British indie-pop kings, The 1975, shone as they brought their dazzling two-part act to the First Direct Arena on Monday night.
Returning for the first time since their iconic Leeds fest headline set in 2022, the city was pulsating with excitement to see the band take to the stage at the First Direct Arena.
If you've had an eye on social media over the past few weeks, you'll know that The 1975's recent tour performances have been nothing short of extraordinary, phenomenal and down-right bizarre.
Awaiting with baited breath to see what Matty Healy could possibly pull out the bag this time, 14,000 people held tight whilst being soothed by support act Bonnie Kemplay's soothing and dulcet tones.
The calm before the storm, as they say. But this certainly didn't last for long as bang on 8:30pm the curtain dropped and their doll house-esque, living room-like set was revealed.
The 1975 at First Direct Arena. Credit: Chuff Media
The First Act
The best way to describe the first half of their performance was 'a show-within-a-show'. Band members were triumphantly introduced with opening credits as freehand camera operators followed them across the stage once they made their entrance through various doors on stage.
Last to appear was of course frontman Matty Healy, who when came on the stage a girl heroically shouted 'Daddy!' which caused ripples of laughter in the crowd. This most certainly set the precedent for the evening.
The first act showcased material mostly from the band's new album, Being Funny in a Foreign Language, in a conceptual show-within-a-show concept which was designed to test the boundaries of what a 'pop' show should be.
Healy played the role of a drunk, misunderstood artist - stumbling around the stage, loose hipped and bendy, swigging from a bottle of red wine and chain smoking camel cigarettes.
The controversial yet loveable rockstar floats around the stage clad with mid-century furniture, clutching onto anything he can to steady himself as he spearheads crowd pleasers such as Oh Caroline and I'm in Love With You.
Then it all started to get a bit weird. One by one band members disappeared, Ross Macdonald the guitarist kissing Healy on the head before he departs.
Matty then sensually unbuttoned his shirt, softly caressed his body before thrusting his crotch directly into a camera lense. He then got on his knees, savagely ate a raw piece of steak, did some press-ups whilst grunting and then climbed into a TV screen.
This was supposedly meant to be a comment on masculinity, I'm not sure the audience immediately understood it but we definitely enjoyed it.
The 1975 at First Direct Arena. Credit: Chuff Media
The Second Act
Then, following the meat eating and the TV entering, the band return to the stage for what felt like a tsunami to the senses. "Cut all the joker nonsense now, how's everyone feeling, you alright?" Matty says, for the first time directly addressing us.
Here the crowd erupt into a 'Yorkshire, Yorkshire' chant, Healy rolling his eyes before exclaiming "Come on, get it out of your system now before I have to autotune it".
What followed was a dazzling performance of their best hits, the shimmying If You’re Too Shy (Let Me Know) and the toe-tapping, life-affirming The Sound had the crowd jumping up and down, in-awe of the controversial yet loveable heartthrob in front of them.
A small interval saw Healy talk about democracy and ask the people of Leeds to choose their next song, asking us to cheer for which we wanted to hear. This resulted in Paris, and as Healy got changed into an undone, almost pyjama-like blue shirt he grasped a bunch of roses flung onto the stage.
Clutching these in the same hand as his microphone, his floppy hair covering his eyes, the frontman was perfectly executing the indie-boy persona we all know (and love) him for.
Towards the end the band played Love it if We Made It, Healy turned his back to us and faced his bandmates, arms stretched out wide, eyes closed and head up. This felt like a moment of reflection, looking to his best friends who 20 years ago started a band in their garage to now perfectly executing a sell-out, UK stadium tour.
Letting us in on a little secret, Healy explained that their first ever gig which seated just 70 people was held at iconic Leeds venue, The Cockpit. And after a monumental and historic two hours of musical and theatrical prowess that night at the arena, we were more than happy to have welcomed them back to our city.
The beloved Domino Club is receiving its flowers, and rightly so.
