Sleaford Mods Wash Well in Leeds
Leeds’s Irish Centre is a considerably large venue, especially compared to the Brudenell Social Club, where Sleaford Mods last played here earlier in the year. With unbefitting music pumping out of the speakers (think: Selena Gomez), the room is heavily packed out by an extremely diverse crowd all here for the same purpose. The nature of the content of Sleaford Mod’s brand of social commentary driven sprechgesang has seen much attention on the twosome, Jason Williamson and Andrew Fearn. For the sensitive listener, Williamson’s profane lyrics may seem offensive, but the vast range of topics that become the focus of Sleaford Mods songs, complemented by Fearn’s catchy and well-produced music, has struck a note with many – as tonight’s turn out demonstrates. It is, however, unfair to attribute Sleaford Mods’ appeal solely to the relatability of their rants; Williamson and Fearn make for a compelling and engaging performance.
The pair take to the stage to be received by cheers before they’ve even started. Williamson directs himself to the mic; Fearn stands further back in front of a laptop balanced on a stool. This is the set up that remains throughout the duration of the evening, and how Sleaford Mods choreograph themselves for their shows. Even when, on occasions throughout their set, a few stage invaders provocatively attempt to redirect attention, Williamson and Fearn’s position, performance and attention remain unflinchingly undisturbed.
Sleaford Mods are playing, as mentioned, to a big crowd, and on a big stage. Yet the size is not something that hinders the performance of two figures whose stage presence involves no spectacle or dazzle, other than the bottle of Magners Fearn clutches throughout. For there is such a compelling quality to what Sleaford Mods have to offer that allows little scope for something that seems so novel as how they occupy their space. As Fearn bobs up and down towards the back as chilled as anything, Williamson spits and splutters with such charisma and aggression.
However, there is something not quite right about the space that’s hard to pinpoint exactly. Perhaps it’s that the venue seems too brightly lit, or the fact that, with such a huge crowd, there isn’t as much zest and oomph as one would expect for the evening – besides the few who are set on confrontations with the side stage security. Though given the wide-ranging appeal of Sleaford Mods, the dysfunctional atmosphere does make sense.
Credit where credit’s due, Fearn’s cleverly constructed musical contributions to Williamson’s lyrical mastery is genius. Playing a set largely of their critically acclaimed latest album, Key Markets, the pair are as sharp and bold for their encore, 'Tarantula Deadly Cargo', as when they start. Quick witted and firey-paced, the set is spectacular, with ‘Tied Up In Nottz’ from their 2014 album ‘Divide and Exit’ stealing the night for the crowd.
To state that the content of Sleaford Mod’s music is not where their appeal lies would be to ignore a gigantic elephant in the room. It could, however, be quibbled that this is as much as half of their success; the topics covered do resonate and they are relatable, but anyone could attempt that. It’s that paired with the magnetism and refined craft of Sleaford Mods that perhaps explains it better.
