Review: Bradley Simpson & Nieve Ella Ignite Leeds Beckett with Catharsis and Revelation

Bradley Simpson, former frontman of chart-topping pop-rock quartet The Vamps, has always thrived in the spotlight—but at Leeds Beckett Students Union last Thursday, he proved that stepping out solo has unlocked a new, electrifying dimension of his artistry. Midway through his UK and Ireland tour promoting his debut solo album ‘The Panic Years’ (2024), Simpson transformed the intimate venue into a playground of raw emotion, indie-rock grit, and unscripted connection. Supported by rising alt-pop phenom Nieve Ella, the night was a masterclass in alternating softness and grit, which saw the alchemy of two artists bridging generations of British indie influence.  

The evening began with warm-up act Nieve Ella, alongside Finn Marlow. The Birmingham-born artist’s viral rise has positioned her as one of 2024’s most thrilling new voices. Armed with a guitar and lyrics that cut like confessions, Ella’s opening set blended the poetic intimacy of Phoebe Bridgers with the swaggering hooks of Wolf Alice. Opening song ‘Car Park’, heard in show ‘Heartstopper’, set the intimate tone. The crowd, a mix of diehard Simpson fans and Ella’s own Gen-Z devotees, roared with enthusiasm.

When Simpson took the stage, any lingering nostalgia for his pop band roots evaporated. Now 29, the Leicester-born artist has traded The Vamps’ polished pop for a sound steeped in 2000s British indie—a smash-up of Libertines’ wildness with the more poetic gloom of Arctic Monkeys’ ‘AM’ era. Kicking off with fiery opener ‘Can’t Stand the Heat’, a Queens of the Stone Age-inspired rager complete with thrashing guitar solos.  

The setlist was a deliberate tightrope walk between introspection and rebellion. What defines Simpson’s solo era isn’t just the grittier sound—it’s his willingness to dismantle the fourth wall. Mid-set, he ditched the stage entirely, wading into the crowd for an acoustic rendition of ‘The Bands Aren’t Breaking Up.’ Fans became hushed and quiet, iPhones abandoned as he sang the bittersweet ballad (a cheeky nod to The Vamps’ indefinite hiatus) with zero amplification. The phone-torch moment of ‘Holy Grail’ only deepened the quiet, soulful ambience that characterised the evening. 

Simpson saved the biggest fireworks for his reunion with Nieve Ella. Returning to the stage for ‘Glory Days’, their chemistry shifted from playful rivals to kindred spirits. The pair traded verses like veterans, Ella’s smoky vocals harmonising with Simpson’s rasp as the crowd shouted every word. It was a fitting moment for a tour that’s seen Simpson embrace collaboration over competition—a far cry from the ego-driven narrative of ‘Favourite Band.’

Bradley’s final song - ‘Carpet Burn’ - saw an outfit reveal that sent the Leeds crowd wild. Strumming away in his ‘Leeds’ vest, the angst-filled track united the crowd under Simpson’s surprisingly soulful vocals. This wasn’t the cheeky teen idol of 2013; here was an artist unafraid to mine his insecurities for art, to swap stadiums for sticky-floored student unions, and to let a 21-year-old opener steal scenes.  

Simpson’s ‘Panic Years’ era feels so much more than a hard rebrand—it’s a reclamation. By marrying the hooks that made him famous with the raw authenticity he’s long craved, he’s crafted a live experience that transcends genre. As Leeds’ sweat-drenched crowd spilled into the night, one phrase echoed through the chatter: “That’s how you grow up without selling out.”  

For those mourning the old Vamps days, take heart—Simpson hasn’t abandoned pop. He’s simply outgrown its training wheels. And if nights like this are any indication, the panic years might just be his golden ones.