{"id":30972,"date":"2025-07-17T15:36:54","date_gmt":"2025-07-17T14:36:54","guid":{"rendered":"http:\/\/www.musicinleicester.co.uk\/index.php\/?p=30972"},"modified":"2025-07-21T19:37:12","modified_gmt":"2025-07-21T18:37:12","slug":"gig-review-public-image-limited-at-o2-academy-thursday-3rd-july-2025","status":"publish","type":"post","link":"https:\/\/www.musicinleicester.co.uk\/index.php\/gig-review-public-image-limited-at-o2-academy-thursday-3rd-july-2025\/","title":{"rendered":"Gig review – Public Image Limited at O2 Academy, Thursday 3rd July 2025"},"content":{"rendered":"
<\/div>\n

with The Jacques<\/h2>\n

Reviewed by Thomas Needham<\/a><\/p>\n

Photographed by Kevin Gaughan<\/a><\/p>\n

\"\"<\/p>\n

Public Image Limited (PiL) are better than The Sex Pistols. Right, now the bandaid\u2019s off let\u2019s begin.<\/p>\n

Supporting PiL ahead of the release of their second album Make Repetition<\/i>, Bristol-based band The Jacques<\/b><\/a> stormed onto stage with an uptempo rendition of their 2024 single, Ape Thing \/ Space Thing.<\/i><\/p>\n

Vocalist Finn O\u2019Brien\u2019s lyrics are frantic and confessional, inundating the listener with a skittish energy that\u2019s reflected on stage. The set closer Weekends<\/i> (released a lifetime ago on their debut EP Pretty DJ<\/i> back in 2014) highlights the gulf between what was once an out-and-out indie outfit into something heavier and more alternative.<\/p>\n

\"\"
The Jacques. (c) Kevin Gaughan<\/figcaption><\/figure>\n

The once emergent sound of post-punk revivalist harmonisations have been swept away by noodling on a warbly synth. The typical indie social commentary of \u2018sky[ing] from bottles\u2019 and \u2018dancing to Stevie Wonder\u2019 replaced instead by the slurred, swirling endlessly repeating refrain of \u2018I\u2019m alone\u2019, drenched in a more hard-edged, neurotic introspection. The light and breezy jams snuffed out by riffs a half-step closer to bands like Big Black, especially on tracks like Pure Leisure,<\/i> but The Jacques never go whole hog by maintaining some semblance of melody.<\/p>\n

They still occasionally dabble in their old indie ways if the lead single from their upcoming album, Via Dolorosa,<\/i> indicates anything. I’m pretty ambivalent to this stylistic flux; what they lack in consistency, they make up for in variety. Weekends<\/em> might well be the more sure-fire ‘hit’ that allowed them to ride the Radio 6 circuit but it’s the musical equivalent of those Calpol fresh melts that dissolve in your mouth; tastes good but it’s gone in seconds.<\/p>\n

The Jacques might not have figured out all the kinks and quirks behind this new musical direction but they’re trying so that’s more than enough to warrant your support. I say let them have their cake and eat it too, I’m certainly interested in seeing just where they run with the concept when their sophomore effort releases this September.<\/p>\n

They gave a solid performance. With Elliot O\u2019Brien on drums and Harry Thomas on rhythm guitar and synth, there’s clearly a wealth of potential with the material showcased. Personally, the solo of assorted beeps and boops on No Kamikaze<\/i> was a particular highlight, I’d love to see them take more risks in this vein.<\/p>\n

At certain points in the set, the stage lights got a bit<\/em> excessive. It was funny but came off more as a technical error than an intentional decision because The Jacques’ sound really doesn’t exactly warrant a BMW’s high beams in your face. I\u2019d give an anecdote about how members of the audience had to hide their faces if only I could have seen what was in front of me. The Donald was right about stage lights afterall, \u201cturn off the lights<\/a>\u201d!<\/p>\n

Now I’ve gone and mentioned Trump I’ve got free reign to cunningly transition to the main act of the evening.<\/p>\n

