TK. MAXX PRESENTS… HALIFAX THE PIECE HALL 2025 - PENDULUM
VIEW REVIEW:
PENDULUM PERFORMING AT TK. MAXX PRESENTS THE PIECE HALL 2025 AT HALIFAX
★★★★☆ (4/5)
PENDULUM PEFORMING AT AT TK. MAXX PRESENTS… THE PIECE HALL 2025 AT HALIFAX
PHOTOCREDIT: SABRINA RAMDOYAL
As the festival season unfolds across the United Kingdom, audiences are witnessing the emergence of live music history. In addition to festival events, open-air theatres are actively contributing to the live music scene. During a recent extraordinary night at The Piece Hall, the iconic Australian band Pendulum graced the stage. Renowned for their innovative fusion of drum and bass with rock, this Australian ensemble was poised to deliver a sensory explosion to the North.
The evening commenced with Normandie, a charismatic trio hailing from a small town near Stockholm, Sweden. With four albums to their credit, including their latest release, "Dopamine," the Scandinavian quartet has demonstrated their capacity to evolve and appeal to a broad audience. Despite being relative newcomers to many in attendance, they swiftly captured hearts with their boundary-pushing sound. The band radiated infectious energy, clearly elated to be performing before such a vibrant audience as “Serotonin" resonated through the speakers. Their set showcased exhilarating tracks such as "Babylon," where frenzy merged with melody, and the anthem "Holy Water," which had the crowd firmly in the palm of their hands. Their standout track, “Blood in the Water," allowed Halifax to witness the band fully embrace the thrill of a live performance, while “White Flag” reminded all present of the limitless potential this talented group possesses.
Anticipation electrified the atmosphere, and Pendulum erupted onto the stage, diving straight into the seismic “Napalm.” Barely allowing The Piece Hall a moment to breathe, they seamlessly transitioned into “Save The Cat," elevating energy levels even further. Then came the unexpected yet exhilarating performance of “Propane Nightmares.” This track, celebrated for its extraordinary drop, encapsulated Pendulum’s artistry, sending waves of exhilaration through the audience and igniting the dance floor. Performing such a fan-favourite early in their set seemed bold, yet with an extensive repertoire at their disposal, the ensemble was poised to excel.
Their interpretation of “Blood Sugar/Voodoo People” was a euphoric moment that evoked nostalgic chills, as one could only imagine the magnetic presence of The Prodigy, rendering that legendary moment. The bass reverberated throughout the venue, creating an impression that the very ground was trembling beneath the feet of Halifax, entrapping everyone in an exhilarating state of pure musical ecstasy. The band delivered a masterful set that spanned 19 tracks, guiding the audience through a thrilling auditory journey. From the pounding beats of “Halo,” which incited a frenzied wave of movement, to the darkly enchanting “Archangel,” where the crowd became a swirling mass of unity and adrenaline. Every moment was crafted with precision. The new composition “Cannibal," in collaboration with WARGASM, elicited an enthusiastic response, underscoring Pendulum’s ability to evolve while captivating the senses.
As the set approached its conclusion, the palpable excitement peaked with the explosive trio of “Self vs Self," "Watercolour," and the 2007 classic "Tarantula," resonating throughout the hall and leaving attendees of all ages breathless in a thrilling finale. In conclusion, Pendulum’s performance at The Piece Hall constituted an unforgettable journey into the heart of modern music. The evening served as a dazzling showcase of live music, leaving fans in a state of euphoric bliss. One need not attend a 3-5 day festival to experience this level of joy, indeed.
REVIEW + PHOTOS BY: SABRINA RAMDOYAL
TK. MAXX PRESENTS… SCARBOROUGH OPEN AIR THEATRE 2025 - SHED SEVEN
VIEW REVIEW:
Shed Seven Shine Bright in a Yorkshire Homecoming for the Ages
★★★★★ (5/5)
SHED SEVEN PERFORMING AT TK. MAXX PRESENTS… SCARBOROUGH OPEN AIR THEATRE 2025
PHOTOCREDIT: JOHN HAYHURST
The Scarborough Open Air Theatre, perched in Northstead Manor Gardens with its 8,000‑capacity bowl, has been a jewel in Yorkshire’s concert crown since its reopening in 2010. This years brilliant summer season had already kicked off earlier in the week with The Corrs and Gary Barlow playing to capacity crowds.
