(Credits: Far Out / Tom White)

My first memory of going to the Brudenell Social Club is clear in my mind. It was 2019, and I’d recently moved to Leeds from a town in the middle of nowhere for university. I was excited to find live music on my doorstep for the very first time, having previously had no choice but to travel for almost two hours to get to the closest gig venue as a teenager.

One of the first shows I attended as a new resident of Leeds was Working Men’s Club at the Brudenell Social Club. The band only had a few singles to their name, but the room was packed with budding listeners, and I was blown away by the atmosphere that permeated through the room. It was as though I was finally part of something. When I discovered that Sonic Youth’s Thurston Moore was playing in the other room across the bar – that same night – I was shocked and impressed in equal measure. This was a venue equally equipped for rock royalty as it was new, young talent, simultaneously championing both. Since then, artists of varying genres and sizes have graced the stages of the Brudenell, from Tom Jones to local legends Yard Act, who played a five-date residency there in 2023.

The venue’s adjacent events organisation, Brudenell Presents, has been responsible for booking some of the most celebrated artists to play on Brude’s stages while also giving plenty of opportunities to local up-and-coming bands. As part of Independent Venue Week, Brudenell Presents curated a two-day festival called ‘Back To Back’, which took place in early February and showcased some of the best local bands in the city.

The festival saw a large turnout, and a real sense of community emanated throughout the building. Sammy Robinson, an organiser for Brudenell Presents (also a member of Leeds band Treeboy and Arc), revealed that the organisation wanted to do something a little different for IVW since “a lot of focus gets put on bigger acts touring in smaller venues” rather than promoting new talent. Thus, “we discussed the idea of our usual or more regular audience being introduced to some of the amazing local bands that Leeds has to offer” since “it’s incredibly important to support your local community” because “that’s who helps independent venues survive, and local artists are a massive part of those communities”.

‘Back to Back’ emerged from the organisation’s belief that live music should be “accessible to all”, with Robinson adding: “It’s important for everyone to be able to consume culture, regardless of their background.” As a result, the tickets for the event were incredibly affordable – £2 a day or £3 for a weekend ticket. This is nothing new for the venue. Robinson explained that Brudenell often hosts “’mini-gigs’ for parents to bring their children to” and offers “free entry shows regularly for those on lower incomes”. 

The names on the line-up ranged from more established Leeds acts like Green Gardens to relative newcomers such as Kiosk, who only played their debut show together in 2023. Robinson admitted that picking out just 12 bands was difficult, although “we saw a few faces appear in multiple bands over the weekend, showing that the Leeds scene embraces collaboration and supports each other’s projects, art and expression.”

Kiosk, who describe themselves as being influenced by bands like Jockstrap and Pom Poko, told me that the venue “means a lot to us,” adding, “It’s so diverse in every sense, and so welcoming to smaller artists despite its slightly frightening reputation as one of the top independent venues.” The band’s energetic set went down incredibly well, regardless of the fact they were one of the earliest acts of the night. They found their slot “absolutely brilliant”, stating that although they’ve played the venue twice before, “this was Kiosk’s deflowering”.

The band also highlighted the “great leg up” that festivals like ‘Back to Back’ give to smaller acts, adding that they are “especially good for queer/gender minority artists like us to get into a still very male-dominated space”.

This is a sentiment echoed by Shaene, the singer-songwriter behind her band of the same name. Joined by members of other Leeds acts, such as Fuzz Lightyear and Mage Tears, Shaene describes her music as sitting “somewhere between emo and shoegaze”. Discussing her experience of playing the festival, Shaene explained that “this weekend was particularly important for me” because “being able to play on such a diverse lineup with such a large proportion of female-fronted bands was really great.”

Shaene also emphasised the importance of festivals and venues championing artists like herself. She performed a beautiful song called ‘snot’ during her set, which explores the musician coming to terms with her gender identity as a trans woman. Subsequently, many people approached her to “say that they had really connected to the lyrics and been affected by my music, which really meant a lot to me.”

A few hours later, Pleasure Centre took to the stage. The group have been active in the Leeds live music scene since 2020, unleashing sounds inspired by “shoegaze” and “alt guitar music” to an eager crowd. The band were pleased to get a positive response from the audience despite only playing new material, believing that festivals like Back To Back and venues like Brudenell “give a chance to bands coming up to get somewhere,” simultaneously “strengthening the scene”.

Pleasure Centre even used the word “wholesome” to describe the event, which couldn’t feel more accurate. Many recognisable faces from Leeds bands passed through the doorways of the Brudenell over the weekend, and the smoking area was filled with friends and acquaintances. Brudenell truly welcomes everyone to enjoy live music, honing a sense of community that never feels like a mere clique.

The next day saw artists like Big Warm Bed and Zoe Cure perform, attracting many of the same faces from the night before. The festival was closed by Green Gardens, whose emotionally charged indie tunes were received with overwhelming applause. They cycled through tracks from their debut album, This Is Not Your Fault, as well as new material, teasing some exciting future releases. On stage, they praised Neve Cariad, joking that they were sorry they were last on the bill instead of her.

An hour before their set, Neve had taken to the stage armed with an acoustic guitar and several backing band members, delivering an astounding performance. As she sang, I felt as though I’d stepped into a time machine, witnessing a visionary folk artist from the ‘60s or ‘70s performing right in front of my eyes.

Neve, who hopes her “ever-changing” sound “always remains honest”, was slightly nervous about playing at the Brudenell for the first time, although those feelings soon eased, especially when she “sensed people quieten for my quieter songs, which felt very respectful”. She believes that when such an established venue as Brudenell champions local talent, “performing appears more accessible and much less unachievable,” subsequently helping artists in “sourcing connections and feeling acknowledged”.

Every artist I asked had an overwhelming appreciation for the chance they were given to play at the Brudenell, citing it as a favourite venue, a place where they’ve seen some of their most beloved bands, met new friends and played their first gigs. It is rare that such an esteemed venue will go from hosting music icons one night to a cheaply-price showcase of the best local acts the next day and bring in an equally enthusiastic audience. But that is the beauty of the Brudenell Social Club, a place that encourages collaboration, community, art and enjoyment for all.