In recent years, Leeds has firmly positioned itself as a vital city for discovering new music. Whether through the biannual Live At Leeds festivals, a dynamic grassroots scene, or local artists gaining significant recognition, it’s clear that this part of Yorkshire is leading the UK's national music scene. Thus, it's no surprise to see excitement around Temple Newsam Park this bank holiday weekend, as music lovers of all ages make their way to the outskirts of the city for Live At Leeds In The Park 2025. With a packed comedy lineup, the on-site pub The Two Legs featuring a silent disco, musical bingo (hosted by yours truly), karaoke with Barry from Eastenders, and five music stages, festival-goers are almost overwhelmed with choices for how to spend their time.
Opening the DIY Big Top are the bright newcomers Cliffords, whose arena-ready guitar anthems have already established them as one of this year’s most compelling live performances. Rather than being daunted by their rising fame, the Cork quartet seems to expand and fill the tent as their set progresses, with vocalist Iona Lynch delivering an impassioned performance akin to that of a much more experienced artist. At the Cockpit Stage, Nottingham band Do Nothing is making their mark: after their dark-hued 2023 debut album, they followed up with last year’s brighter single ‘Summer Of Hate’. Today, they mix older favorites with new unreleased tracks, giving the audience an enticing preview of their anticipated second album.
Although the London six-piece Sports Team is heavily touring in support of their new album ‘Boys These Days,’ they appear surprisingly energetic as they take the stage at Main Stage North. They power through songs like ‘Bang Bang Bang’ and ‘I’m in Love (Subaru)’, with frontman Alex Rice taking a moment to sit down on the stage’s edge to observe the lively crowd. The charged atmosphere during ‘Fishing’ even leads to an impressive human pyramid forming in the mosh pit—a notable display of energy for 2 pm.
And when it comes to raw energy, few acts on this lineup—headliners included—can match the cult South London band Fat Dog, who successfully turn the Big Top’s enthusiastic crowd into a whirlpool of flailing limbs at the drop of a (cowboy) hat. From rowdy teens to 6Music dads and daughters in ear defenders being carried on their parents' shoulders, no one seems immune to the electrifying presence of frontman Joe Love, who directs the mosh pit like a charismatic preacher leading his flock.
Over at Main Stage North, Natasha Bedingfield’s afternoon performance is full of surprises. Smoke flares going off in the audience? Yes. Sudden riffs on Billie Eilish’s ‘Birds Of A Feather’ and The Cranberries’ ‘Zombie’? Absolutely. A brief electric guitar solo during ‘Unwritten’? Sign us up. While her vocal runs might echo a bit of 2010s X Factor, Natasha manages to attract a multi-generational audience, as one enthusiastic teenage boy—presumably from the Fat Dog tent—joyfully reflects.
As the evening approaches, Sigrid is clearly in her element. A festival regular this year, she delivers a strong performance with the confidence of a seasoned professional, sharing hits like ‘Don’t Feel Like Crying’ and ‘Don’t Kill My Vibe’ before culminating in the crowd-pleaser ‘Strangers’—much to the delight of both the dedicated fans at the front and those enjoying tea on the nearby hill.
DIY enthusiasts will surely recognize the distinct appeal of Bristol duo Getdown Services, yet for any locals unfamiliar with them, their performance in the DIY tent today is a true crowd-pleaser. With shouts of “Yorkshireee!” and playful jabs at Jamie Oliver, Ben Sadler and Josh Law deliver a set that encapsulates the essence of festivals: community, catchy choruses, and unrestrained joy. While they might be surprised by the size of their audience, from our perspective, it’s entirely fitting.
Chloe Slater began the year with the release of her ‘Love Me Please’ EP, adding to her collection of witty critiques aimed at the privileged class, greedy landlords, and societal issues at large. Her set receives enthusiastic responses from both her dedicated fans and those who stumbled into the tent unexpectedly but end up dancing along. The Manchester artist obviously aims to entertain, dancing and spinning around with the microphone in hand—and even performs a cartwheel at one point—but she shines brightest when she’s behind her guitar, relying on the raw power of tracks like ‘Sucker’ and the crowd favorite ‘Price On Fun’.
For local band Yard Act, performing on Temple Newsam’s largest stage—especially after a six-month hiatus—must feel quite special; the crowd certainly thinks so. From the infectious energy of opener ‘Dream Job’ to the frantic, almost frenzied performance of ‘Payday’, the band
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