LIVE REVEW & GALLERY: The Lemon Twigs @ Brudenell Social Club, Leeds
I was so excited to finally get to Brudenell for a show. For some reason, while I was living down South, I’d get properly envious whenever Scott said he was shooting a gig there. I’ve no idea why – it just sounded like such a cool venue! And it absolutely was! The main room, with its seating, gave it a really relaxed feel, accessible to everyone: those who wanted to crowd around the front and get immersed in the music, those who preferred to stand back and soak in the atmosphere, and those who wanted to chill on the seating for a more laid-back experience. There were even plenty of steps and raised areas so those of us who are more vertically challenged could get a good vantage point! That said, at a mere 5ft 2 on a good day, and with no photo pit, it’s the first photography experience where I’ve felt too short! Lesson learnt for next time: get there early, nab a spot on the central stairs, and don’t move!
First up were Tchotchke, whose live sound blends punk rock swagger with a hint of power-pop glamour, creating a nostalgic yet fresh vibe. Their guitars shimmer with a crisp, retro feel, complemented by energetic rhythms that keep the pace engaging without feeling rushed. Vocally, there’s a playful charm—edgy yet melodic. While a few random shrills didn’t resonate with me, their vocals were generally well-defined, featuring a slight shoegaze-like haze and a pensive swing on certain songs. They skillfully blended trippy elements with garage rock tendencies, crafting a DIY feel infused with dream pop, driven by thick basslines and swirling riffs, alongside dynamic but measured drums. This tight mix of genre influences radiates authenticity, striking a balance between rawness and polish. The band’s chemistry on stage was evident, feeding off each other's energy while maintaining cohesion as a unit. There’s a warmth in their sound that makes even the more intense moments feel inviting.
Following Tchotchke, The Lemon Twigs took to the stage, showcasing their own distinct blend of rock ‘n’ roll nostalgia and musical versatility. They delivered a set that balanced subtle humour with impressive musicianship. Early on, Brian asked the audience for a plectrum, clearly unhappy with his current one, and it was these small, offbeat moments that added a personal touch to the night.
At one point, they played a game of "guess the song" from the new album’s side B, and a voice from the crowd randomly yelled what sounded like "jumping spliffs". While it didn’t make much sense, it raised a laugh from the band, adding to the low-key, friendly atmosphere.
They also made a passing joke about accents, possibly picking up on the local Leeds ones, only to turn it around and joke that, as New Yorkers, they were probably the ones with the funny accents. The real marvel of the night, though, was the way the band cycled through instruments like they were testing out different skills at a summer camp, yet each new instrument was performed as flawlessly as the one before. It wasn’t just the usual swapping of a guitar for a certain song – they switched around entirely, from guitars to drums or keys and drums to guitars, effortlessly showcasing their range across multiple instruments.
Musically, they pulled together a mix of rock ‘n’ roll, psychedelic pop, and 60s surf influences, with clear nods to the Beatles and Beach Boys. They even took on an experimental cover that no one seemed to recognise, but they added their own distinctive touch, making it feel more accessible than its original form might have been.
Their track introductions were understated but witty, like when they joked about how the long title of "They Don’t Know How to Fall in Place" doesn’t get any shorter, no matter how many times you say it. "A Dream Is All We Know" stood out with its gentle, sweeping melodies, while "I Love Her More" had a bit of a singalong vibe for those familiar with it.
The encore brought a shift in tone, with an acoustic set featuring "Corner of My Eye" and a new song (the name slipped by) that felt reminiscent of the Beatles, particularly "Norwegian Wood". "When Winter Comes Around" was a standout closer, followed by a Beach Boys cover, "You’re So Good to Me" from “Summer Days and Summer Nights”.
The brothers’ vocal harmonies were truly impressive, swapping lead vocals throughout the night and delivering some of the tightest live harmonies I’ve heard – the like I've only ever previously experienced live from fem punks Peaness. It was a captivating performance, but one that felt warm and inviting rather than flashy.
If you get the chance to catch The Lemon Twigs live, even if you’re unsure if they’re your style, it’s worth going just to experience those harmonies in person.