Anticipation grew as 9pm approached. In a sea of PiL<\/strong><\/a> shirts detailing yesteryear’s tours, there was a real sense we were about to witness an event. With a rowdy applause as he burst onto the stage, John Lydon took hold of the microphone and with his usual knack for the old Oxbridge pleasantries said, \u201cit\u2019s too fu**ing hot for pants\u201d.<\/p>\n

Well, thank god he was wearing shorts.<\/p>\n

\"\"
Public Image Limited. (c) Kevin Gaughan<\/figcaption><\/figure>\n

\u201cWould you like to hear some music?\u201d beckoned Lydon with a cursive, baritone trill. \u201cWoo,\u201d replied the crowd. \u201cWell you came to the WRONG fu**ing show!\u201d he bellowed with a Cheshire cat smile. Love him or loath him, he’s still got the sauce.<\/p>\n

Kicking off proceedings with Home<\/i> it\u2019s clear that Lydon remains in fine form vocally. With age, his delivery is far more stentorian, bordering on the theatrical even, with a range leaping from cunning snarls to righteous fury to tender lamentations. His control over his voice is laudable, with an uncanny ability to roll his Rs and a vibrato entirely unto itself. Transcending musical ability, it\u2019s an attitude and acceptance of his strengths and limitations that allows him to excel as an ever-compelling frontman.<\/p>\n

Album<\/i> itself marked a wider shift for PiL from spacious, ramshackle anti-rock to a forthright, click-track based rock-dance fusion, which they reaped the rewards for commercially. It’s aged remarkably well; far more forward-thinking and hard-edged than the oversaturated synth-pop that particularly bogged down the late-80s.<\/p>\n

Like most bands partaking in celebratory circuits of the country, opening numbers are largely dedicated to more recent material. Know Now<\/i> and Deeper Water <\/i>fit nicely alongside PiL wider back catalogue, the latter in particular benefiting greatly from the live atmosphere, really accentuating the rhythm section and synth. With the lights dimmed, you feel submerged in the harmonies… so yeah, the name checks out.<\/p>\n

I wasn\u2019t expecting PiL to pull any deep cuts but I was surprised that not a single song from their latest outing, 2023\u2019s End of World, <\/i>appeared. Granted it’s far less consistent than prior releases. The troughs are lower but the peaks are higher; highlighting Lydon at his worst and his best. Describing him as \u2018old man yells at cloud\u2019 has been done so I suppose I\u2019ll have to settle for second best: Being Stupid Again<\/i> is John at his most \u2018up yours woke moralists\u2019.<\/p>\n

The kids these days are far too cool to fret about \u201cban[ning] the bomb\u201d or \u201csav[ing] the whales\u201d, we\u2019re just a little nosy about that Epstein List, whatever happened to that? And of all the topical issues to choose from, the targeting of trans people isn\u2019t even risible, its inclusion so lazily shoehorned in to meet an arbitrary ‘outrage quota’ that it\u2019s just boring. On the rest of the song, all I have to ask is \u2018how much money for that triple lock? Who\u2019s paying for that?\u2019<\/p>\n

But then we get to Hawaii<\/i>, while it was tipped for the tour’s set list, the emotional baggage it comes with makes its omission understandable. It\u2019s a truly beautiful ode to Lydon\u2019s late wife, Nora Forster, and her battle with Alzheimer’s. Capturing a tender yet fleeting moment of reassurance, it\u2019s not only a testament to Lydon\u2019s songwriting but his commitment to his marriage. Forgetting is truly the most terrifying condition that can befall someone and his role as her primary caregiver culminates in an absolutely devastating song. Few songs move me in the way Hawaii<\/i> does. Even in less exalted material, PiL\u2019s discography rhymes but it never repeats. One has to respect that not one album sounds the same or simply rehashes what came before.<\/p>\n

\"\"<\/p>\n

After an unfortunately cowbell-less yet strong rendition of PiL\u2019s collaboration with Time Zone, World Destruction<\/i>, the band kicked into the classics. PiL’s currently headed by a spate of veteran musicians; Lu Edmonds is a delightfully eclectic talent on guitar, bassist Scott Firth provides a flawlessly constant groove and new blood Mark Roberts on drums gives you the impression that he\u2019s been around since day-dot.<\/p>\n

