Clash Live in collaboration with WeAre8...
21 · 07 · 2025
Like many attendees of gigs in Leeds, I often find myself spending my evenings hopping between the Brudenell's bars and the twinkling lights of Mabgate Bleach. While I'd argue that both are among the finest venues in the country, it’s a refreshing change to trade pints of Virtuous for glasses of Pinot and enjoy a Friday night at the Howard Assembly Room. This stunning venue, featuring a blend of red brick and stained glass complemented by sleek lighting and tasteful renovations, typically hosts classical musicians and ensembles. However, tonight, it is the stage for Californian singer-songwriter Jessica Pratt.
Aoife Nessa Frances starts the evening with a shimmering solo performance filled with drum machines and soft vocals, before Pratt steps on stage dressed in all black, shyly greeting us with a, “Hi, how are you?” A friendly voice from the welcoming Yorkshire crowd returns the question, to which she replies, “Pretty good.” She doesn’t say much more – perhaps she understands that her music can speak for her. As she strums the opening chords of ‘World on a String’, the audience is captivated. “I want to be the sunlight of the century,” she sings, and an orange glow radiates behind her, fulfilling her wish.
Bathed in sunset tones, Pratt and her band deliver a blend of cherished old songs and newer material, their sultry, ‘60s-inspired arrangements minimalist yet perfectly suited to the grandeur of the venue. Pratt’s unique vocals are undoubtedly the highlight, enchanting in live performance just as they are on record. Enhanced by keys and additional vocals, along with occasional horns and percussion, the set remains strikingly understated. Drummer Riley Fleck refrains from playing for much of the performance, which makes each instance of percussion feel more intentional, resulting in a delicately woven set.
Jessica Pratt’s newer songs shine brightly in a live setting – particularly the two tracks that bookend last year’s ‘Here in the Pitch’. The beautiful ‘Life Is’ stands out as one of the set’s most powerful moments, with Pratt's reflections on life and time resonating throughout the venue, while ‘The Last Year’ highlights the careful use of drums and piano. “I think it’s gonna be fine,” Pratt reassures us, “I think we’re gonna be together.”
However, her earlier works are just as well-received. Once again drenched in orange light for ‘Back, Baby’, this song ignites excitement among the audience, while a moving spotlight showcases the individual members of the band during the dramatic ‘Opening Night’. As an encore, she shares the gentle title track from her 2015 album, ‘On Your Own Love Again’, performed only by Pratt and backing vocalist Nico Liebman. She concludes the evening with a farewell gift, the aptly named ‘Fare Thee Well’, before fading into the evening wearing her glossy black boots.
With a live performance as meticulously crafted as her discography, Pratt demonstrates herself to be a uniquely brilliant artist, the sonic sunlight of the century.
Words: Elle Palmer
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Similar to many concert attendees in Leeds, I often find my evenings split between the bars of the Brudenell and the enchanting lights of Mabgate Bleach. While I would contend for