Photo + Words: Alicia Woods
Currently touring his debut solo album, The Panic Years, BRADLEY SIMPSON’s solo show at The Leadmill proves that he’s a headline act in his own right. With heartfelt lyrics, electric crowd energy, and powerful vocals, the night becomes a relatable celebration of coming-of-age clarity.
Opening the night of her first ‘proper gig’ in Sheffield, rising indie-pop talent, NIEVE ELLA, lights up the room with her angelic vocals in ‘The Things We Say’ and ‘Car Park’, and her overall infectious charm. Her authenticity and easy rapport with the crowd, full of funny asides and genuine warmth, sets the perfect tone for the night, and primes the audience for what becomes a deeply personal and emotional headline set.
The unmistakable introductory notes of ‘Getting Clear’ fill the room, and a wall of screams greets BRADLEY SIMPSON as he runs on stage. A small gesture, but setting the tone for an intimate night built on connection, SIMPSON holds a fan’s hand as the second verse begins, and welcomes fans to ‘The Panic Years’ tour as he moves into ‘Picasso’ and ‘Cry at the Moon’.
The Birmingham-born singer-songwriter takes a moment pre ‘Not Us Anymore’ to introduce his touring band, Elena Costa (drums) and James Attwood (bass guitar), earning a fresh wave of cheers throughout the 900-capacity venue. The song’s studio ad-lib vocals prove to be a real hit with fans, as they chant them back to SIMPSON as the song unfolds.
As the night progresses, the fans become evermore encapsulated in their awe, and SIMPSON brings NIEVE ELLA back out for a live rendition of their collaborative single, ‘Favourite Band’, ending with a heartfelt hug that speaks volumes about their musical chemistry and friendship.
‘Holy Grail’ sees The Leadmill turn into a sea of glowing red lights, where a fan-project of red star cut-outs blossoms to perfection, visibly moving BRADLEY and the band. Continuing the theme of an emotional and intimate evening, SIMPSON makes his way into the crowd for an acoustic performance of ‘The Band’s Not Breaking Up’, where the crowd falls into an almost reverent silence. In response to a fan fainting mid-way through the song, SIMPSON immediately pauses, ensuring the fan is okay, before finishing the song with the help of the fans. It’s a small moment to BRADLEY, but it certainly says a lot about who he is, and the type of relationship he has with his fans.
The atmosphere reaches a fever pitch during a surprise cover of Arctic Monkeys’ ‘505’; an ode to the local music scene that sends the Sheffield crowd into a frenzy. It’s not just a token gesture, it’s perfectly executed and deeply appreciated by a city proud of its musical heritage. The stage then explodes with red lighting and raw intensity whilst the crowd, phones away, at SIMPSON’s request, jumps in unison, completely unfiltered and in tone with the rest of the night.
As SIMPSON strums the chords to his debut album’s title track, ‘The Panic Years’, he delivers a heartfelt speech about “the last ten years of [his] life” and being in your 20s, reassuring the audience that “it’s gonna get better”; it’s earnest, sincere, and clearly resonates. After a short encore, SIMPSON closes the night with fan-favourites “Daisies” and “Carpet Burn”; a cathartic crowd-pleasing finale that ties the whole night together.
Not only has the show been an intimate night built on connection and resonance, but it has been a shared experience. Full of emotion, surprises, and a genuine sense of belonging, BRADLEY SIMPSON’s solo chapter is off to a powerful start; Sheffield certainly won’t forget this night any time soon.
Taped Magazine 