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About this concert
Destroy Boys come to LUU Stylus January 2025!
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
Jenna
November 14th 2024
Awesome venue, awesome lineup, and amazing performances.
My only critique was that an activist group was given full reign on the stage before Destroy Boys perform. Don't get me wrong, I fully support the group's work to help Palestinians. It's just that the militant way they riled up the crowd has in many cases over the last year led to anti-Semitic violence in my city from people who lack a sense of nuance, and who have equated Judaism with Israel as they get swept up in the Cause du Jour.
Again, this isn't a criticism of the activists or their cause. It's a criticism of how they potentially spurred on people who are currently "on the bandwagon" of the cause. It definitely left me reading the room to see if I, as a Jew, was still safe in the room, and my friends watching me to see if we all needed to make a quiet exit.
All this to say: if the performers, etc. were willing to just add a quick, "And btw, most Jews have nothing to do with Israel - yell at your local politicians but stop throwing Molotov cocktails at Jewish community centres" to their crowds during these speeches, it would go a long way to keep Jews safe in the cities they tour in.
Again, AWESOME show, ceasefire now.
Montréal, QC@Théâtre Fairmount
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Destroy Boys Biography
The title of Destroy Boys’ new album, Funeral Soundtrack #4, might seem like a bit of playful irony but the California band is being quite literal. “Looking back, our first three albums marked the deaths of things,” says guitarist Violet Mayugba. “They were soundtracks to our funerals, whether they were for our ag es, our mental states. We’ve gone through a lot of changes as a band
and as people.”
Destroy Boys formed in 2015, when founding members Mayugba and Alexia Roditis were just 15
years old, and each release has marked a period of growth and change. “The first one was our
high school album,” Mayugba explains. “On the second record, we went to college and were
saying goodbye to our childhood. On the third one, we’d just gone through COVID and, speaking
for myself, I lost my entire sense of self and gained a new one.”
Now, at 24, Mayugba and Roditis are standing firmly on solid ground with their fourth album,
more resolute and confident than ever in their place as musicians. “With Funeral Soundtrack #4, I’m done being walked all over. I’m done being taken advantage of by people in the music industry and by people I date. I’m done doing what other people tell me to do,” Roditis says.
Funeral Soundtrack #4 was recorded over 2023 with Carlos de la Garza (Paramore, The Linda
Lindas, Best Coast) and pushes Destroy Boys into new sonic territories. It’s still grounded in the band’s punk rock roots but leans into the members’ more eclectic influences, like salsa and bossanova. de la Garza also helped highlight their gothier inspirations, like the Smiths, Cocteau Twins, and Siouxsie and the Banshees. Roditis’s voice, which was often buried in the chaos of their previous work, shines through more ever, and flexes an impressively wider range. “Something we’ve always prided ourselves on is making very clear ascensions and leaps with every record,” Mayugba says. “We’re in pursuit of that greatest, biggest sound.”
Themes of adulthood, maturity, and love run through
Funeral Soundtrack #4. Many of the album’s songs had been in the works for years, and fill in the gaps of Destroy Boys’ catalog. “It really feels like this album is a culmination of the last four years of writing music,” Roditis says. “Boyfeel,” a song Roditis started writing at 17, sees them exploring their evolving relationship with gender nonconformity, while “Shadow (I’m Breaking Down),” the band’s first song to chart on Alternative Radio, delves into the Jungian idea of the shadow self. “I’ve seen a lot of people on TikTok talking about confronting your shadow, but when you see stuff like that on the internet, it doesn’t go into the depths of that concept. I really wanted to put together my thoughts on the shadow side and also talk about mental health in a way that I haven’t heard in a song before,” they say. Standout single “Plucked” decisively proves Destroy Boys can craft a perfect rock hook, and Roditis belts out a Spanish love song on “Amore Divino.” Hardcore ripper “Beg for the Torture” marks the first song on which Mayugba and Roditis pull dual vocal duties, trading scathing verses back and forth, an approach which takes influence from Sleater Kinney. On “You Hear Yes,” the band teams up with fellow powerhouses, Scowl’s Kat Moss and Mannequin Pussy’s Marisa Dabice, to share experiences of male harassment. “It’s funny because we always used to get labeled as a feminist punk band, but we don’t actually sing about that very often,” Roditis says. “So on this record we wanted to make a very blatant fuck the patriarchy song.”
Destroy Boys have gained a ton of ground in the music scene over the last few years, touring with giants acts like Pierce the Veil, blink-182, and Alkaline Trio, and playing reputable festivals around the world, like Coachella, Riot Fest, and Pukkelpop. And they’ve done it all while vehemently kicking against the aspirational guilt that has historically been ingrained in the fabric of punk rock. “There’s so much shame in punk about wanting to succeed and wanting to
play music for the rest of your life,” Mayugba says. “And I feel like women in rock are especially shamed for that, where our pursuit of greatness is looked down upon even more so. And we reject that so outwardly. We’ve always wanted to be the biggest band ever. We don’t want to be a club band. We want that stadium sound.”
