With a slightly pessimistic forecast, this weekend we ventured to the second Together the People.  Built as a community-based family festival this year’s line-up was certainly eye catching. 

The only UK appearance of Brian Wilson performing Pet Sounds is a major coup alongside this is the appearance of Suede who are back with a new album and are always an amazing live act. 

With a fairly sparse and hesitant crowd we made are way through the gates. Amongst the falafels, real ales and the endless stream of bubbles, people sat and enjoyed the sounds. Some were more prepared than others; many had predetermined the weather and were complete with folded chairs and full wet weather gear. 

Up first was some new reggae by the wonderful Natty. The sun even made an appearance and for a while it was fairly Summery.  His band produce a warming dub bass sound which backed with his soulful voice and really started the festival off in the right way.   Someone who has already achieved great things is local legend Gaz Coombs. Fresh from the success of his album Matador he treated us to a solo set of his work as well as a few Supergrass hits thrown in, which the waiting crowd lapped up.  As the rain arrived we sought cover and were pleased to find Brighton based band Fickle Friends in a covered tent. Boosted by the large numbers sheltering the band treated us to some wonderful swirling synth pop numbers. 

Looking for more shelter we ventured into a smaller tent where Daniel Westford was performing. He gained fame through the Channel 4 series The Undateables, and what a refreshing change to witness someone simply performing for the joy of singing. The crowd were fully involved in sharing his joy. In a cynical fame and money hungry industry it’s nice to be reminded that for some singing and performing is enough. 

Boosted by that and before the last two main acts we changed direction completely and went to see confrontational hip–hop artists Sage Francis and B Dolan who brought an onslaught of vicious political and dangerous lyrics to a slightly stunned but receptive crowd. 

With the rain slightly easing away it was time for the wonderful Nathaniel Rateliff.  Fresh from a huge worldwide tour off the back of a stunning debut album he and the band made us forget the drizzle.  The sheer power of his voice along with the hugely infectious hooks soulful guitar went down a storm.  A foot stomping set proceeded to make us all forget the weather and was the perfect aperitif for Brian.  

With a full 11 piece band he finally arrived.  The crowd were damp but spirits high.  All the classic were here. 'Help Me Rhonda', 'Surfing USA', 'Good Vibrations'.  The voice not as crisp, the sound not as sweet but it didn’t matter.  The irony of listening to 'California Girls' in the cold windy rain kind of summed up being British.  We were transported via Brian and once he started Pet Sounds in full. 

The sing along to 'Wouldn’t it Be Nice' and 'God Only Knows' were wonderful it’s just a shame the rain decided to join in.

It's been a good few months since the outstanding Franklin Fest (if you missed it, shame on you!), and I can’t think of a better way to kick off the new season than by opening with two local bands. Hot (relative) new-comers The No-Things, and legendary garage and beat merchants The Thanes. How lucky are we?

It's a packed shack tonight as The No-Things take to the floor. The No-Things are no stranger to The Franklin or Muso's Guide. They’ve played here a few times before, so this is really home turf for them. We have reviewed them on several occasions over the past year or so, and there are no surprises in store tonight, expect a brand new song. The band are on form, and sound as good as ever; entertaining, loud, fun, and more than capable of writing a good tune ('Diamond Ring' is still in my head two days later). They are also great crowd pleasers, and frontman Laurent Mombel - shaking his maracas don't you know - indulges the young and exuberant stag party that are in attendance tonight, dancing their socks off down the front.

In between times we are treated as per usual to some sexy sixties sounds from resident DJ, Tony Two-Eyes, and then without further ado…

Masters of the universe. That was the thought that popped into my head as The Thanes took to the stage. It's always a real treat to hear them play, and they do so with real wholeheartedness. Their self-penned numbers are just as good as the covers. The beautiful 'Darker Nights', 'In God I Trust', and the sublime 2013 single ‘She’s Coming Back To Me’, and they do this so effortlessly. They are on top form as always.

On the covers front, they take us on a journey through some of the different genres of ‘60s music. The shack goes crazy for The Guess Who’s ‘It’s My Pride’, Them’s 'Gloria', some Nederbeat with Q65's gem 'Nightmares' and freakbeat with The Answers 'It's Just A Fear'. They end with the spine-tingling 13th Floor Elevators favourite 'You're Gonna Miss Me' (Helsing’s screaming on a par with Erikson) this being their third(?) encore. A fitting end to a brilliant night*        

The No-Things have a new LP out soon on Soundflat Records (I’ve had a sneaky listen, and it’s very good). The Thanes will be playing at the Berlin Beat Explosion this Saturday, 10th September. The Next Franklin Rock ‘N’ Roll club on Saturday 24th September sees the return of Garage Punk Blues peddlers The Bonnevilles supported by Edinburgh’s best-est punk/psychobilly/rock 'n' roll/rockabilly trio, The Phlegm. Only £5.00 on the door, and cheapo drinks served by the lovely Brenda - you’d be an absolute fool to miss it. 