On this balmy June evening, the sold out crowd poured in from 6 pm—families with young kids experiencing their first gig, die‑hard local York(shire) fans in 30th Anniversary T-Shirts, and groups of old mates clutching drinks. A gentle breeze from the North Sea brushed their cheeks as the stage lights bathed the venue in soft gold, signalling a proper summer’s night ahead.
Tonight, Shed Seven were set to headline in their home county, just down the A64 from their beloved hometown of York, and the excitement was as much about pride as it was nostalgia. Before they took to the stage though, two heavyweight supports gave the night a decent build-up.
Kicking off the night with swagger and warmth, Cast had the early-evening sun sending a haze across the front of the stage, but that didn’t stop them delivering a polished 40 mins of 90s jangle-rock. Frontman John Power’s vocals—always confident, always melodic—cut through the open air, immediately engaging the crowd with openers Sandstorm and Fine Time.
Highlights included a stirring rendition of Walkaway which coaxed the first of the evening’s many sing-alongs. Fans close to the stage swayed gently, but as the set neared its end, the atmosphere deepened: the upbeat guitar attack in Alright had everyone dancing. It wasn’t just nostalgia; Cast brought a freshness to their performance, they could have done another 20 mins but this was all about warming a crowd with the hits, a practice if you like for the Oasis reunion shows later this year.
Jake Bugg’s set should have been a moment to savour. But from the second he stepped on stage, something felt a little off. Dressed in black, eyes often cast down, he moved through his songs with a sense of obligation rather than passion. It wasn’t that the performance was technically lacking—his voice still carried that distinctive, nasal rasp and his guitar playing was sharp—but emotionally, it just didn’t land.
He spoke with warmth in-between the songs, but it was hard to tell whether it was nerves, apathy, or something else entirely, but his detachment was impossible to ignore. He stood mostly still, rarely making eye contact with the crowd, and at times seemed almost irritated to be there.
That said, when he launched into Lightning Bolt something clicked. The energy shifted immediately. Maybe it was muscle memory, or maybe even Jake couldn’t resist the sheer stomp of that riff, but the performance tightened and for a few minutes, it felt alive. The crowd responded instantly, clapping and bouncing along, and for the first time in the set, Bugg looked even slightly engaged—still unsmiling, but present at least.
Formed in 1990 in my hometown of York, Shed Seven rose to prominence as leading lights of Britpop, carving out their niche with anthemic guitar-pop. I’ve lost count of how many times I’ve seen them, from early gigs in pubs like The Winning Post to Fibbers and York Barbican, then more recently filling Leeds Arena. Last year saw not one but two UK No. 1 albums—A Matter of Time and Liquid Gold—cementing the comeback, it crowned their 30th anniversary celebrations. So it came as little surprise that their Scarborough appearance was billed as their “Biggest ever headline show in their home county”.
Shed Seven delivered a career-spanning two-hour performance, Rick Witter was in fine form—swaggering across the stage with a wide grin, working the crowd like a frontman born to do it. The band looked sharp, sounded tight, and seemed genuinely thrilled to be performing in front of a massive Yorkshire crowd in such a special setting.
Opening strong with Room in My House, which immediately got the whole audience singing along. Early tracks like Speakeasy supplied that driving energy that first endeared them to fans. A delightful surprise arrived mid‑set: their band cover of The Smiths’ There Is a Light That Never Goes Out the crowd’s arms waving sky‑high as Witter crooned the iconic Morrissey chorus with conviction.
When they launched into Dolphin it felt like a bolt of raw electricity surged through the crowd. It came midway through the set, and from the moment Paul Banks struck the opening chords, there was a shift in mood—something darker, more urgent. This wasn’t one of the breezier singalongs; this was one of their first singles, a deeper cut for the fans who’ve been there since the beginning, and it hit like a statement of intent.
High Hopes followed and became an early emotional peak—Witter’s delivery raw and full of yearning, while the crowd lit up with thousands of arms raised and voices united. That song has always had a certain magic, but here, under open skies with faces full of memory and meaning, it truly soared.
Then Bully Boy followed with anthemic force, the guitars cutting through the summer night as the crowd roared back “I’ll fight you to the death”. It was one of those moments where the energy was perfectly balanced between stage and audience, like both had waited years for this exact gig to happen.