You can say PiL\u2019s new material isn\u2019t as strong as their heyday but undoubtedly every song performed at the gig was given justice. For thirty straight minutes we bore witness to what set PiL a step above The Sex Pistols with a flawless sprint of This is Not A Love Song<\/i>, Poptones<\/i>, Swan Lake<\/i> and Flowers of Romance<\/i>.<\/p>\n

Their first three albums make for integral listening. From the raw art rock of First Edition<\/i>, to the more explicitly avant-garde and atmospheric dub influences of Metal Box <\/i>to the downright bizarre and abrasive Flowers of Romance<\/i> – few bands wield such frenetic energy, even fewer can tout a devolving sound as a positive.<\/p>\n

You are party to a subversive unravelling of not just Western musical canon but the idea that Britain was a governable state full stop (how topical). From Public Image Limited to Throbbing Gristle to This Heat, the tension is just as viscerally prevalent today. You can hear and feel the exhaustive threat of nuclear holocaust, the decay of industrial communities, The Troubles, the growth of the National Front, bodies piling high and unburied and the precipice<\/span> of Thatcherism. (On balance, pints were a quid so who\u2019s really worse off in all this?) PiL and their contemporaries were the equivalent to the band playing as the Titanic sank.<\/p>\n

Lydon happily indulged in\u00a0This is Not A Love Song<\/em>, this extended rendition allowed the band to flourish. Even on cleaner, more polished hits the band doesn’t confine themselves, they use the stage to experiment and explore; far more important to live music than simply regurgitating the recording. John’s vocal embellishments coupled with him methodically breaking up the verses and a new glacial synth bulking out the instrumental gave even long-time fans something new.<\/p>\n

As John performed a touching, improvised coda in tribute to his late wife (‘I think about you all the time, …Not a love song.’) the song deftly contorted into Poptones<\/em>. It\u00a0was magical to hear that iconic bassline eminent from the stage. It takes another level of consideration for your craft to include a transition like that, let alone make it feel entirely natural. Safe to say PiL aren’t phoning it in, the performance was a dynamic display of showmanship. Lydon’s lyrical digressions continued into the driving Death Disco <\/em>\/ Swan Lake\u00a0<\/em>and the titular track from 1981’s The Flowers of Romance<\/em> was just as assertively acerbic as it should be, with Edmonds taking up the bouzouki and Firth an electric double bass just for the occasion.<\/p>\n

Lydon\u2019s stage presence is just as imperial as ever. He may be physically constrained by a stand but so much of his magnetism is conveyed simply through a piercing glare. In terms of sheer charisma, he’s an undisputed master of his craft and the \u2018crab dancing\u2019 was the cherry on top.<\/p>\n

\"\"
Public Image Limited. (c) Kevin Gaughan<\/figcaption><\/figure>\n

As an aside, for the life of me I have never witnessed someone dispose of such copious amounts of snot and spit on-stage. By the end of the gig it was beyond farce, after the conclusion of each song you were on the edge of your seat waiting for the mucus fireworks. Graceful isn\u2019t the word I\u2019m looking for\u2026 All I know is whoever had to clean it deserves a raise.<\/p>\n

After finishing The Body<\/i> from their 1987 release Happy?<\/i> with a dim synth line blaring, the first verbal confrontation of the concert took place.<\/p>\n

\u201cF**cking s**t, s**t, s**t, s**t – lick my arse!\u201d As far as heckling goes it was unfortunately more glib than artful but still fair game to Lydon. Scornfully scratching his sphincter in the scoffer\u2019s general direction he spelled out his thoughts plainly: \u201cif you don\u2019t like what you hear you fat, greedy, miserable, c**t, there\u2019s clearly marked exits- or what should be called Brexit.\u201d<\/p>\n

There was a brief pause as he took a swig of a drink yet eager to get the final word in, with oodles of goading sonority, he proclaimed: \u201cwatch out- there\u2019s a left-wing arsehole about!\u201d<\/p>\n