*apologies, I was too busy dancing to give a more indepth review :) 

With love and thanks to Kerry Robinson for the use of the photos. 

Where Leeds was once a bastion for a more alternative North, recent years have seen the festival diversify to such an extent that it now feels like a very different event from that of a few years ago. This isn't to the festivals detriment of course, times and tastes change and companies (such as Festival Republic) have to adapt.

With adaptation however, comes the risk of alienation, and while Leeds Festival embraced the populist shift towards more electronically driven acts, much of the core fan-base, those that once decorated Bramham Park with their multitudes of sick, discarded beer cans and pierced, prostrate bodies with an almost religious zeal, have headed for the different (though arguably no greener) pastures of Download or further afield.

Of course, some of that are that faithful contingent still make their annual pilgrimage, joining the new guard of punters whose tastes might not be as alternative, but still manage to ornament the site in much the same way. And though the festival's larger stages do seem to have taken on a more mainstream approach, those looking for a little weight with their cider black need only look to the smaller stages further down the bill to find some pleasant surprises, allowing for both generations this year to have their cake and eat it, providing they didn't mind a little mud alongside.

Such was this year's diversity, that the only stages harbouring any distinct personality were the Lock Up/Pit and the BBC 1xtra tent (a recent addition which embodies just how diverse the festival has become). The once indie-centric NME Stage saw the likes of Blossoms precede the liquid sounds of Netsky, while post-punks Basement took to the stage before Manchester's Spring King. Elsewhere it was much the same. Saturday saw grime crew Boy Better Know warm-up a wet Main Stage for an even wetter Chvrches.

That said, while it did mean a fair amount of walking through ankle deep mud to go from stage to stage (resulting in many a skipped meal for fear of dropping an £8 burger in to a cocktail of straw, sludge and cider) it did mean much of the main crowd was more eclectic than usual, preferring to stay in front of the of the dry-by-comparison stage.

Frank Turner and the Sleeping Souls drew their usual wide range of fans for a recording breaking tenth consecutive year, opening the Main Stage on Saturday morning with an uplifting and emotionally charged hour long set. It was Die Antwoord however, that drew the most diverse crowd. And it was clear from the look on many people's faces that phallic imagery and South African Rap Rave aren't quite to everyone's tastes.

It was however, to ours. Just a couple of rows from the front, the band's anarchic set was easily a weekend highlight. The trio segue through tracks old and new with a chaotic and wilful abandon that easily marks them as future headliners; the deft dichotomy of Yolandi Visser's imp-like falsetto and Ninja's aggressively nasal bars, playing out against a backdrop of hard-hitting electronica dropped furiously by the deity-cum-producer known only as GOD, proves an impossible act to follow.

As far as headliners go, this year saw organisers booking co-headliners for the Main Stage on both Friday and Saturday. The former offering both Fall Out Boy and Biffy Clyro while Saturday gave us Foals and Disclosure who, showing our age, we forgo in favour of gin and Maximo Park. Both Biffy Clyro, and to a lesser extent Fall Out Boy, are Leeds veterans by now, something was immediately apparent in their sets. But while Biffy still retain a certain air of rock and roll danger, Fall Out Boy are far too polished, mechanical even. And though an impressive stage show involving pyrotechnics and burlesque dancers suggests the band are well and truly in the realms of rock royalty these days, it does just seem like just another show. For someone who remembers them as a fresh-faced pop-punk band even before they were an emo band, it's all a bit much to take in.

Unfortunately, however, the only real, and arguably biggest, disappointment of the weekend comes from easily the biggest band there. Headlining Sunday night, Red Hot Chilli Peppers drew a monster crowd, stretching from the barrier right back to the food stands. From in the middle and off to the left, it was clear from about three songs in that they weren't exactly meeting people's expectations. At first it was just teenagers, saucer-like eyes seeming to swivel in search of a higher BPM. Then it wasn't. It was families and couples; a large amount of people for less than half way through their set.

In terms of set-list you couldn't ask for more. But early sound problems plagued the likes of 'Dani California', 'Scar Tissue' and 'Can't Stop' (the back end all but drowning out everything else), and though seemingly sorted by the half way point and 'Snow (Hey Oh)' the band still lacked the energy they're famous for, instead spending what felt like hours lazily noodling as if they were the house band at a jazz bar. We know you're a funk band at your core, but get the fuck on with it!

Despite feeling like a very different festival to the one I first walked through as a teenager, Leeds still manages stay relevant by moving with the times and adapting to suit it's demographic(s). For almost 20 years it's been a playground for beautifully delinquent northerners who once a year can lose their inhibitions, and if this year is anything to go by for some people: shoes, sleeping bags, sense of self respect. It's loud, tiring and messy, but will I be back next year? Too right.  