Rapidly becoming one of the industry’s most respected accolade of excellence, The Pinnacle Guide is a worldwide ranking of the best bars across the globe.
Based on a thorough self-application process, rigorous assessment modules, followed by a series of spot check interviews and anonymous in-bar reviews, it's no easy feat to get a spot on this list.
Which is why it makes The Domino Club's achievement all that more impressive.
Known amongst locals and visitors alike as basically one of the coolest bars in town, the hidden speakeasy invites you through a barbershop in the Grand Arcade where downstairs you'll find a dimly lit jazz and cocktail bar oozing sex appeal.
Not only are the cocktails exceptional, but their live music listings is something to behold playing everything from jazz and funk to cabaret and disco every Wednesday - Sunday.
Announcing the news to Instagram, The Domino said: "Listed by The Pinnacle Guide. The Domino Club has been recognised on the global list of the world’s best bars.
"What began as a hidden basement bar in Leeds, built around live music, cocktails and atmosphere, is now being recognised alongside some of the finest bars in the world.
"A huge thank you to our team, musicians, suppliers and every single guest who has supported us over the years. This means a lot. Leeds belongs on the world cocktail map."
We absolutely could not agree more and if you haven't ventured behind the barbershop and discovered the magical Domino Club, then we very much recommend you do.
2:22 A Ghost Story at Leeds Grand Theatre and Opera House: When silence becomes the scare
Declan Kelly
The supernatural thriller 2:22 A Ghost Story arrived at Leeds Grand Theatre as part of its UK tour, bringing Danny Robins’s hit production to a packed audience.
Since its West End debut in 2021, the play has become known less as a straight horror and more as a gripping psychological debate wrapped in a ghost story.
At the centre of the story is one key question: do ghosts actually exist? Set during a dinner party between two couples, the drama unfolds as Jenny becomes increasingly convinced their home is haunted, claiming she hears strange noises every night at exactly 2:22am.
Her husband Sam dismisses her fears as irrational, while friends Lauren and Ben challenge both sides, turning the evening into a lively clash of belief and scepticism. What begins as a conversation gradually becomes something far more tense, as personal fears and buried tensions rise to the surface.
Image: Supplied
Rather than relying on traditional horror, the production focuses on atmosphere and psychological tension. The script builds unease through sharp dialogue, awkward silences and shifting power dynamics between the characters. Instead of delivering constant shocks, it keeps the audience questioning what is real and what might simply be a coincidence or imagination.
That said, the play does use theatrical jump scares effectively. Sudden loud noises, abrupt lighting changes and eerie sound cues interrupt the dialogue at key moments, creating jolts of tension without ever fully tipping into outright horror. These moments are brief but impactful, designed more to unsettle than to terrify.
Image: Supplied
The cast works strongly together to maintain this balance. Shvorne Marks brings emotional intensity to Jenny’s growing fear, while James Bye plays Sam with grounded scepticism that slowly begins to crack. Natalie Casey adds sharp humour and bite as Lauren, and Grant Kilburn provides openness and curiosity as Ben, keeping the debate lively and unpredictable.
The production design is another standout element. The modern, stylish home feels realistic and lived-in, but subtly shifts in tone as the story progresses. Careful lighting and precise sound design ensure the space never feels entirely safe, even in silence, reinforcing the idea that something might be just out of sight.
Image: Supplied
As the final moments unfold, the play returns to its central idea: the waiting. The quiet anticipation of night, the smallest unexplained sounds, and the creeping awareness of time passing.
Ultimately, 2:22 A Ghost Story succeeds because it is not really trying to scare its audience traditionally. Instead, it plays with uncertainty, asking viewers to decide what they believe and how far they trust their own senses. And let’s be honest, you might find yourself thinking what might happen if you were still awake when the clock strikes 2:22.
Running until 16 May at the Leeds Grand Theatre and Opera House - tickets available here.
Clementine Hall -
24th January 2023 