Despite a dollop of historical revisionism, punk’s foundations pillared upon the existential and often violent struggle between splintered groups who each perceive one another as the thuggish serfs of the establishment. Even from its very inception when the name \u2018Tom Robinson\u2019 was associated with the perennial gay anthem \u2018Glad To Be Gay\u2019, rather than the violent yobbery of the English Defence League.<\/p>\n

From the the long chronicled conflicts between \u2018Rock Against Communism\u2019 and \u2018Rock Against Racism\u2019 to Johnny Ramone using his Rock and Roll Hall of Fame induction to proclaim; \u201cGod Bless President Bush and God Bless America\u201d – it\u2019s always been a bit more of a gray area. The divide has since been exasperated by Brexit and COVID and shall continue on ad nauseam because ultimately these groups are interdependent on one another; what\u2019s punk without something to fight against?<\/p>\n

I\u2019m sure the idea that \u201cRonald Reagan was the best President of my lifetime\u201d is just as repulsive to the sensibilities of Lydon\u2019s detractors as Lydon supporting Donald Trump because \u201che can shake up the shitstem\u2026 business as usual isn\u2019t working.\u201d The recency of this parasocial sense of betrayal felt by former fans means that unlike Ramone who\u2019s been an outspoken Republican for all his life, Lydon won\u2019t be able to escape the funk. Frankly, I don\u2019t think the provocateur in him wants to.<\/p>\n

The opposite of love isn\u2019t hate – it\u2019s indifference. If he\u2019s the senile, old hasbin, he\u2019s often derided as then why do people continue to engage? Whether you venerate the air he breathes or pray he\u2019s ironically reverse-trolling, it\u2019s common sense that every ticket brought to heckle and every snide interaction on social media only keeps Lydon relevant. It\u2019s the modern equivalent to The Sex Pistols interview on Thames. Some people like being wind-up merchants and others just like being wound-up.<\/p>\n

The fact people are still prattling on about an advert that aired before I was even in primary school (you know<\/em> which one) only vindicates the marketing team. Personally I hope Lydon makes another one just so I can inform the punk community: \u2018a second Country Life butter advert has hit the airwaves\u2019.<\/p>\n

\"\"
Public Image Limited. (c) Kevin Gaughan<\/figcaption><\/figure>\n

Shoom <\/em>from PiL\u2019s 2012 comeback album This is PiL<\/i> came with the promise of “some pleasant Anglo-Saxon words” to sing along to. It quickly became apparent which ones he was referring to when he bellowed: \u201cF**K YOU!” The song\u2019s a prime example of Lydon\u2019s ever rollicking and lurid wordplay coupled with a juvenile delivery that\u2019s deliberately repellent. To critique it as brazenly vulgar and childish is redundant. Overly repetitive? Sure, but I\u2019d hate to hear what you thought of classics like Fodderstompf<\/em>.<\/p>\n

Shoom<\/i> is rather underrated, the sheer sincerity behind the refrain: \u201cwhat the world needs now, is another f**k off\u201d marks its place in PiL\u2019s discography. Lydon positively follicks through the song, gleefully indulging in a wide range of profanities and vocal experimentation. Bar Lydon, the one constant throughout PiL\u2019s existence is that if you\u2019re not in on the joke, you\u2019re going to have a dreadful time. For example, when the intended call and response with the audience initially failed to materialise, a defiant Lydon was happy to inform spectators that \u201cwhat you lot need is a karaoke Sex Pistols\u201d accompanied by an ample amount of venom and a naughty hand gesture.<\/p>\n

To end the set Lydon sparked a riot with just one word: \u201chello.\u201d For PiL fans this simple introduction is some kind of CIA-induced sleeper cell activator that compels them to go absolutely gaga, for it can only mean one thing: Public Image<\/i> is next. As the iconic bassline reverberated through the venue, those at the front of the stage became primed for a mosh.<\/p>\n

\"\"
Public Image Limited. (c) Kevin Gaughan<\/figcaption><\/figure>\n

Considering Lydon\u2019s reputation, the audience was rather domestic I thought, (bar the obligatory bumbling tosspot waddling into anything with a pulse) the joys of a mid-week performance and ever rising pint prices I suppose. Despite that the song remains a certified classic, with the audience ecstatic to join Lydon in song.<\/p>\n