Guest vocalist Rowetta’s appearance on In Ecstasy brought a bit of Manchester magic—a soaring vocal duet refracted through the open air. Rick Witter’s reflections between songs—gratitude, humour, stories of local Yorkshire roots—made the show feel like a heartfelt family reunion rather than a mere concert. He even read out a few dedications and joked about how his careers officer at school told him to get a proper job rather than playing in a band with his two best mates. He’s in his mid fifties now, and still in a band with those same two best mates – “So f**k you Mr Careers Officer”.
With Father’s Day just around the corner, he dedicated Going For Gold to all the dads in the crowd—past, present, and soon-to-be. As the song began, it took on a weight it doesn’t always carry. But the real surprise came in the extended outro, when the band seamlessly shifted into a cracking version of Elvis Presley’s Suspicious Minds It wasn’t just a gimmick—it sounded fantastic. Witter leaned into it, channelling just the right amount of Elvis swagger without going full tribute act.
The encore was something else entirely. As the lights dimmed, Paul Banks took a seat at a piano. A soft spotlight lit him and Rick as he began playing the opening notes of Better Days, this time a strangely moving performance that had the whole crowd laughing and swaying. It was theatrical, unexpected, and perfectly judged—another moment that elevated the night beyond just a gig into something genuinely special.
With the band back at full strength, they launched into Disco Down which turned the place into an all-out dance party. The beat was irresistible, and the band played it with such joy and abandon that it felt like the seats in the venue might give way to all the movement. Everyone was bouncing, shouting lyrics back, and completely immersed in the music.
And then, of course, the grand finale: Chasing Rainbows The first chords triggered a wave of cheers, and by the time Witter started singing, the entire place was belting it out as one. Phones were in the air, arms wrapped around shoulders, and the emotion in this amphitheatre was almost overwhelming. That song is pure catharsis, and tonight it felt like it belonged to everyone in the crowd. A perfect ending.
Throughout the entire set, Shed Seven played like a band with nothing to prove but everything to give. They were vibrant, cheeky, emotional, and totally in sync with their audience. You could feel their love for the place, the people, and the songs that have carried them all these years. It wasn’t just a great show—it was a joyful, heartfelt triumph, and one that will live long in the memory of everyone lucky enough to be there.
REVIEW + PHOTOS BY: JOHN HAYHURST
LIDO FESTIVAL 2025 - CHARLI XCX
VIEW REVIEW:
Brat summer continues
★★★★☆ (4.5/5)
CHARLI XCX HEADLINING LIDO FESTIVAL 2025 AT LONDON’S VICTORIA PARK
PHOTOCREDIT: HENRY REDCLIFFE
Charli XCX cemented her status as the reigning queen of hyper-pop with a dazzling, high-octane headline set that closed out Saturday night at LIDO Festival in Victoria Park. Arriving on stage just after sunset, she wasted no time pulling the massive crowd into her world of bratty anthems, glossy beats, and unapologetic attitude.
Accompanying her across the day was a collective of longtime collaborators and inspirations. PC Music founder A.G. Cook delivered fan favourites under a sweltering summer sun. While Brat Remix alumni, The Japanese House (aka Amber Bain) played a set of shimmering indie pop with the likes of “Touching Yourself” and “Something has to Change”. Effortlessly cool indie sleaze icon The Dare left it all on the stage with seemingly endless energy and stage presence. A surprise guest in the form of PinkPantheress delighted the already ecstatic crowd.
The now iconic, lime green backdrop indicated when it was time for Charli XCX to take to the stage. LIDO’s main stage was rammed due to the sold-out crowd, but spirits remained high as anticipation built. Opening with a ferocious run of new tracks from her latest album Brat, including the club-ready “360” and fan-favourite “Von Dutch,” Charli set the tone for a set that was equally chaotic and perfectly curated. Backed by striking visuals and powerful production, she commanded the stage with the swagger of an underground rave legend who just happens to sell out festival main stages.
One of the night’s biggest moments came halfway through, when Charli brought out Bladee for a surprise live rendition of “Rewind,” sending the crowd into a euphoric frenzy. For long-time fans, older hits like “Vroom Vroom” and “Party 4 U” were a reminder that Charli’s knack for reinventing pop has never dulled. And just when it seemed she couldn’t get any more unpredictable, she tore into an ecstatic cover of Icona Pop’s “I Love It,” paying homage to the song that catapulted her to global fame over a decade ago.
Despite whispers online that some festival sets had been running short, Charli delivered an hour of wall-to-wall bangers, leaving no room for filler. Her connection with the audience, stylishly clad in their neon brat fits was magnetic throughout.
