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About this concert
We asked an AI language model to write a bio for our band in the voice of Forrest Gump:
“Well now, let me tell you a little somethin' about Real Estate, that there American indie rock band. They started back in 2009 in Ridgewood, New Jersey. You see, they got this real nice sound, all laid-back and melodic. It's a mix of indie rock, jangle pop, and dream pop, just like a sweet little tune floatin' in the breeze.
Real Estate was put together by a fella named Martin Courtney, who sings and plays the guitar. Then you got Julian Lynch strummin' another guitar, Alex Bleeker holdin' it down on the bass, Matt Kallman ticklin’ those keys, and their drummer, Sammi Niss, keepin' the beat. They all came together and made some mighty fine music.
Their first album, self-titled 'Real Estate,' came out in 2009 and folks loved it. They said it had these sun-soaked melodies and lyrics that make you think about life. After that, they put out another album called 'Days' in 2011, and it made 'em even more popular. People really took a likin' to their laid-back style.
In 2014, Real Estate released 'Atlas.' Oh boy, it was somethin' special. The music was so pretty, like a dream. It had all these fancy instruments and thoughtful themes. They just kept on goin' with albums like 'In Mind' in 2017 and 'The Main Thing' in 2020. Each time, they grew and showed their skills as musicians and songwriters.
Real Estate has been all over the place, playin' their tunes for folks far and wide. They've been to North America, Europe, and other parts of the world. People can't get enough of their easy-goin' melodies and heartfelt lyrics. It's like takin' a stroll down memory lane, thinkin' 'bout life and all its twists and turns.
Real Estate's sixth full-length album, ‘Daniel,’ well, they cooked it up in a lively nine-day spree down in RCA Studio A in Nashville, hangin' out with the famous producer and songwriter, Daniel Tashian. In 11 catchy tunes, they kinda blend the wild excitement of their early days with the wisdom that comes with bein' all grown up.
Now, here's the funny part. While they were in the middle of cookin' up this musical feast, all five of the Real Estate folks were sittin' around chattin' about what to call the album. And you know what someone said? "Daniel." Yep, just like a regular human name. Why? Well, maybe it was a nod to the producer, Daniel Tashian. Or perhaps a tip of the hat to The Replacements' Tim. Who knows? But one thing's for sure, it's the mark of a band that's been around the block long enough to take their music seriously without takin' themselves too seriously. Ain't that somethin'?"
Venue Info
Bringing everyone together through legendary nights in Leeds since 1967: it’s what we do.
Leeds Union Events is your official box office for gigs, club nights and festivals happening in the middle of campus at Leeds University Union.
Our stages have hosted some of the most unforgettable bands and singers across the decades, including Led Zeppelin, Bob Marley, The Clash, The Killers and Queens of the Stone Age. We continue to bring legendary nights to Leeds with the latest artists, and up-and-coming performers.
Our venues continue to be award-winning. We’ve got 100% in Best Bar None and the Refectory is marked with a blue plaque as a legendary gig venue. Not bad for a not-for-profit where all the money we make goes straight back into making sure our students love their time at Leeds!
Whether you’re a student, live in Leeds or further away, you’re welcome to join us in coming together over our love of great music and unforgettable experiences.
Access Information
The Union building – although challenging, is accessible with lift access across all floors of the venue and accessible gender-neutral WC’s available in each venue.
The Union building is set-out on six levels but there is either ramped or lift access to every level with the distance from the main entrance to the furthest part of the venues approximately 200 metres.
We have drop-down bars in all of our venues.
Getting Here
Parking:
Parking is very limited close to the Union building and is on-street only, however, provision is available close to the Union entrance – between 10 and 40 metres, for up to six blue-badge holders.
Please note – additional Blue Badge parking is available on Campus – around 500 metres away, within the Leeds University Multi-storey car park should the spaces by the Union be unavailable. Additional spaces are also provided off-Campus at the Woodhouse Lane Multi-storey. All parking options are listed here.
Other Transport:
Walking: The University campus is approximately one mile from Leeds city station. Download the University walking and cycling map of the surrounding area.
By train, bike or bus: Leeds station connects us with all major UK cities and has a fast and efficient London service. For train information and timetables visit the National Rail Enquiries website. There are a number of excellent bus services in Leeds. Visit the West Yorkshire Metro website and First Leeds for timetables and general information. There is also a city bus which stops at the bus and train stations and the southern end of campus (near the back of Leeds General Infirmary A&E) every 10 minutes from 06:30 – 19:30 Monday to Saturday.
