With her first year in Leeds drawing to a close, talented young artist Lydia May headlined her first show in the city at The Lending Room last week. Natasha Elsworth says that from signing with Beyond The Melodies The Label, to the release of her new single, Social Cues Lydia has firmly put her stamp on the Leeds music scene.

This summer will see her EP release, a recording session at the famous Abbey Road studios and will culminate with appearances at Glastonbury.

Lydia’s show highlighted what this Australian-born artist was capable of. Working alongside the charity Women’s Health Matters Leeds, half the proceeds from the evening was donated to creating paths of freedom and a better life among women, issues close to the artist’s heart.

Followed by the female lead of Jemma Crane in managing the Beyond The Melodies The Label, and supported artists Lola Simms and Tinesha Kinley, the evening highlighted feminine figures perfectly.

The energies of love, support and passion were reflected by the audience as my initial impression on entering the lively venue was one of great warmth. On stage, Lydia remained on brand by carrying her themes of red and black into her band’s wardrobe choices, the design of her wristbands and even down to the tiny red heart painted on the artist’s cheek. The show featured Lydia’s distinct pop/mainstream rock sound, channelled by nostalgia as she touched on some of the issues she faced as her younger self – her first heartbreak and never quite fitting in.

With her touching performance of Prom, she opened up on how her own prom night was spent at home writing the song in her dress, after seeing her boyfriend kiss her best friend. This vulnerable angle connected the artist with her audience perfectly and she was joined on stage by a guest performer on keyboard who was her childhood friend and the one who supported her through this time in her life.

Lydia’s carefully crafted lyrics had me engaged with her poignant choice of words. She made slight jokes and references to her life throughout her music, with my personal favourite being the sense of popularity she experienced as a child when breaking a bone, highlighted in the single Social Cues. “Tried getting into sports, and broke my arm, felt cool when people signed it though, and then they took off the cast,” she sang.

A coming-of-age feel was brought to the set by following a transition of upbeat and careless energy by the artist with her more time relevant tracks. Stating “left hand in the air and middle finger up to the people you don’t talk to anymore”, lifted the room, ready to end the show on a high.

Permission concluded Lydia’s set with a red lit stage, defining a level of intimacy which had been explored by the artist’s stage presence and body language throughout her show. Various levels of body positivity were portrayed in how she held and moved herself, leaning into what can be described as a male gaze. However, her confidence and control showcased her flirty personality among her peers and audience, even though her parents and cousins were in the audience.

Lydia’s ability to effortlessly transition from high-energy, foot-stomping numbers into soul-stirring ballads, while maintaining her lovable character, showed the up-and-coming artist’s true potential.

Lydia May is everything the 10-year-old me dreamed of, whilst singing pop songs into my hairbrush to an audience of teddy bears. I left the Lending Room that night awaiting future releases and new shows from Lydia and her band. She is the artistic empowerment I have been searching for.