By the time the final beats faded and she strutted offstage, Charli had reaffirmed what fans already knew: no one in pop is pushing boundaries with this much style, fun, and fearlessness.
CHARLI XCX HEADLINING LIDO FESTIVAL 2025 AT LONDON’S VICTORIA PARK
PHOTOCREDIT: HENRY REDCLIFFE
REVIEW BY: SAM MCNAUGHTON
DOWNLOAD FESTIVAL 2025 - FRIDAY
VIEW REVIEW:
DOWNLOAD FESTIVAL RETURNS FOR ANOTHER YEAR WITH GREEN DAY HEADLINING DAY ONE AT DONINGTON PARK
★★★★★ (5/5)
FRIDAY NIGHT AT DOWNLOAD FESTIVAL 2025
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
Download Festival is an event that a lot of people – including me – look forward too. It is a sanctuary for rockers, people of all ages, genders and origins, a holy ground for festival goers and of course, one of the largest rock festivals in the UK. Hosting about 80,000 people, Download Festival has become a staple of British culture. Even if you are not a fan, you have to admit that it is iconic and despite the controversy it has had in the lead-up to the festival, the sun was shining, the people were ready, the outfits were insane and Donington Park opened its gates.
The statistics showed that 44% of the festival ticket holders were first-timers. This means that almost half of the audience were people experiencing the magic of Download for the first time. Sporting about 200 different places for food, 7-8 different camping sites and 4 stages, Download Festival day 1 was very promising. Catching a lot of bands in a day is a workout, because the distance between stages is large. Here are some of the hottest acts I caught this year on day 1:
There are not a lot of reviews for how great Boston Manor’s performance was. Delivering a performance on the festival’s huge main stage, the band rocked people to their core early on in the afternoon. Crowdsurfers apparently really loved the set because the dust did not stop people moshing, singing along, jumping and surfing on the crowd. There was strong crowd reaction, indicating that the band was a great choice for the scale of the stage. Definitely needed to catch them again – which I did, as they had a ‘secret’ acoustic midnight set later on, which was a massive treat to end the night.
This year’s Avalanche Stage had some of the best bands I have seen in Download. McFly filled up the tent very quickly, and so did the photopit. Starting off flying on stage, they delivered a short but riff-filled performance, opting for a lot of rock-leaning hits, as well as a lot of covers by Bon Jovi, Queen and Metallica. Some people did not enjoy the fact that so many covers were played, but McFly definitely had the crowd moving along to every single song.
The return of the band to UK festivals was very welcomed. Delivering crowd-pleasing rock fan favourites, they got a lot of praises and the crowd singing along, and despite the sun blazing through their set, a lot of people stopped on the tracks to watch the full performance.
The band themselves claimed to be the ‘odd’ one out of festival this year, yet the Swedish prog-metal legends gathered a lot of people for their set. Despite the technical difficulties and delays, the set was one of the fan favourites this year. Their stage presence was commanding, as they got covered in the smoke, whilst the technical prowess of the band is evident in every gig they play. They had to cut their set short but the performance was definitely one of the best ones for the first day, even if they were not in full alignment with the rest of the lineup.
One of the most active bands in the scene right now, Northlane delivered an incredible opening set for the second stage. Mixing djent, progressive and vocal harmonies, the band was commanding on stage and had a lot of great moments. People were hardcore during the performance, singing along, doing circle pits and reacting to every riff and breakdown of the music. There was definitely a lot of excitement from both the band and the crowd, and delivered a great standout performance with great musicianship.
The stage manager asked, how much fire do you want for your set and the answer of the band was ‘YES’. Full of fire and smoke, the punk-rock band delivered a very politically charged and energetic set that literally lit up the festival. Mosh pits, crowdsurfers and an unrelenting performance from the band made them one of the most anticipated performances of the day – and one that went down incredibly well given the crowd’s reaction after the set.
RISE AGAINST PERFORMING ON DAY ONE OF DOWNLOAD FESTIVAL 2025
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
Can we talk about how this band is just one step from blowing up? Ahead of their performance at Reading and Leeds, the band took the stage in Download by a storm, delivering one of the greatest sets of the day. They have already created a dedicated fanbase, the tent was packed with people even though they were one of the first acts of the day, and the guitar-playing/crowd-surfing moment was iconic. They are definitely a band that will be playing big stages very very soon – so if you haven’t caught them live, act with haste.