Visit the National Express website for details.
Customers With Medical Needs:
We welcome attendees who need to bring medicines, food or drink to manage medical conditions, or medical equipment. Please contact our access team if you have any concerns.
Assistance Dogs: We are proactive on the use of assistance dogs and can provide water and other facilities should you require them.
Strobe Lighting: The venues do include strobe lighting and other ‘flash-based’ effects as standard. In addition, as many of our events include aspects of ‘toured production’ – which are outside of the venue’s control, we urge you to contact us for more information on an event-specific basis at the earliest opportunity.
Toilets:
We have an access toilet on almost every floor of the building.
All of our toilets are accessible by lifts, which means whichever venue you’re in, you’re never far from your nearest accessible toilet.
Baby Changing Facilities: Our accessible toilets are equipped with baby changing facilities. We also have a dedicated changing place.
Booking Access Facilities:
Please email us at access@leedsunionevents.com to arrange booking any access facilities.
Accessible Ticketing: Every accessible customer is entitled to one free companion ticket with their purchased ticket. Please email us at access@leedsunionevents.com to arrange.
Accessible Viewing Platform: All of our venues have a designated accessible viewing area.
Please note: there is limited space in this area, and it is reserved on a first come, first served basis.
Wheelchairs: We have space for 4 wheelchairs per event in our venues. Please note: there is limited space in this area, and it is reserved on a first come, first served basis. Please email us at access@leedsunionevents.com to arrange a space.
Priority Entry: This will allow you access 15 minutes early entry prior to doors, so you can find a suitable position that is comfortable for you. We also provide this for all seated and wheelchair spaces.
Seated Spaces: We can provide seated spaces for anyone who needs them. These are booked on a first come, first-serve basis so sometimes they are not always available. Please let us know in good time if you require a seated space and we will confirm this with you. Please note that any companions will not automatically be provided a seated ticket, as these are of limited availability, we always reserve these for those with accessibility needs. Companions are however welcome to stand in the seated area.
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What fans are saying
Cliff
17 de abril de 2024
Real Estate is one of the criminally under looked bands of the last twenty years. The set was tight and crisp for the most part. Hopefully they do more touring in the future as they barely scratched the surface of their extensive catalogue of catchy and hypnotic tunes. The venue itself is cool other than the staff being a little aggressive and edgy for some reason. Great sound though.
Philadelphia, PA@Union Transfer
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Real Estate Biography
A band for 15 years now, with a half-dozen records to its canny name, Real Estate knows how the press cycle inevitably goes: Someone somewhere at last had a realization about what their songs needed to say and how they should sound, so (at least according to brief biographies like this one) they finally made the best album of their career. But here’s the thing: Real Estate has been so consistently compelling for those 15 years, with their coruscant indie rock shuffles perfectly reflecting the spellbinding glow of suburban ennui, that they know when they have done it. That is, they know when they have written songs that shimmer and fetch and radiate despite or because of the gloom lurking in their grooves. It is the gift and curse of self-awareness, of sticking together since childhood.
So Real Estate, in turn, needs you to know that Daniel—their sixth full-length album, recorded in an ebullient nine-day spree in RCA Studio A, in Nashville with celebrated producer and songwriter Daniel Tashian—is quite possibly their best album. In 11 compulsively tuneful songs, they connect the uninhibited wonder of their earliest work with the earned perspective of adulthood. What more could you need from Real Estate at 15?
Martin Courtney knew he wanted to write a pop record, a set of instantly accessible songs where the chorus arrived in, say, the first 40 seconds. During the last decade, or essentially since making Atlas, Real Estate did what was only natural for any beloved and freshly aging indie rock institution: They gently pushed back against praise as an effortlessly melodic and quietly radiant band. Colors darkened. Textures curdled. Songs stretched toward the six- and even seven-minute mark. But what if, as Courtney and cofounder Alex Bleeker often say these days, they again just “Let Real Estate be Real Estate,” to shimmer and fetch and radiate without hesitation or second guesses?
Courtney actually learned of Tashian through his daughter, who adored an album he’d produced, Kacey Musgraves’ Golden Hour. The band reached out and spotted an instant connection despite their distinct wheelhouses—the Grammy-winning Nashville country-pop guy who’d helmed several smashes and the Northeast indie rock quintet with narcotic guitars. Real Estate had never really worked with anyone who wasn’t already a bud. There in Dave Cobb’s famous Nashville lair, Tashian was not shy with his outsider advice about how to boost this song or that one, even playfully throwing the occasional candy bar to emphasize he wanted to hear more. Real Estate had been thinking about R.E.M.’s Automatic for the People and ’90s “soft-rock radio,” the background music of their youth. Tashian helped lead them back toward it, toward an improved edition of the less self-conscious band they’d been at the start.
