This year, my gig-going adventures have taken me on a whirlwind tour around Europe, from local venues to a week-long stint in Oslo.
Despite a fear of flying, I’ve had the pleasure of travelling with a partner who tolerates my unique taste in music and a copy of Football Manager for those lengthy trips. It’s been an absolute blast, and next year promises to be just as packed with exciting journeys to some of the world’s top venues.
From witnessing my all-time favourite band Pulp headline at Øyafestivalen, Oslo’s premier music festival, to a raucous weekend in Dublin, Ireland, where I got to see Idles and LCD Soundsystem share an incredible bill at Malahide Castle, 2024 was brimming with unforgettable performances.
Visits to iconic locations like Leeds’ Brudenell Club and Sunderland’s Stadium of Light, my old university haunts, provided some of the year’s best nights.
Pulp’s return to the stage has been nothing short of delightful -Credit:Ewan Gleadow
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However, there was one standout moment in this year of gigging, where I braved snow, storms and city streets in pursuit of the ultimate live music experience.
The year kicked off with Bruce Springsteen’s sole UK performance in Sunderland and concluded with a double-header featuring Paul McCartney and The Prodigy in Manchester – thankfully, not on the same day. Each performance was exceptional, showcasing legends of the industry delivering their all, even decades after their biggest hits.
The recent music scene has been a refreshing departure from the all-too-familiar nostalgia trip; acts rehashing past glories to sell tickets are notably absent. This was clear during the concluding leg of Bob Dylan’s ‘Rough and Rowdy Ways’ tour at the Royal Albert Hall in London last month.
While the Liverpool gig suffered from sound issues, the Nottingham performance was almost flawless. This sense of reinvention was also captured by Geordie Greep at Leeds’ Brudenell Club.
LCD Soundsystem’s return to the UK and Ireland was outstanding -Credit:Ewan Gleadow
The ex-Black Midi lead took no time in touring ‘The New Sound’, the year’s best album in my humble, well-procured opinion. A masterpiece laced with jazz and salsa rhythms weaving tales of social unease and indulgence, often pierced by erratic and exceptional moments of musical improvisation.
Just as rare is the artist who can emerge from a hiatus with their creativity not only intact but heightened. Jarvis Cocker succeeds here; stepping away from Pulp’s ‘This is Hardcore’ material has rejuvenated him. With Pulp’s “Encore” tour set to continue next year, I can’t resist attending the Bilbao and Sheffield shows.
Oslo provided a superior range of acts, outshining local festivals like the rain-soaked Leeds Festival. A late performance by Lana Del Rey, while commendable, couldn’t compete with the electrifying brilliance of PJ Harvey, who laid the foundation for an exceptional Øya Festival.
Geordie Greep was among the excellent gigs of 2024 -Credit:Ewan Gleadow
Stellar performances from alternative favourites Yard Act and Mercury Award winners English Teacher were the cherry on top of that particular weekend. Grassroots gigs are the lifeblood of any artist worth their salt, making it all the more rewarding to attend sets from artists like Thea Gilmore, Nadia Kadek and The Luca.
Supporting lesser-known acts is just as intriguing and enjoyable as venturing to distant venues. However, the standout act was undoubtedly LCD Soundsystem, more for the unexpected opportunity to see them than anything else.
After reuniting in 2017 for their American Dream album, it seemed they had once again called it quits following a series of sold-out shows in their native New York in 2023. A two-hour flight was bearable, but an eight-hour transatlantic journey to hear Dance Yrself Clean live was not on the cards.
Yard Act are continuing to build their brilliant alternate rock style with ‘Where’s My Utopia?’ -Credit:Ewan Gleadow
Frontman James Murphy and his band treated fans to a fantastic performance in Dublin, using the beautiful sights, smells and sounds of the city as their backdrop. Their live set at Malahide Castle felt like a warm-up for their Glastonbury main stage slot just a few days later, but they were in top form.
It was the best gig of the year, surpassing the life-affirming experiences Oslo had to offer. The upcoming year promises a similar series of brilliance. However, beneath the surface of what appears to be a thriving UK music scene are issues of funding, venue closures and difficulties for new artists to break through.
Even established artists like English Teacher and Sam Fender have spoken openly about the industry’s struggles. The least we can do is support them by attending their live performances, appreciating their work, and keeping the momentum going.