One of the most atmospheric performances of the day were Vola, who really impressed with their set. Bringing in progressive metal energy, the Danish band blends electronic music with complex riffs, making for a very unique sound. Even though they slightly clashed with Opeth, making fans of the genre have to choose between the sets, they were definitely one of the bands to watch during the day – solely because their set was simply incredible. I didn’t hear a single person say a bad word about their set, so they will definitely advance to larger stages in the coming years.
Do we even need to talk about this? It was the most iconic performance of Download across all three days, not only because the band played hit-after-hit and had incredible energy on stage, but also because there was not a single person who blinked while the performance was on. Catching all eyes (and ears), Green Day are not just headliner material, they are a musical powerhouse and a band that simply knows how to deliver. Playing songs from their ‘American Idiot’ album, having every single word sang back to them through the set, delivering the lyrics with unmatched energy and engaging even people who are not fans of this type of music, Green Day shut up all critics. The momentum on stage was incredible, but there was a moment that marked Download History.
As Billie sang ‘Here comes the rain again’, a lyric from the extremely famous song ‘Wake Me Up When September Ends’, the heavens opened. The hot and sunny day had a rain interlude timed exactly at that lyric – and even if someone had tried to plan this, it would not happen so spot on. It brought tears to many people’s eyes, as the set picked up with anthems such as ‘Jesus of Suburbia’. The performance had it all – confetti, fireworks, rain and a massive stage production. It was a headliner masterclass and a performance that topped Download’s greatest bookings of all time.
It's a shame we couldn’t get a second round of this because it was one of the most incredible sets I had seen in my life.
GREEN DAY HEADLINING FRIDAY AT DOWNLOAD FESTIVAL 2025
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
REVIEW + PHOTOS BY: CHARIS LYDIA BAGIOKI
LIDO FESTIVAL 2025 - OUTBREAK FEST
VIEW REVIEW:
Heavy thrills delight thousands
★★★★☆ (4/5)
TURNSTILLE HEADLINING OUTBREAK FESTIVAL AS PART OF LIDO FESTIVAL 2025 AT LONDON’S VICTORIA PARK
PHOTOCREDIT: BUFOLA
A scorching Friday at Outbreak Festival in Victoria Park set the stage for Baltimore outfit Turnstile to play their genre-defying approach to hardcore. A whirlwind journey of muscular riffs, rhythmic grooves, and anthemic melodies delighted the thousands in attendance.
Accompanying Turnstile on the day was a star-studded collection of multi-genre artists that delivered set after set of impeccable performances for the early revellers. Little detracted from this lineup, except when the demand for the enclosed “Club” stage far exceeded its three-hundred capacity. This left some disappointed as they missed out on their favourite acts.
A shot of adrenaline in the form of post hardcore dynamos Glassjaw. Their heavy guitars and pounding drums served as a foundation for powerful vocals that drove the crowd into a frenzy. It was a treat for all to see this influential act show their mastery of dynamics and stagecraft.
Singer-songwriter Alex G played a spellbinding set as the penultimate act on the main stage. Weaving lo-fi indie rock with experimental flourishes to deliver his unique style. His hazy melodies and introspective lyrics clearly resonated with the audience, as he drew one of the largest crowds of the day. From the dreamy swells of “Runner” to the ethereal beauty of “Gretel” his music captured the beauty of the setting sun.
A decidedly more explosive set came from hardcore punks Knocked Loose, as they pummelled the crowd with a set that grabbed their attention and refused to let up. Ending their set with an impromptu wall of death, which stretched all the way to the back of the second stage, their fans ended the performance in a euphoria of limbs.
With the second and club stages falling silent, it was time for the festival headliners Turnstile to take to the stage. Opening with “Never Enough” the ethereal intro gave way to a heavy wall of guitars and drums. The band's ability to bridge between hardcore punk and genre-defying experimentation served to produce an electrifying headline slot.
Throughout, the band's set covered their lengthy fifteen-year career, especially focusing on tracks from the albums “Glow On” and “Never Enough”. Their ability to meld unchained aggression with melodic sensibilities was on full display as they deftly navigated from heavier tracks such as “Birds” to more melodic tracks like “Seeing Stars”. Further, the set saw varied textures as spiked riffs would intertwine with lush reverb to create a multitude of sonic landscapes.
