Despite the number of gigs I go to in Leeds it’s actually just about 37 years since I last set foot in The Warehouse. Back then, often under the influence of whatever was available in/around our damp two up two down rental, we’d dance away to the Sisters, Birthday Party, Violent Femmes. Gigs were plentiful and it was in the Warehouse where I witnessed many by the likes of Luxuria, Pete Shelley, Xmal Deutschland and Violent Femmes. Prior to my early 80’s arrival in Leeds The Warehouse had a doorman called Marc Almond. Soft Cell played their first gig here.
Step forward to 2025 and, except for the addition of numerous neon disco lights across it’s ceiling the place doesn’t seem to have changed at all (or have they moved the bar?). Anyway, nostalgia trip over tonight I’m not here to relive my past but to witness a band who’s constantly evolving output seems to know no bounds. Actually, two bands blow me away tonight so let’s start with openers YAANG, the Manchester trio who are fast developing a well deserved reputation for their hard hitting, electronic post-punk, noise filled gigs.
They take to the stage shrouded in red light with a significant amount of haze and open with ‘Comfort’, it’s electronic drone giving way to a beat that propels you along punctuated by a guitar that cuts the atmosphere. YAANG’s sound is huge, filling every nook and cranny of this small venue with it’s head pounding beats. ‘Speed McQueen’ follows. Loud, brash, a sonic assault of electronic funk with a blistering punk rock finale that sees singer Davey Moore marching the stage, arms spread. Guitarist Oliver Duffy packs every ounce of energy he’s got into releasing a ferocious noise. YAANG’s set is short and to the point as they power through ‘Too Much Money’, ‘I’m A Leech’, the manically shouty ‘Airport Barfight’ with it’s glorious twangy guitar background and the infectious beats of ‘Til Morning Light’ before closing with the grinding epic that is ‘Horsepower Is God’. For 30 minutes YAANG have owned the Warehouse. Catch them while you can at a small venue because it won’t be long before they’re selling out places bigger than this in their own right.
Over the course of ten years Ist Ist have risen to the top of a post-punk genre that merges darkness, beauty and occasionally brutality. Their 2023 gig at Manchester’s Ritz was a masterclass in how to push forward with your own DIY ethos, uncompromising yet bringing on board thousands of fans. In Manchester they’re huge. May 2026 will see them play it’s Albert Hall so to still be able to see them in a venue such as The Warehouse seems like a privilege that won’t last too much longer. Their fan base continues to grow and those fans are dedicated. Many following them around Europe, many more attending multiple UK gigs every time the band tours. ‘DAGGER’, the band’s fifth studio album is due for release in February and with three singles from it already available it seems like Ist Ist are about to release some of their most powerful material to date.
Tonight they hammer through no fewer than 24 songs from across their existence. It’s a brave move by any band to feature six new songs in a set. Recent release ‘I Am The Fear’ opens the evening and within seconds the Warehouse is bouncing. Adam Houghton’s vocals deep, haunting over huge, pummelling beats. ‘Something Else’ follows and it’s massive, full of rolling drums and atmospheric keys before ‘Something Has To Give’ keeps the full on momentum going. Ist Ist don’t just concentrate on the recent. We’re treated to a whole array of absolute classics from their back catalogue. From the New Order tinged ‘Repercussions’, the glorious, powerful, emotional ‘Black’ from debut album ‘Architecture’ that has the whole place swaying and singing along. ‘Emily’ and ‘Mary In The Black and White Room’ just seem too big nowadays for a room this size. The deep vocals, the immense, charged atmosphere generated by the sounds from the stage deserving of venues much, much bigger than this. ‘Heads On Spikes’ simply soars. New songs ‘I Am The Fear’, ‘Makes No Difference’ – 100% Ist Ist but that bass riff is straight out of Hooky’s handbook, the huge, fast paced, punchy ‘Warning Signs’ (surely a hit in the making) together with the as yet unreleased ‘Burning’, ‘Makes No Difference’ and ‘The Echo’ fit seamlessly into what we’re used to at an Ist Ist gig but with a possible move towards a harder edge and punchier beats. Hard to believe ‘Architecture’ is now five years old. ‘Under Your Skin’ and especially ‘A New Love Song’ still packing an emotional punch, still ominous in their sheer beauty while ‘You’re Mine’ is the perfect main set closer with it’s irresistable, goth tinged, dance inducing melodies. Over 20 songs and it’s flown by, every person in the room hooked in by the perfect, hypnotic combination of swirling synths, guitars, the sometimes haunting, sometimes pounding bass riffs and drums. A reminder of just how many brilliant songs Ist Ist have.
They return for a two song encore. ‘Wolves’ builds and builds from it’s seriously dark, ghostly openings to it’s immense, cinematic finale before that unmistakeable bass riff courtesy of Andy Keating introduces ‘Stamp You Out’ and Ist Ist have every soul in the palm of their hands as they bring an immense night to a close. Tonight, once again, Ist Ist could do no wrong. Roll on February and the release of ‘Dagger’
Photos/words: steve white
