Back to Back 2026

Back to back. To back to back to back to back to back to back to back to back to back. To back. For those counting at home, that was 13 uses of ‘Back’; that's because there were 13 bands at this year's show. Thirteen bands in about 8 hours. That is three more than 2025’s amazing showing, which I was also lucky enough to attend and is, quite frankly, an insane amount of live music in one night. Not to mention that that was all for two whole pounds if you bought early bird tickets. It is a testament to the sheer depth of the Leeds grassroots music scene that 13 bands can be preoccupied and most other venues around the city still ran live music completely unshaken. Bands of all styles and experience levels came from near and far to play at the Brudenell, which was packed from the first band to the last, with punters hungry to see the next wave of talent coming through the UK music scene. 

The room was bristling with a hushed excitement as Blades took the stage as the first act of the day in the community room. Blending elements of dreampop with americana and even Honeyglaze-esque alt rock, they aced a solid performance in what the band confessed was their first ever gig all together as a band. They are ones to watch going forward if this is a preview of what is to come. 

After a quick dash over to the main room, Curiosity Shop started off the day there, and right from the off, the Scots impressed. Leading out with a growing harmony that made the whole room fall silent, then bursting into alt-folk anthems that would make Fleet Foxes blush. The added texture of the accordion playing with tight, jazzy drums and understated yet pristine bass, along with the occasional touch of country-tinged slide guitar, made for a sonically diverse performance that most folk fails to accomplish but that Curiosity Shop had in spades.

How many bands come loaded with a CRT TV? I don’t know, but the only one I have ever witnessed was with Bedworm. Melancholic, lo-fi, esoteric nostalgia footage of trees, skies and churches played on a DVD as the band let out loud, angsty shoegaze with audio clips sandwiched between songs to keep the feels going. A soft, almost imperceptible growl made up the vocals and allowed the soundscape of the music to permeate the room. As much of an art piece as it was a performance, Bedworm managed to create an emotional space in 20 minutes that wouldn’t feel out of place at the Henry Moore.

Indie rockers, Manchester’s Wyatt, took over the main room next. Gnarly bass lines and fun trumpet riffs broke up the Conor Oberst-style shaky singing that added a level of weight to the performance. Occasionally dipping into country-style riffs, with the aid of some outstanding acoustic guitar backing, meant that you never knew where they were heading next but were more than happy to come along for the ride. Combining all that with the frequent juxtaposition of soft-sung verses with harder, yelled choruses, created one of the most memorable performances of the night. 

Soft, folky and coming packed with a double bassist and violinist, Gemma Gates brought folk back to the night in a soft and beautiful way. More traditional folk than Curiosity Shop, but packed with passionate yet tender vocals, Gemma provided a perfect calming respite for a crowd that was now five acts deep. 

Math rock! That’s Flip Top Head! Reminiscent of Leeds legends English Teacher, but with more atmospheric elements, Flip Top Head fluctuated between slow and soulful, to sounds closer to indie rock, to parts that came heavily influenced by folk. The depth of the talent here cannot be understated, having everything that dialled in across so many varying sounds is deeply impressive in a way that may not be initially noticeable. Arguably, the best moments of their set came from when they strayed away from the more orthodox math rock approach and let themselves breathe into these elements and really find their groove.

My notes for Jacob Bracknell’s Tomb Land describe them as ‘two lo-fi dudes on a keyboard and a guitar playing music that is flat, slow and crescendo building. Basically, folk music edging’. I see no reason to disagree with past-me’s assessment. Tomb Land feels soft, gentle, soulful, heartfelt, and honest. With long, held keyboard notes and a powerful sense of longing, Tomb Land feels like a window into the soul of Bracknell. More than anything, it felt very vulnerable.

You want the Truthpaste? You can’t handle the Truthpaste! Because they were too great! With saxophone-laden multi-instrument indie rock that flew all over the place, Truthpaste felt like the unbound antithesis of Flip Top Head. Jazzy, wild and loose, the band never let up with their sound, be it their slower tunes or a faster-paced medley-type numbers. They always seemed to be having fun, and that translated well to the audience who vibed along with them for their entire set. 

Proud holders of Stub Quarterly’s No.1 single of 2025, ‘Weather’, Contrail proved why they own that immense and distinct honour. There is something about Contrail that defies typical description. I feel Natasha Dobson put it best in Stub Issue 4, where she reviewed them supporting Anna Erhard, but now, somehow, they are even better. And my god, that harsh, gritty, almost breathless saxophone… inject that directly into my veins. People, watch for every gig they are at and attend them. Thank me later.

Short, sweet songs define Langkamer’s sound. They are fun, slightly crunchy dad indie rock songs that never outstay their welcome and combine a fun upbeat sound with often fairly dour and serious lyrics, in a way that sneaks their way in under all the outward entertainment. Their lightly accented singing really plays well with their sound and sets them apart from similar acts making them more like a less psychedelic Melin Melyn. 

Post-punk and shoegaze meet under Wedgy. The spiritual successor to James Smith’s Post-War Glamour Girls, but adding a more technical underbridge of effects pedals and less harsh vocals, Wedgy are the next evolution of the Leeds post-punk scene. Fun crowd work and even a visit into the audience by their lead singer (Will Wedgwood) cemented a memorable performance. Speaking of the crowd, Wedgy were by far the ones who had the most buzz going in, standing towards the middle of the crowd. I was surrounded by conversations of how good the band are and how many had come just on the back of them. Heavy praise for the hometown boys.

An ushanka-wearing Chilean walks into a social club. Not the start of a bad joke, but the start of Sean Trelford’s set. A soft lo-fi indie sound with harder guitar sections thrown in, Trelford harkens back to American indie-folk of the 2010s without ever getting too comfortable there. Bending jangly riffs and fun lyrics set the soundscape while vocals echoed out across the main room. Trelford, not even age 20 yet (if Google is to be believed) performed like he was a veteran of 20 years, with awkward, charming crowd banter and a shy, endearing personality. Trelford has an insanely bright future ahead of him.

If you are anything like me, you might have got this far in the review and read “indie”, “folk”, “shoegaze”, etc. and thought that’s great, but where’s the punk, where's something harder? And boy, did they save damaging people’s eardrums for Fossick. First things first, two full-kit drummers are an insane setup, yet it worked perfectly. Double the noise, double the fun. Second, what an energetic performance from Fossick himself, screaming, rushing about between instruments, and even abusing his poor guitar to get the rawest sound possible. Third and finally, what a choice to put the bassist in the centre of the stage. Yorkshire has not seen a more intimidating figure since that one Viking fought off 40 Englishmen at Stamford Bridge by himself. Looking like Tyson Fury and Charles Bronson collided, his mere unsettling presence set the tone for their entire set. Loud, angry, and absolutely what the doctor ordered, Fossick rounded off the night in the gnarliest way possible. 

Leaving Back to Back 2026, I was buzzing for next year's show. The quality remains high, the quantity remains insane, and I can’t wait to see where I follow these bands during 2026. That being said, going into the 2027 show, I would love to see more female or gender diverse bands on the bill. I would also love to see the show take on acts from even broader genres and involve artists from Leeds’ other bustling scenes, especially some rap/hip-hop representation going forward from the outstanding variety available locally, would be a very welcome addition. But beggars can’t be choosers, and Back to Back remains as Leeds’ premier introductory vehicle for the nation’s finest grassroots bands.

Words by William Hatfield (@wrh.2001). Poster: pilfered from the Brude’s website. The rest of the pictures by Natasha Dobson (@n_j_dphotography).

Second picture: Gemma Gates. Third Picture: Wedgy. Third Picture: Fossick.