Funeral Soundtrack #4 captures Destroy Boys at their most evolved self, miles ahead of the scrappy, teenage sound that a new generation of rock fans fell in love with on their 2016 debut Sorry, Mom, but the record never loses the band's identity in the process.
“Funeral Soundtrack #4 is our best record yet, no question, but it’s still authentic,” Mayugba says. “It’s more presentable, it’s hookier, it’s more palatable, but it's also real Destroy Boys.”
Read Moreand as people.”
Destroy Boys formed in 2015, when founding members Mayugba and Alexia Roditis were just 15
years old, and each release has marked a period of growth and change. “The first one was our
high school album,” Mayugba explains. “On the second record, we went to college and were
saying goodbye to our childhood. On the third one, we’d just gone through COVID and, speaking
for myself, I lost my entire sense of self and gained a new one.”
Now, at 24, Mayugba and Roditis are standing firmly on solid ground with their fourth album,
more resolute and confident than ever in their place as musicians. “With Funeral Soundtrack #4, I’m done being walked all over. I’m done being taken advantage of by people in the music industry and by people I date. I’m done doing what other people tell me to do,” Roditis says.
Funeral Soundtrack #4 was recorded over 2023 with Carlos de la Garza (Paramore, The Linda
Lindas, Best Coast) and pushes Destroy Boys into new sonic territories. It’s still grounded in the band’s punk rock roots but leans into the members’ more eclectic influences, like salsa and bossanova. de la Garza also helped highlight their gothier inspirations, like the Smiths, Cocteau Twins, and Siouxsie and the Banshees. Roditis’s voice, which was often buried in the chaos of their previous work, shines through more ever, and flexes an impressively wider range. “Something we’ve always prided ourselves on is making very clear ascensions and leaps with every record,” Mayugba says. “We’re in pursuit of that greatest, biggest sound.”
Themes of adulthood, maturity, and love run through
Funeral Soundtrack #4. Many of the album’s songs had been in the works for years, and fill in the gaps of Destroy Boys’ catalog. “It really feels like this album is a culmination of the last four years of writing music,” Roditis says. “Boyfeel,” a song Roditis started writing at 17, sees them exploring their evolving relationship with gender nonconformity, while “Shadow (I’m Breaking Down),” the band’s first song to chart on Alternative Radio, delves into the Jungian idea of the shadow self. “I’ve seen a lot of people on TikTok talking about confronting your shadow, but when you see stuff like that on the internet, it doesn’t go into the depths of that concept. I really wanted to put together my thoughts on the shadow side and also talk about mental health in a way that I haven’t heard in a song before,” they say. Standout single “Plucked” decisively proves Destroy Boys can craft a perfect rock hook, and Roditis belts out a Spanish love song on “Amore Divino.” Hardcore ripper “Beg for the Torture” marks the first song on which Mayugba and Roditis pull dual vocal duties, trading scathing verses back and forth, an approach which takes influence from Sleater Kinney. On “You Hear Yes,” the band teams up with fellow powerhouses, Scowl’s Kat Moss and Mannequin Pussy’s Marisa Dabice, to share experiences of male harassment. “It’s funny because we always used to get labeled as a feminist punk band, but we don’t actually sing about that very often,” Roditis says. “So on this record we wanted to make a very blatant fuck the patriarchy song.”
Destroy Boys have gained a ton of ground in the music scene over the last few years, touring with giants acts like Pierce the Veil, blink-182, and Alkaline Trio, and playing reputable festivals around the world, like Coachella, Riot Fest, and Pukkelpop. And they’ve done it all while vehemently kicking against the aspirational guilt that has historically been ingrained in the fabric of punk rock. “There’s so much shame in punk about wanting to succeed and wanting to
play music for the rest of your life,” Mayugba says. “And I feel like women in rock are especially shamed for that, where our pursuit of greatness is looked down upon even more so. And we reject that so outwardly. We’ve always wanted to be the biggest band ever. We don’t want to be a club band. We want that stadium sound.”
Funeral Soundtrack #4 captures Destroy Boys at their most evolved self, miles ahead of the scrappy, teenage sound that a new generation of rock fans fell in love with on their 2016 debut Sorry, Mom, but the record never loses the band's identity in the process.
“Funeral Soundtrack #4 is our best record yet, no question, but it’s still authentic,” Mayugba says. “It’s more presentable, it’s hookier, it’s more palatable, but it's also real Destroy Boys.”
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