There’s something special going on in the city and, more widely, in West Yorkshire at the moment. It’s been the ‘go to’ place for a while now but this is something different. The saying goes ‘if you seek his memorial, look around’ and there is of course no proof, but I do wonder whether the mercurial Marcelo Bielsa has left a legacy in these parts that transcends football and sport. There’s a positivity, a sense of community, a sense of belonging, a sense of aspiration…and a random Thursday in July more than proved it – even in the face of another rail strike.

Oporto was sold out. Always a good sign but never the norm. On entry you could have been forgiven for thinking it was a ‘dads and lads’ (and mums) night out, but in reality it just showed even more how supportive and driven this city is. Huge credit needs to go to This Feeling for yet again giving local, up and coming bands the chance to showcase their talent. Both bands grabbed this opportunity with both hands and didn’t disappoint.

First up were Empire. Their website talks of them playing ‘cover versions of popular tracks to suit most occasions’ and ‘music from artists like Queen…’ alongside them being a rock/indie band. They are underselling themselves. Anyone who has supported The Rosadocs has more than something original to offer and there was certainly no need for a rendition of Radio Gaga on the night.

There’s a real range of genres and styles here and, to be honest, I can see why they reference some of their influences. A cleverly balanced five piece ensemble, they rely predominately upon guitars and the single, melodic voice of frontman Noah Clegg, but use the keyboard skills of Alex Fairhust in a subtle yet conservative manner. This is also true of the harmonies provided by drummer, and sometime guitarist, Dylan Fairburn. For such a young band their set is about as eclectic as you can get within an indie rock bracket. There’s Wombats/Arctic Monkeys style songs such as Truth Behind The Lies, gentler drifting tunes such as Honestly and balladic numbers like Angeline. All of this is held together by the bass of Bailey Walker with Charlie Berry adding value with his guitar work.

There’s a confidence here; sense of bravado and swagger that has clearly been earned through the range of events, venues and occasions that they’ve played. They’re comfortable enough to banter with the crowd and weren’t phased when there was trouble tuning Clegg’s guitar, choosing to forgo it for the duration of a whole song, relying on their depth as a group. Impressive. Their penultimate number, Last To Leave Your House, arguably showed off their versatility best whilst their closing song, Angel Woman, demonstrated their edgy sound and why they have a growing youth following.

Empire have amassed quite a catalogue on streaming sites already and even have a demo album God Bless The Empire. They clearly love what they do and their enthusiasm was well received. Keep your eye on these lads.

After a quick stage reset it was the turn of The Avelles. This was their first headline gig but not their first time gracing the Oporto stage. Things have changed slightly for them since last time, however. What was then a mingling of ten people has become a packed room of followers, hungry to see and hear these five Leeds lads play their hearts out. You could tell they meant business from the stage walk…gone were the overshirts, replaced with vests and tees; intent signalled, guitars tuned. The band are certainly growing in reputation; tonight’s showing will swiftly be followed by a set at Ynot Festival at the end of the month and they’ve already supported the likes of Trampolene and The Lilacs, gaining not a little critical acclaim for their efforts.

The set starts with Honestly, the opening track from their Somebody, Somewhere EP. It has the crowd hooked instantly and the energy doesn’t stop from here on in. Hacienda follows suit and demonstrates the band’s ability to chop and change lead singer between Joe Priestley and Charlie Miller whilst they also both juggle rhythm guitar duties. It’s a fine start and gives us an insight into why they are currently making noises with their upbeat indie sound.

What follows is somewhat unexpected. Resembling a scene from a James concert in anticipation of the staple Sit Down, we are all ushered to the floor before we are treated to a fine rendition of Amy MacDonald’s classic This Is The Life. Unexpected, but totally welcomed. The audience lap it up and it’s just another example of the strong band to fan relationship that exists here. After returning to our feet we are then taken through a new song, Brazil, before the jangling guitars of Ethan Shaw and the shared vocal high notes kick in with Felicity. There’s some clever percussion work here from Patrick Doherty that keeps the keeps the song flowing but also gives it permission to change direction once or twice. All is smooth, all is well, all is as perhaps expected as the Menston high school alumni revive their first single, Caught. Reviewed on here before, it’s not lost it’s edge and has perhaps somewhat matured with time.

As I said, all was as expected. But then a twist, a detour and an accomplished cover of the Kings of Leon hit Use Somebody. It goes down a storm, with the bass of Will Priestley front and centre as it has been all evening. Another song from their EP, 10.45, is preceded by a ‘dad joke’ that should be left to, well, dads, before Thing For Leaving rounds the evening off. It’s a wonderful finish. A crescendo of sound and an intricate weaving of musical skills that begin to belittle the definition ‘guitar band’. It’s a celebration of sorts and a recognition of how far the band have come and a thank you to all that have supported and backed them.

We go back to where we started. No one is moving, no one is leaving. Everyone wants a slice of the band and a piece of the evening. It’s like one big family party…and it’s great to be a part of. There’s recognition, there’s ambition and there’s hope. The first step on the musical ladder? I think they’re already halfway up it!

Vamos!

Words and pictures by Duncan Grant