With an audience riled up for more, the encore began with an impromptu smoke break. \u201cI\u2019m off for a Marlboro\u2026 I will be exactly three minutes.” A curse upon the house of Blair for enacting the indoor smoking ban. In that time we could have seen Low Life<\/i> or Socialist<\/i> or Solitaire<\/i> or Seattle <\/i>or literally anything from PiL\u2019s criminally overlooked 1992 release That What is Not<\/i>.<\/p>\n

PiL is comparable to David Bowie; both continued well after the peak of their commercial and critical acclaim. Freed from the need to prove anything, each was able to dedicate their latter years to experimentation. Albums like Happy?<\/i> and This is PiL<\/i> have plenty of value residing in them. Say what you will about \u2018selling out\u2019 or inconsistent quality, but neither stooped to the level of albums like ‘Crash’ by The Human League.<\/p>\n

In dead-on three minutes Lydon returned absolutely woofing down that poor cigarette. \u201cIt\u2019s so f**kng good to see yous. Y\u2019know I\u2019ve had a s**t couple of years,\u201d good God- one cigarette and we\u2019re getting all sentimental, \u201cbut then again you lot live in Leicester.\u201d<\/p>\n

…<\/p>\n

I wonder if he said the same thing when he played Milton Keynes.<\/p>\n

The encore was scientifically nurtured to leave the audience on a high note. Starting with Lydon\u2019s collaboration with Leftfield in the underground, electronica hit Open Up<\/i> before moving onto Rise<\/i> and finally Chant<\/i>.<\/p>\n

Rise<\/i> especially remains a truly special track to hear live. The way the audience lit up in reply when asked \u201cwhat is anger?\u201d was a pleasure to partake in. It remains a great, soaring behemoth of a song despite the lyric \u2018I could be wrong, I could be right\u2019 being absolutely run into the ground by writers who think they\u2019re putting a clever spin on Lydon\u2019s legacy.<\/p>\n

While bowing out for the final time, Lydon proclaimed \u201cwe are outside of the shit-stem. This is the voice of independence.\u201d Whether you think Lydon\u2019s sold out his principles or his former fans have lost their edge, I think the one thing that would unequivocally be a betrayal of his principles and persona would be for him to neuter himself.<\/p>\n

\"\"
Public Image Limited. (c) Kevin Gaughan<\/figcaption><\/figure>\n

With artistic expression increasingly sanitised and suppressed and as the barrier of entry for new acts only grows, there should be a consensus that the freedom to speak one’s mind, to live their own life, to control their own autonomy and destiny is essential. Sacred cows make for boring art – be challenging and be challenged – it just turns out PiL have better music than their Glastonbury equivalents.<\/p>\n

Sorry to the man who half-heartedly heckled Lydon to \u201cplease be quiet\u201d but I don\u2019t think that\u2019s going to happen. Expect to hear more from PiL over the coming year; they\u2019re only just getting started.<\/p>\n

\u2013<\/p>\n

From all of us at Music in Leicester we give our condolences to John Lydon and his family after the passing of his cousin Peter, may he rest in peace.<\/p>\n

If you would like to share this review, please help us by using the share buttons below instead of a screen print \u2013 thanks!<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

