41 years ago we danced to the Sisters Of Mercy, Gang Of Four, The Birthday Party and more in this very venue at what was affectionately called ‘The Thursday Bop’ in the Riley Smith. Part of Leeds University the building has now been modernised, expanded. There’s now a Riley Smith Theatre and the place that held our much loved discos and occasional gig has morphed into Stylus, a 1200 capacity venue that has hosted some huge names over the years. Tonight’s gig really is one I was determined not to miss with not one, not two but three amazing bands.
Good Health Good Good Wealth have been talked about by those in the know for a couple of years having been one of This Feeling’s ‘Big In 2024’ bands. The 2025 release of their debut album ‘This Time Next Year We’ll Be Millionaires’ has cemented their reputation as a band that, very soon, will be selling out places like Stylus in their own right. A seven track album, one song for each day of the week, a musical tale of the week in the life of singer/songwriter Bruce Breakey. Tonight Breakey takes to the stage with left arm in a sling following an accident earlier this month but that doesn’t stop him, together with multi-instrumentalist Simon Kuzmickas on guitar and technical wizardry delivering an opening set that is truly mesmerising. The word has spread about Good Health Good Wealth and Stylus is already packed out by the time they walk on stage at bang on 7:30. A glorious blend of spoken word, breakbeats, some indie-pop, garage dance and subtle but sublime guitar work. Beautiful but at the same time in your face ‘The Cafe’, ‘This Time Next Year …’ and the wonderful dedication to Breakey’s dad that is ‘Beautiful Boy’, a tale of unconditional love and support, have the crowd completely hooked in, swaying, absorbed in the moment. Whilst Good Health Good Wealth’s songs are deeply personal most in the room tonight will feel a connection to a good number of those played. Thirty minutes is too short for a band such as this but, as openers on a three band bill, that’s all they get. Those thirty minutes have however cast a spell over this West Yorkshire crowd and left an atmosphere that is now buzzing with anticipation for what the rest of the gig will deliver.
GANS go from strength to strength. A gig by GANS is like a massive dance party where you’re pummeled not only by the huge beats but by a pit that moves none stop from start to finish. Tonight guitarist/keyboardist Tom Rhodes and drummer Euan Woodman are joined by Tommy Lawther on saxophone and flute, his tones bringing a whole new dimension the GANS live sound. It’s punk, it’s funk, it’s industrial noise. Woodman’s drumming is intense, pounding out a massive, irresistibly bouncy groove while Rhodes is completely unable to remain still, a completely wired ball of energy whether behind his keyboard or jumping round the stage. Vocals are shared. The energy from the stage is matched by those in the room with a huge mosh-pit drawn together by those beats that make it impossible not to dance. Standouts include ‘In Time’, ‘I Think I Like You’, ‘It’s Just Life’. Not just euphoric three minute noise dances but songs that tackle real life issues. GANS encourage circle pits and get them. At one point Woodman joins in, leaving his drums to be carried aloft around the floor. A GANS gig is visceral, euphoric, life affirming and, as their album title states ‘Good For The Soul’. But whilst the album is a real highlight of releases from the last 12 months to appreciate what GANS do you really need to see them live.
And so to headliners Big Special. Since 2022 this Black Country duo has evolved, grown it’s dedicated fan base and played ever increasing sizes of venue. 2024 saw the release of debut album ‘Post Industrial Hometown Blues’, an album packed with punk attitude, spoken word and a real alt-rock blues feel. A shout out for the working class, those forgotten by anyone in power, anyone who trudges through the thankless grind of life. Album no.2, ‘National Average’ followed in 2025 and blends funky bass lines with keyboards and drumbeats with it’s punk attitude, gritty dark humour and poetic commentary on society.
From the moment Joe Hicklin and Callum Moloney walk on stage you sense that this Leeds crowd, already hyped from the two support bands, are 100% into what they are about to see and hear. ‘Black Country Gothic’ opens and the pit erupts. Moloney, face beaming with a huge grin, hammers out an irresistible beat while Hicklin wanders the stage. It’s a perfectly raucous start that’s followed by the slower, grimy funky beat of ‘Hug A Bastard’ and the shout along dance beat of ‘God Save The Pony’ and the hard hitting, industrial lash of ‘Desparate Breakfast’. ‘This Here Ain’t Water’ elicits a huge singalong. A haunting sermon about feeling completely stuck, self medication and the breakdown of understanding between people. It’s not a song to dance to but one where you stand with your own thoughts and demons.
Despite touring ‘Post Industrial Hometown Blues’ to within an inch of it’s life after it’s release, and the more recent release of ‘National Average’ it’s album no1 that dominates the night. And whilst this is no bad thing – ‘Black Dog/White Horse’ the perfect example of how to blend beautiful, tender sounds with the pain of fear, intrusive thoughts, depression not just in yourself but recognising them in others aswell – it’s surprising ‘National Average’ doesn’t feature more. When it does the crowd lap it up. ‘Shop Music’ is massive both in it’s beats and it’s chant of “We will sell your shit”. The shoutalong is huge, the floor bounces, arms aloft and it spreads to the usually relative calm of those on the balcony. ‘Professionals’ and in particular the noise and beats of ‘Yesboss’ see mayhem on the dancefloor. When Hicklin asks if the crowd can sing they do, with gusto. When they’re told to go mental they don’t disappoint. Between songs there’s humour, storytelling, a piss-take of their manager Steve. There’s also poignant moments. Having recently lost a close friend to cancer there’s a raffle to raise money to help support those left behind. Steve makes the draw for the signed drumskin. 140 isn’t around so the prize goes to 143.
Big Special tell us they’ve been all over the world and have realised everywhere is shit. Which, of course, leads into main set closer ‘Shithouse’. It’s huge and, despite it being about rough times, the depression of society and that however hard we try to get out things end up shit, it unites people in a mass of dancing, arms punching the air, voices all together and smiles on faces.
Big Special don’t leave the stage for long. ‘Trees’ goes out to anyone who likes to smoke a little weed, it’s beat hypnotic, contagious. The band are in the crowd, the crowd’s jumping, it’s down on its knees, it’s erupting into joyful cavorting. As with every listen ‘For The Birds’ haunts, a quiet reflection on a youth wasted, that sense of having little purpose or hope before ‘DIG!’ lifts us back up with it’s quiet defiance, strength and rejection of those that try to keep you down. “Dig, son. Dig the ground. You’re going to bury this motherfucking town and everyone that put you down”. A beautiful end to a night that’s been big on hard hitting beats, big on noise, big on brutally honest and personal storytelling and, perhaps most importantly, big on unity and support. Bands supporting each other, unity between bands and crowd and unity amongst a crowd who gave everything from the opening notes of Good Health Good Wealth, all through Gans, right up until the closing notes of Big Special’s superb set.
Words/Photos: steve white