Daniel certainly sounds like classic Real Estate, simply leveled up with the subtle but unabashed touches of a producer who has actually lived inside pop powerhouses. The chiming guitars and plaintive verses of “Haunted World” summon the band that first emerged to acclaim in 2009, with Courtney doing his best to sing his way around existential confusion. But in the chorus, dexterous instrumental harmonies (that’s Nashville ace Justin Schipper on pedal steel) and faint backing vocals propel the song anew, its tight hook snagging in a second. Tashian suggested they fortify the refrain, and he was right.
Or there’s the marvelous thrum of “Airdrop,” with Bleeker’s busy bass and Sammi Niss’ insistent drums pushing Courtney into the wistful chorus as if he’s riding a hang glider. “The sun went down/We let it,” he sings four times to end the song, the lines essentially built to be cooed back at him from a crowd. “Never been so contented/I won’t ever forget it.” That’s Real Estate’s long-relatable smiling sadness, lifted in proper Music City style. Listen, too, for Real Estate’s squiggly versions of classic Nashville licks during “Flowers,” where the mercury of pedal steel and the twinkle of a Wurlitzer illuminate acoustic strums like stars in the night sky. A song of dislocation and constancy, it’s a reminder of the common way we use music no matter the genre or scene—to find our way forward.
Daniel is a complete string of these compulsive moments: the crisscrossed harmonies of “Water Underground,” the delightful sway and rise of “Market Street,” the enchanting but deceptive simplicity of “Interior.” Real Estate manages the rarest of pop tricks here—to sound effortless but be artful, with all the flourishes and tricks tucked so smartly into songs that you only spot them when you unpack what makes all the tunes so winning and sticky.
But this, of course, is not the Real Estate of their MP3-blog salad days. Four members are married, with Niss in a long-term relationship. There are actual kids in the equation now. And the world outside has darkened considerably in 15 years, in all those ways that require no recounting here. Time and again, Daniel wrestles with that juxtaposition—external alienation and madness, internal responsibility and hope. These are songs of confusion, of trying to find a way to be present and better in broken times. “Now and then, I can pretend the sun is shining,” Courtney admits during “Freeze Brain,” the keys of Matthew Kallman and guitars of Julian Lynch framing a lambent haze around him. “Let’s let some light in.” Ain’t that the struggle, to find some joy despite all the forces that filch it from us?
In Nashville, all five members of Real Estate shared a rental, cutting up in close quarters after the imposition of separation of these last few years. Several days into recording, they were discussing album titles when someone suggested “Daniel,” simply because it seemed funny to bestow a human name upon a record. Was it for Daniel Tashian? Maybe. Was it a nod to The Replacements’ Tim? Possibly. Was it the sign of a band that has now been around long enough to take its music seriously without taking itself or its perception too seriously? Absolutely.
Daniel is a record of wonderful pop songs, its string of hooks and stream of worry irresistibly connected in the way few bands have ever done better than Real Estate. But perhaps just as important, it is an expression of the self-acceptance that can come with maturity, with realizing it’s enough to be who you want to be. “What is it that you want to hear? There’s only so much time,” Courtney croons during “You Are Here,” Daniel’s ingenious and strutting finale. “Best we can do is be happy here/Sing another line.” It is a mission statement for Real Estate at 15, a reminder that they are the band of their childhood dreams and that is cool. To that end, they’ve never been better at being Real Estate than they are right now, on Daniel, their new best album yet.
Ler maisSo Real Estate, in turn, needs you to know that Daniel—their sixth full-length album, recorded in an ebullient nine-day spree in RCA Studio A, in Nashville with celebrated producer and songwriter Daniel Tashian—is quite possibly their best album. In 11 compulsively tuneful songs, they connect the uninhibited wonder of their earliest work with the earned perspective of adulthood. What more could you need from Real Estate at 15?
Martin Courtney knew he wanted to write a pop record, a set of instantly accessible songs where the chorus arrived in, say, the first 40 seconds. During the last decade, or essentially since making Atlas, Real Estate did what was only natural for any beloved and freshly aging indie rock institution: They gently pushed back against praise as an effortlessly melodic and quietly radiant band. Colors darkened. Textures curdled. Songs stretched toward the six- and even seven-minute mark. But what if, as Courtney and cofounder Alex Bleeker often say these days, they again just “Let Real Estate be Real Estate,” to shimmer and fetch and radiate without hesitation or second guesses?