You can hear and feel the exhaustive threat of nuclear holocaust, the decay of industrial communities, The Troubles, the growth of the National Front, bodies piling high and unburied and the precipice of Thatcherism.<\/div>\n","protected":false},"author":32,"featured_media":30973,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[346,216],"tags":[],"class_list":["post-30972","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-346","category-gig_reviews"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2025\/07\/IMG_6478.jpg?fit=1001%2C667&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p73uhX-83y","jetpack-related-posts":[{"id":15241,"url":"https:\/\/www.musicinleicester.co.uk\/index.php\/ohhms-at-the-shed-26th-october-2018\/","url_meta":{"origin":30972,"position":0},"title":"Ohhms at The Shed, 26th October 2018","author":"Kevin Gaughan","date":"01\/11\/2018","format":false,"excerpt":"Ohhms gig review at Shed on 26th October","rel":"","context":"In "2018"","block_context":{"text":"2018","link":"https:\/\/www.musicinleicester.co.uk\/index.php\/Music\/2018\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2018\/11\/IMG_0634.jpg?fit=1002%2C620&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2018\/11\/IMG_0634.jpg?fit=1002%2C620&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2018\/11\/IMG_0634.jpg?fit=1002%2C620&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2018\/11\/IMG_0634.jpg?fit=1002%2C620&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":14440,"url":"https:\/\/www.musicinleicester.co.uk\/index.php\/metal-to-the-masses-quarter-final-1\/","url_meta":{"origin":30972,"position":1},"title":"Metal to the Masses quarter final 1","author":"Kevin Gaughan","date":"15\/04\/2018","format":false,"excerpt":"8th April 2018 at Firebug with The Surrealists, Seven Hells, Gallows High and Graves plus special guests, Black Emerald and All Consumed Tonight's show was organised by Resin Events and Metal 2 the Masses Leicester. Reviewed by Kashif Hussain The heats have ended and Leicester\u2019s metal scene has showed the\u2026","rel":"","context":"In "2018"","block_context":{"text":"2018","link":"https:\/\/www.musicinleicester.co.uk\/index.php\/Music\/2018\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2018\/04\/IMG_3607.jpg?fit=1002%2C653&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2018\/04\/IMG_3607.jpg?fit=1002%2C653&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2018\/04\/IMG_3607.jpg?fit=1002%2C653&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2018\/04\/IMG_3607.jpg?fit=1002%2C653&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":24942,"url":"https:\/\/www.musicinleicester.co.uk\/index.php\/gig-review-one-town-over-at-the-soundhouse-friday-25th-june-2021\/","url_meta":{"origin":30972,"position":2},"title":"Gig review – One Town Over at The Soundhouse, Friday 25th June 2021","author":"Kevin Gaughan","date":"06\/07\/2021","format":false,"excerpt":"It was so good to be back at the Soundhouse after a long absence. I saw many familiar faces in the audience. Tonight it was a limited to fifty people in the room and, I was told, they were turning people away at the door once the venue was full...","rel":"","context":"In "2021"","block_context":{"text":"2021","link":"https:\/\/www.musicinleicester.co.uk\/index.php\/Music\/2021\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2021\/06\/IMG_4783.jpg?fit=816%2C563&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2021\/06\/IMG_4783.jpg?fit=816%2C563&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2021\/06\/IMG_4783.jpg?fit=816%2C563&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2021\/06\/IMG_4783.jpg?fit=816%2C563&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":29895,"url":"https:\/\/www.musicinleicester.co.uk\/index.php\/gig-review-vertigo-flowers-at-the-shed-saturday-4th-march-2023\/","url_meta":{"origin":30972,"position":3},"title":"Gig review – Vertigo Flowers at The Shed, Saturday 4th March 2023","author":"Kevin Gaughan","date":"09\/03\/2023","format":false,"excerpt":"The room was filled with a dreamy, atmospheric guitar and the crowd moved towards the stage","rel":"","context":"In "2023"","block_context":{"text":"2023","link":"https:\/\/www.musicinleicester.co.uk\/index.php\/Music\/2023\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2023\/03\/Vertigo.jpg?fit=1200%2C675&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2023\/03\/Vertigo.jpg?fit=1200%2C675&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2023\/03\/Vertigo.jpg?fit=1200%2C675&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2023\/03\/Vertigo.jpg?fit=1200%2C675&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2023\/03\/Vertigo.jpg?fit=1200%2C675&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":15261,"url":"https:\/\/www.musicinleicester.co.uk\/index.php\/midnight-wire-at-the-shed-2nd-november-2018\/","url_meta":{"origin":30972,"position":4},"title":"Review – Midnight Wire at The Shed, 2nd November 2018","author":"Kevin Gaughan","date":"06\/11\/2018","format":false,"excerpt":"with The Fazed and Deadwires Reviewed by Trevor Locke Two Leicester musicians took to the stage to perform the opening set; one of them was Callum Cook. He used to be a member of No More Heroes. He was accompanied by the drummer Sam Marsh. 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