On its face, the choice to put a band the size of Vienna Vienna in a venue the size of Oporto in Leeds seems peculiar. That’s not to demean either, Oporto rightly has a reputation as an exquisite live music venue and Vienna Vienna would dominate any room they were put in. Upon arrival, the reason for this choice became clear. Leeds is a city with such a strong indie heritage, with the legendary Brudenell and contemporary indie heavyweights Yard Act combined with its strong pedigree of up and coming pop-punk with it being the home of Slam-Dunk, Key Club and up and coming bands such as National Citizens. Therefore, putting Vienna Vienna right in the heart of this, in a venue that has been a stepping stone for so many bands, the choice makes perfect sense. Upon arrival, the value of this choice became even more clear. The queue shortly before opening was out the door and ravenous fans encircled the area. It was clear anyone in a 70ft radius was here for one thing and one thing early. The place was full of bright and expressive young people who clearly all had a common cause in Vienna Vienna and before the support for the night in Neckbreakers had even taken to the stage, the room was full, boiling hot and ready for a night of music.
Vienna Vienna – Credit: Natasha Dobson
When the Neckbreakers took to the stage, their presence was ready and apparent. A lead singer dressed in sleek bejewelled black roaring ‘20s style was flanked by a tall figure borrowing Prince’s sleek suits, androgynous nature and razor-sharp cheek bones on one side and a newsboy-capped 90s fashioned diva on the other. Powering through a short, sharp set of powerful alternative pop tunes full of guitar solos, tight keyboard riffs and even Jimmy Sommerville styled vocal gymnastics, the set was a tour deforce of leaving your mark on a crowd. For their final song Neckbreakers revealed their secret weapon, a powerhouse trio of vocalists formerly hiding in the backing track. Accompanying the incredible power pop vocals of the lead, an angelic high pitch tone, amplified from the reverb appeared on the left and a Morrisey-esque tight throated warble on the right. This was also the only track of the bands set to feature acoustic guitar and that, combined with the slow build from borderline acapella to crescendo of noise and power, much in the vein of Bauhaus’ All We Ever Wanted Was Everything, ensured the final track left the crowd stunned, the rest of set was amazing, the final track was mesmerising.
Neckbreakers – Credit: Natasha Dobson
By the time of Vienna Vienna’s set, you would struggle to fit a bank card between crowd members. A buzz filled the air during sound check that became pure electric by the time the first note was played on Vienna Vienna’s guitar the place came unglued. On stage was simply Vienna Vienna their self and his trusty sidekick and drummer Dave, keeping the focus solely on the lead and their powerful vocals. At times their music found itself in Cure-like post-punk at others it veered into Green Day inspired pop punk all while maintaining their distinct brand of glimmer pop that feels both timeless and distinctively of the 2020s. Perfectly tuned for the British crowd with echoes of wet leg tinged alt and undertones of noughties British indie greats, Vienna Vienna had the perfect sound to get their music to translate across the pond. As Vienna Vienna worked their way through their over hour-long set, the sound shifted, Dave occasionally disappeared and returned to the stage, but the one constant was the crowds pure love of the material. Under every single song, there was a persistent, audible undercurrent of crowd members singing along. At times this was in the typically gig fashion of participation, but what was most striking was how so much of the time, the crowd felt like they were singing for themselves. With this, you could tell just how much Vienna Vienna’s songs meant to the people in attendance and the feeling was clearly reciprocated with Vienna Vienna visibly emotional and on the verge of tears at the end of the show through deafening cheers from an ecstatic crowd. Notable as well was the wonderful sense of queer community at the show. Never obtuse or even overtly acknowledge, the whole place felt like a safe space for the queer identify that Vienna Vienna champions through their personality, lyrics and performance.
Vienna Vienna – credit: Natasha Dobson
Vienna Vienna at Oporto in Leeds was a brilliant example of successfully marrying a band, a support and a location to create a truly incredible night. No one left that venue without a grin on their face and ringing in their ears. In the years to come when Vienna Vienna has inevitable ascended the ranks of Leeds venues to the Brudenell and O2 Academy and beyond, people will still talk about how amazing of a night their performance at Oporto was. There was a real sense that this was a proof of concept for them, and it is well worth keeping a trained eye on Vienna Vienna going forward so you can say you got in early before they blew up.
IMAGES: NATASHA DOBSON – https://www.instagram.com/n_j_dphotography/