Courtney actually learned of Tashian through his daughter, who adored an album he’d produced, Kacey Musgraves’ Golden Hour. The band reached out and spotted an instant connection despite their distinct wheelhouses—the Grammy-winning Nashville country-pop guy who’d helmed several smashes and the Northeast indie rock quintet with narcotic guitars. Real Estate had never really worked with anyone who wasn’t already a bud. There in Dave Cobb’s famous Nashville lair, Tashian was not shy with his outsider advice about how to boost this song or that one, even playfully throwing the occasional candy bar to emphasize he wanted to hear more. Real Estate had been thinking about R.E.M.’s Automatic for the People and ’90s “soft-rock radio,” the background music of their youth. Tashian helped lead them back toward it, toward an improved edition of the less self-conscious band they’d been at the start.
Daniel certainly sounds like classic Real Estate, simply leveled up with the subtle but unabashed touches of a producer who has actually lived inside pop powerhouses. The chiming guitars and plaintive verses of “Haunted World” summon the band that first emerged to acclaim in 2009, with Courtney doing his best to sing his way around existential confusion. But in the chorus, dexterous instrumental harmonies (that’s Nashville ace Justin Schipper on pedal steel) and faint backing vocals propel the song anew, its tight hook snagging in a second. Tashian suggested they fortify the refrain, and he was right.
Or there’s the marvelous thrum of “Airdrop,” with Bleeker’s busy bass and Sammi Niss’ insistent drums pushing Courtney into the wistful chorus as if he’s riding a hang glider. “The sun went down/We let it,” he sings four times to end the song, the lines essentially built to be cooed back at him from a crowd. “Never been so contented/I won’t ever forget it.” That’s Real Estate’s long-relatable smiling sadness, lifted in proper Music City style. Listen, too, for Real Estate’s squiggly versions of classic Nashville licks during “Flowers,” where the mercury of pedal steel and the twinkle of a Wurlitzer illuminate acoustic strums like stars in the night sky. A song of dislocation and constancy, it’s a reminder of the common way we use music no matter the genre or scene—to find our way forward.
Daniel is a complete string of these compulsive moments: the crisscrossed harmonies of “Water Underground,” the delightful sway and rise of “Market Street,” the enchanting but deceptive simplicity of “Interior.” Real Estate manages the rarest of pop tricks here—to sound effortless but be artful, with all the flourishes and tricks tucked so smartly into songs that you only spot them when you unpack what makes all the tunes so winning and sticky.
But this, of course, is not the Real Estate of their MP3-blog salad days. Four members are married, with Niss in a long-term relationship. There are actual kids in the equation now. And the world outside has darkened considerably in 15 years, in all those ways that require no recounting here. Time and again, Daniel wrestles with that juxtaposition—external alienation and madness, internal responsibility and hope. These are songs of confusion, of trying to find a way to be present and better in broken times. “Now and then, I can pretend the sun is shining,” Courtney admits during “Freeze Brain,” the keys of Matthew Kallman and guitars of Julian Lynch framing a lambent haze around him. “Let’s let some light in.” Ain’t that the struggle, to find some joy despite all the forces that filch it from us?
In Nashville, all five members of Real Estate shared a rental, cutting up in close quarters after the imposition of separation of these last few years. Several days into recording, they were discussing album titles when someone suggested “Daniel,” simply because it seemed funny to bestow a human name upon a record. Was it for Daniel Tashian? Maybe. Was it a nod to The Replacements’ Tim? Possibly. Was it the sign of a band that has now been around long enough to take its music seriously without taking itself or its perception too seriously? Absolutely.
Daniel is a record of wonderful pop songs, its string of hooks and stream of worry irresistibly connected in the way few bands have ever done better than Real Estate. But perhaps just as important, it is an expression of the self-acceptance that can come with maturity, with realizing it’s enough to be who you want to be. “What is it that you want to hear? There’s only so much time,” Courtney croons during “You Are Here,” Daniel’s ingenious and strutting finale. “Best we can do is be happy here/Sing another line.” It is a mission statement for Real Estate at 15, a reminder that they are the band of their childhood dreams and that is cool. To that end, they’ve never been better at being Real Estate than they are right now, on Daniel, their new best album yet.
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