and it’s straight into ‘Hideous’, Targett is headbanging then prowling around the stage like a caged tiger. Al Harper pounds his bass and encourages the crowd to start jumping. You can feel Mason-Geraghty’s drums through your spine, Bacon’s riff short and cyclic. Targett easily switches singing styles. This is menacing.
‘Narcissist’ is next, fiercely fast, short lyrics, Bacon’s guitar cuts through the wall of sound, a steady riff with intricate breaks.
Harper on the bass is covering the stage working well with the crushing drum beats. Targett wants us to “Raise the middle finger to all the narcissists out there”, single digits are raised in tandem with cheers from the crowd.
Are you still there Sheffield?” asks Megan, the deafening cheer confirms that we are. The galloping beats of ‘Misery’ are next Jay Bacon is controlling the tempo, his fingers flying around the guitar neck, this has a more even pace. Rich riffs, carried by Mason-Geraghty’s measured beats. This track has a different sound.
‘Elite’ is next, the single was released in 2019, and featured CJ McMahon from Thy Art Is Murder.
This was also the first song the band wrote together, a song that changed their lives. This track has an angry feel.
The lyrics abrupt, there is an instrumental in the middle, the band showcase their musical talents and the Sheffield crowd show their appreciation of their abilities with a huge cheer. Targett tells us that we should be who we are, and that ‘Epiphany’ is about that.
Dare I say a gentler start, heads amongst the crowd are nodding along, Targett changes her voice effortlessly between fierce and calm generating atmosphere. The drum beat is rapid, but balanced by Harper’s steady bass. Bacon powers out the riffs, his guitar down by his knees.
Targett asks the ladies in the house to make some noise, a great cheer is the response. It’s ‘Dominate’, the 2019 single. Targett is pointing at the crowd in time to the beats, the crowd are reciprocating with a mix of horns and fists.
I’m liking the undercurrent of different riffs lying below the beats. Targett thanks the crowd for “Checking us out”, I believe it’s Al Harper’s Birthday too, but missed a bit because the crowd were cheering so loud…The final track is ‘Fake’, again we’re treated to a fine combination of Targett’s growls and clean singing, it’s rap like, spoken, Bacon’s lead solo is controlled, there’s a mid-section that sees Targett duelling with Harper and Mason-Geraghty.
There’s a big riff finish. The crowd give a huge cheer and applause as the band leave the stage. The Leadmill have enjoyed seeing Vexed tonight, and looking at the smiles on the bands faces, they’ve enjoyed playing at The Leadmill too.
Setlist: Ignorant; Hideous; Narcissist; Misery; Elite; Epiphany; Dominate; Fake
Another, excellent 15-minute changeover by the crews get the stage ready for In Flames. The buzz of anticipation is electric.
In Flames was founded in 1990 by Jesper Strömblad as a side project from his then-current death metal band, Ceremonial Oath.
His purpose was to write songs with a more melodic musical direction, something which he was not allowed to do in Ceremonial Oath. In 1993, Strömblad decided to quit Ceremonial Oath due to these musical differences and began focusing more on In Flames.
That same year, Strömblad recruited Glenn Ljungström on guitar and Johan Larsson on bass guitar to form the first official In Flames line-up.
However, In Flames are one of a few bands who continue to record new material, and tour the world, with great success, without the band containing any of the original members, the thirteen studio albums and continuing success is testament not only to the abilities of the band members, but the fierce loyalty of their fans.
Seeing In Flames tonight is something I’m looking forward to a lot. The line-up consists of Anders Friden (vocals), Bjorn Gelotte (guitar), Bryce Paul (bass), Tanner Wayne (drums) and Chris Broderick (guitar).
A deafening cheer welcomes the band onto the stage, there’s smiles, fist pumps and applause from either side of the crush barriers, there is a lot of mutual respect between the band and fans.
Opening tonight is ‘Everything’s Gone’, from 2014 and the ‘Siren’s Charm’ album. The Leadmill has just had it’s roof blown off, huge drum beat from Wayne and a dirty riff from the guitars of Gelotte and Broderick.
The crowd are bouncing, the place is going crazy, Friden in his baseball cap is conducting the chaos with his vocal strength. Gelotte is balancing on the stage edge as his teases the crowd with his solo. Wow…what a way to start.
‘Call My Name’, taken off the most recent album 2019’s ‘I, The Mask’ is next, Paul and Wayne’s beats count us in.
There’s a steady riff enticing the lyrics out of Friden. Gelotte is almost kneeling as he pushes the soundwaves around the hall. Broderick is leaping around as he fires the track on.
There’s a sea of hair and hands in front of me as the crowd soak it all up. Friden thanks the crowd to a massive cheer, they’re eager for more.
It’s ‘Where The Dead Ships Dwell’ from ‘Sounds Of A Playground Fading’, released in 2011. The stage is awash with eerie green lighting, Gelotte has his foot on the monitor grinning at the crowd. Friden centre stage has everybody’s attention as he sings, Wayne keeps the track moving with purposeful beats, the guitars of Broderick and Gelotte are trading blows in the form of riffs and breaks. The crowd loved this, as did I, I was transfixed.
It’s back to 2002 and the album ‘Reroute To Remain’ which gives us ‘Cloud Connected’. The whole place is jumping, the crowd are singing the words. It’s slower, more of a dirty stoner sound. The piercing solo smashes through the barricade of noise.
