Day 2: Leeds
Welcome
Yesterday we headed North leapfrogging London to get to Leeds for our second show.
Our rooms at ibis Southampton Centre included a complementary breakfast so we made sure to arrive in the lobby early enough to take advantage of the lavish spread. I had sausages, bacon, fried tomatoes, hashbrown, cheese, croissant, and an egg.
We were on the road by half-past eight and it wasn’t long before we reached Brighton where we picked up Spike Jones, our sound engineer. From there we took the M23 North until we reached our favourite piece of UK infrastructure the M25 London Orbital Motorway which sling-shotted us around the capital and spat us out onto the M1 for the final leg of the drive.
On the M1 with Ratcliffe-on-Soar Power Station in the distance.
It was warm and sunny when we pulled up outside the venue late in the afternoon. This load-in was a breeze compared to the night before and we only had to wheel our cases a mere ten metres to the stage. The original Brudenell Social Club was established in 1913 in a wooden clubhouse which fell into disrepair and was eventually replaced by the current brick building in 1978. When it reopened that year female members were admitted for the first time and with it’s multi-tiered ‘Caberet style’ concert room the club became one of the most popular in the Leeds area. In 2007 the club moved from being a members club to an entirely public venture: a not for profit company that runs as a social enterprise and reinvests it’s money.
Thanks to a wonderfully well-equipped venue our setup and soundcheck were a breeze and we had time for a walk around the neighbourhood of Hyde Park.
Cherym opened up the night with another face-melting set and seemed to rile up the crowd so much that when we went on to play what should have been a calm Monday night energy had been significantly enhanced. We had a blast playing though and the crowd were extremely appreciative.
📷 Will Reading
📷 Will Reading
📷 Will Reading
After months of intensive training I have been given a new role on this tour and it is that of chief monitor engineer. I now hold the power and the responsibility to adjust everyone’s in-ear mix from my station at the side of the stage.
