Review by Aaron Whittington — SoundBite North East
Photo Credit: Dawn Kelly (editbydawn)
With I’ve Been Waiting already behind them — and the feeling that they won’t be waiting much longer — Leazes’ appearance at The Glasshouse arrived at a moment where momentum is no longer building quietly. Joined by Rye and Pollyfromthedirt, the night brought together three artists at very different stages of their journey, each reflecting the strength and individuality of the North East’s emerging music scene.
There are few platforms more important to emerging artists in the North East than BBC Introducing, and nowhere showcases that grassroots talent quite like their live gigs at The Glasshouse International Centre for Music. Sitting proudly on the Gateshead Quays, The Glasshouse has long been associated with world-class performances, but its BBC Introducing nights offer something different — raw, exciting, and often the first glimpse of artists who won’t stay under the radar for long.
Presented by Shakk, these gigs strip things back to what matters most: original music, authentic voices, and the energy of discovery. BBC Introducing has built its reputation on finding and championing new talent before the wider industry catches on, and its partnership with The Glasshouse provides the perfect setting. The venue’s intimate spaces allow audiences to experience artists up close, creating a connection that’s rarely possible in larger rooms. For many performers, stepping onto a Glasshouse stage under the BBC Introducing banner marks a significant milestone — a sign that their music is starting to reach beyond rehearsal rooms and local circuits.
For audiences, these nights offer more than just another gig. They provide the chance to say you were there early — before the festival slots, radio playlists, and national tours. The North East has consistently produced artists capable of breaking through on a national scale, and BBC Introducing gigs at The Glasshouse remain one of the clearest indicators of who might be next.
Rye
First up was Rye, and what stood out immediately was her control. She doesn’t rush her songs or force emotion where it doesn’t belong. Instead, she allows space to do the work, letting melodies breathe and lyrics settle naturally. Her voice carries a quiet intensity — never overstated, but always present. It’s the kind of delivery that holds a room without needing to demand attention, which is why her live performances resonate so strongly in intimate venues like this.
Her presence within the North East scene also reflects how open and collaborative it has become. Artists don’t need to be born here to belong here — they just need to contribute something honest. Rye has steadily become part of that fabric, performing alongside other emerging names and building momentum through consistency rather than hype. Each appearance feels like another step forward, another layer added to an identity that’s still evolving but already clearly defined.
Pollyfromthedirt
Pollyfromthedirt has built a growing audience through Spotify, where his releases have steadily connected with listeners drawn to his stark honesty and deliberately unpolished sound. Performing behind a mask and maintaining a strong sense of anonymity, he removes any distraction from image or personality, forcing the focus entirely onto the music itself.
Tracks like Cherry seeds and Darlos cowboys showcase his ability to turn everyday northern life into something quietly powerful, blending lo-fi textures with lyrics that feel both observational and deeply personal. What stood out most, though, were the more stripped-back moments towards the end, particularly his acoustic-leaning performance of There’s No Such Thing as England. With everything pared back, the mask almost added to the intensity rather than hiding it — creating distance visually, but drawing listeners closer emotionally. It revealed a vulnerability at the core of his songwriting, proving that even without identity at the forefront, his voice and words are more than enough to hold a room’s full attention.
Leazes
Tonight, Leazes needed no introduction. Much like their appearances at venues such as Think Tank, The Cluny, or The Grove, audience members arrived already wearing band merchandise — a clear sign of the loyal following they’ve built. Shouts of “Leazes” rang out in unison from the crowd, and lyrics were sung straight back at the band. The energy was immediate, the atmosphere buzzing from the outset, mirrored by lead singer Joe King’s constant movement across the stage.
Leazes delivered one of the most well-received performances I’ve seen at these BBC Introducing shows during my time attending. This performance came at a point where the band themselves are beginning to see the full rewards of their efforts — touring, headlining, and selling out venues. Their latest single, I’ve Been Waiting, feels particularly reflective of this moment, capturing both the journey and the sense of arrival. After a breakthrough year in 2025 filled with firsts and new opportunities, 2026 already feels set to push them even further.
This is a band that feels destined for bigger stages. Despite the growing recognition and momentum behind them, they remain grounded and appreciative of the support that’s brought them to this point. For anyone in the room unfamiliar with Leazes before the night began, they certainly weren’t by the time it ended.
BBC Introducing at The Glasshouse continues to operate on a pay as you feel basis, ensuring these nights remain accessible while supporting the region’s next wave of artists. The next event takes place on 18 March 2026, featuring Labyrinthine Oceans, Eternal Rin and PØRTERS — three artists already building momentum within the North East scene. You can find more information and attend here:
https://theglasshouseicm.org/whats-on/bbc-introducing-ftgh-18-03-26
Words by Aaron Whittington — Founder, SoundBite North East
Championing grassroots music across Newcastle and the wider North East.