Another huge cheer, the setlist is going down very well with those inside The Leadmill. ‘All For Me’ is taken from ‘Sounds Of A….” again a slower stoner style, considered lyrics from Friden, this is until Wayne smashes the kit and all hell breaks loose, it’s really heavy, Paul’s bass is shaking everything, the riffs continue in the same manner.
The crowd are head banging and punching the air. It’s a great atmosphere.
We get a chance to gather our senses, as Friden says “Are you good Sheffield? We’ve been waiting a long time for this, thank you for coming out. You are allowed to crowd surf if you want. We’re going to take you right back to the beginning of In Flames, this is Behind Space.
The Leadmill explodes. It’s taken from 1994’s ‘Lunar Strain’, fast riffs and lyrics, the first wave of crowd surfers are off to the front, there’s tempo changes as the beats slow, but not for long and the band produce a hard and heavy jam to finish.
Next, we have ‘Graveland’ taken from ‘The Jester Race’ released in 1996. It starts as Wayne hits a volley of drum-beats, Friden is crouched down, mic clenched in his hands. He leans forward and fist pumps a few of those fans against the crush barrier.
He makes a circular motion with his hands; the Sheffield crowd understand and comply and we have a circle pit. It’s crazy, it’s a great sight. ‘The Hive’ is next, from 1997 and ‘Whoracle’, Wayne is stood up behind his kit, calling for arms to be raised, power riffs and the pounding bass of Paul propel the track forward. It’s frenzied on the stage and it’s frenzied on the floor. Brutal. The Leadmill is having a party.
‘Colony’ is next, the title track from the 1999 album. Wayne is back on his feet, the stage glowing red, this has a hard rock intro, Friden is speaking the lyrics with passion as the aural bombardment continues. Gelotte wrings the notes out of the neck of his guitar.
A Wayne drum roll finishes the track. ‘Pinball Map’ from ‘Clayman’ has a punk vibe, fast lyrics, the arms are raised again, this time carrying a flotilla of crowd surfers around the room. Paul is leaning that far back as he pounds his bass, he’s nearly adopted ‘the crab’ position. Another pit starts as Wayne crashes the cymbals.
We visit 2008 and ‘A Sense Of Purpose’ for ‘Chosen Pessimist’, a slower introduction, jangly guitars, the clapping starts, Wayne is off his seat encouraging more. Paul’s bass becomes involved adding bite, Friden is using a mic stand for the first time, everything is calm. Dare I say it, ballad like.
The vocal gets heavier in time with the drums, there’s controlled bass wash, this is moody, this is clever. The drums slowly build the tension, and a huge crash of cymbals signal the release. Brilliant. Normal service resumes with ‘Monsters In The Ballroom’, from ‘Siren’s Charm’ hard hitting thrash, pulsating beats, another wave of surfers take to the Sheffield seas.
Friden addresses the crowd, “We need to play more fast shit…Would you prefer fast or slow? Fast it is, fast is more fun. This is Burn.
The Leadmill is in meltdown, the band line up across the stage as they fire the notes out. The pits start again, including one at the back of the hall, the crew are marshalling the barriers around the soundboard. The atmosphere In Flames have created is phenomenal.
The End’ from 2016’s ‘Battles’ is yet another track that the fans sing a long to, I feel like I’m the only one in here who doesn’t know all the words to the songs played tonight. It has a racing beat, and equally quick lyrics. There are tempo changes tied together by tight riffs. We get a few ‘Hey, Hey’s in at the end.
Apparently, we have a second Birthday on stage tonight as the crowd sing ‘Happy Birthday’ to Anders Friden. Smiling he replies and says he wants to bring everyone back to Sweden. ‘Mirror’s Truth’ is off ‘A Sense of Purpose’, short and punchy with double tapping drums from Wayne.
The guitars of Broderick and Gelotte are pushing through the beats. The penultimate track of the night is ‘I Am Above’, this takes us back to the new album ‘I The Mask’, Friden dedicates this one to the people in the pits, this is another hard hitter. Rapid fire drums from Wayne.
We have the mic pointed our way to sing the chorus, Sheffield takes over lead vocal duties. Broderick and Gelotte are on the monitors driving the raised horns side to side. The band stand together and lap up the applause.
Thank you all very much for being here, we’ll see you again and be nice to each other.” Says Friden humbly. It’s the final track of the night, ‘Take This Life’, the opening track from ‘Come Clarity’ released in 2006. It’s the final assault on the senses, ferocious drums and an incredible tempo bring the show to a close. The pits and surfers are having one last go before it’s over.
In Flames have been superb, we’ve been treated to a great journey through their back catalogue, admittedly some of the tracks I preferred more than others, but I’ve loved the experience and the atmosphere generated jointly between the band and fans, so thank you.
Setlist: Everything’s Gone; Call My Name; Where The Dead Ships Dwell; Cloud Connected; All For Me; Behind Space; Graveland; The Hive; Colony; Pinball Map; Chosen Pessimist; Monsters In The Ballroom; Burn; The End; Mirrors Truth; I Am Above; Take This Life
Tonight, everything in The Leadmill tonight was turned up to 11. The volume, the effort, enthusiasm and abilities from the bands, and the dedication, loyalty and atmosphere created by the fans.
Finally, a personal thank you both Defects and Vexed who happily provided Manny with the information I needed to help write this review, your hard work will be rewarded.
Photography by Manny Manson for MPM