Day Three at Way Out West begins with us stuffing our bags full of waterproofs borrowed from friends and by putting on pairs of wellies (also borrowed).  We’re taking no chances after yesterday’s drubbing.  

Our first stop of the day is to see Amanda Bergman perform on the Höjden stage.  She plays lots of tracks from her debut album as an artist in her own right, Docks.  Golden' is stupendously good live and her dulcet tones are as striking as ever.  We leave her set halfway through so that we can catch Daniel Norgren and later learn that both The Tallest Man on Earth and First Aid Kit joined her onstage later in the set. Of course!

Thankfully, Daniel Norgren’s set on the Linné stage is so good that we don’t regret making a move at all. The tent is absolutely crammed full and the audience gives him the warmest reception of the weekend so far. Daniel runs through a packet set that features plenty of tracks from 2015’s The Green Stone. He’s really unassuming, humble and looks delighted by the fact that so many people have come to see him play. When he launches into closing track 'Whatever Turns You On', the tent erupts in cheers and everyone is jumping. It’s a treat to watch.

From one rollicking set to another, this time courtesy of Eagles of Death Metal. They are awesomely entertaining and it’s great to see a band who are clearly delighted to be on stage performing together. Boots Electric is as charismatic as ever, regaling us with anecdotes about being sent to a psychiatrist by the band who suspected him of being incapable of love and, at one point, proposing marriage to Davey Jo Catching. It’s a dose of good ol’ rock n’ roll, and like tipsy folks in a dive bar, the crowd is all over it.

After that raucous onslaught we tone things down by checking out Beth Orton. It’s years since I last saw her live and her voice as great as always. She appears shy at first, telling the audience that she’s nervous about she’s getting it wrong when she says "tack" (thank you), but she relaxes into things as the set continues. It’s great to hear tracks from her most recent album Kidsticks and tracks like 'Petals' and '1973' — if only everyone could release such great material 23 years into their career. After Orton’s set we check out two popular Scandinavian acts: the Norwegian Ane Brun and Swedish Deportees. Brun is wearing the kind of outfit I’d sell my granny for (an awesome orange pantsuit) and the energetic, upbeat tracks from When I’m Free land perfectly with the crowd. Deportees arrive onstage to a rapturous welcome from both the crowd and the heavens: as the crowd roars their approval, the skies open and drop what seems like an ocean’s worth of water on our heads. It can’t dampen anyone’s enthusiasm for tracks 'Love me like I’m Gone' and 'Islands & Shores', though.    

Our last band of the festival proper is Massive Attack & Young Fathers, who play second to last. They’re on superlative form and it’s an amazing gig, with presence of Young Fathers really turning things up a notch. It’s a heavy, industrial, grinding set accompanied by a light show that looks spectacular in the fading light. 'Inertia Creeps' is a standout, along with the throbbingly heavy version of 'Safe from Harm' that closes their set. At the end of the, the video screen flashes up “Je Suis Charlie” and then cycles through the other cities that have been victim to recent terror attacks. It’s horribly ironic that, in politicised set that challenged people’s passivity in the face of the world’s problems and their preference for reading gossip columns over headlines, the message is lost as a huge crowd rushes towards the Flamingo stage to see Sia’s headline set. As for that, we stay for about 7 ½ seconds and then decide that we’d rather swing from the chandelier of a nearby pub.  

After-hours, seeing as it’s the final night of the festival, we decide to venture out to Stay Out West. We head over to Pustervik and check out Cloves on the venue’s Lilla stage. She gives a great performance that’s full confidence and plenty of soul. The tracks from EP 'XIII' work really well with electric guitar and she takes things down a notch with a few acoustic numbers. The crowd, quiet at first, are quickly won over — if phones in video mode and raucous applause are anything to go by. After that we head downstairs to the venue’s main stage for Niki & The Dove. I’ve had their most recent album Everybody's Heart is Broken Now on high rotation since it was released and had high hopes. The gig’s a bit of a disappointment as they come over as being as much about the gimmicks as the music. There’s no need to dress up as Cyndi Lauper when the tracks are good and it’s a shame that they rely on fannying about vocoders and club beats to get the crowd on side at the start. We finish off the night by going to see punk stalwarts The Damned. This involves hopping on a tiny ferry across the river to Gothenburg Studios and being adopted by some drunk lads who interrogate us about whether we play Pokemon Go while they google directions to the gig. The Damned are just what we needed to finish off the festival: they’re aggressive, gutsy and play the hell out of their instruments as they hammer their way through tracks like “I Just Can’t Be Happy Today”, “Ignite” and “Neat Neat Neat”.  By the end of the set, no-one in the crowd is standing still. At 3.45, we stumble out of the Studios as the dawn’s first light breaks across the sky.