While interaction with the crowd was minimal, this did little to dampen Turnstiles' command of the crowd or their audience's evident passion. Even as the hot summer sky broke with torrential rain, the fans continued to dance, sing and mosh with abandon. This continued right to the close, as the final notes faded to leave only the cheering of the delighted crowd.
TURNSTILLE HEADLINING OUTBREAK FESTIVAL AS PART OF LIDO FESTIVAL 2025 AT LONDON’S VICTORIA PARK
PHOTOCREDIT: BUFOLA
REVIEW BY: SAM MCNAUGHTON
DON BROCO // ENGINE ROOMS, SOUTHAMPTON
VIEW REVIEW:
DON BROCO PERFORMING AT SOUTHAMPTON’S ENGINE ROOMS
★★★★☆ (4.5/5)
DON BROCO PERFORMING AT SOUTHAMPTON’S ENGINE ROOMS
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
It is Download weekend coming up soon and the whole country is already getting ready to attend one of the biggest festivals of the UK. Amongst the bands of the bill in 2025 are none other than Bedford-hailing rockers Don Broco, who are set to perform on the festival’s main stage on Saturday. Yet, before their Apex Stage debut, they have chosen to do a mini tour in the UK to hype people up before their set, supported by another festival-touring band, Dead Pony.
Dead Pony, originally from Glasgow, have very quickly carved out their own path in the rock scene, with a lot of pop-punk energy and rawness. They have a fierce and dynamic stage presence that engaged the audience early on, with people even singing along to a few songs through the set. Their setlist was short but punchy, including songs such as ‘Walk On’, ‘Boom’, ‘MK Nothing’, and songs from their newest album such as ‘RAINBOWS’ and ‘Cobra’. It was obvious through the set that the band knows the waves they are causing – whether that is because of awards won or their Nirvana/Paramore inspirations that keep the audience hooked – they brought a lot of grunginess, hard rock, blues and rage into their performance. Safe to say, there couldn’t have been a better choice as an opener for the gig. Did I also mention that Dead Pony are playing the Avalanche Stage at Download on Friday? Well, make sure to catch them there.
Blue lights bathed the venue as Don Broco took the stage shortly after, with a light show behind them creating a visual atmosphere that definitely left an impression. The genre-blending band is a fan favourite amongst rockers, and despite the intimacy of their set, the room was full all the way to the exit. It was the perfect set for the high-intensity connection the band can build with their audience through their songs, and it was clear from the first minute that the crowd was wild for the songs that were performed.
Don Broco have mastered the ‘no-filler’ song setlist, treating their audience to songs such as ‘Everybody’, ‘Come out to LA’, ‘ACTION’, ‘Endorphins’, ‘Superlove’ – that was sung along word-for-word – ‘You Wanna Know’ and ‘Nerve’. The crowd was going feral over the band’s moves on stage, whilst their frontman kept the audience engaged with banter regarding Bedford, and their previous experiences playing in Southampton. They looked extremely happy to be in the rook and performing for their fans, whilst they truly seem proud of themselves for playing the main stage at Download because it was mentioned more than once. The band even spoiled a bit of the setlist they have curated for their festival appearance – songs that they have kept exclusively for the festival. In the midst of it all, they also admitted that they are working on new material which they will play live soon and when it’s ready.
The set ended with a short encore of ‘Fingernails’ and ‘T-Shirt Song’ that had people jumping up and down until the very end. For those looking to attend the rest of their small tour or their Download appearance – you’re in for a treat. Expect energetic and meticulously crafted riffs, a buzzing crowd, sing-along choruses and adrenaline that will go through the roof!
REVIEW + PHOTOS BY: CHARIS LYDIA BAGIOKI
LIDO FESTIVAL 2025 - JAMIE XX
VIEW REVIEW:
Exceptional music, relentless rain
★★★☆☆ (3.5/5)
JAMIE XX HEADLINING LIDO FESTIVAL 2025 AT LONDON’S VICTORIA PARK
PHOTOCREDIT: BUFOLA
Saturday at Lido festival delivered a real rollercoaster to the thousands of attendees who filled a sodden Victoria Park to see Jamie XX.
While the lineup for the day promised a tour through some of the best acts in electronic music, the weather had other ideas, quickly transforming the festival grounds into a muddy bog. However, while the weather did its best to test the attendees' spirits, the lineup’s quality ensured that their positive energy remained right until the end.
Great acts were present throughout the day, with one of the first highlights coming from a last-minute addition to the lineup in the form of an early afternoon set of Skrillex back-to-back with Jamie XX himself. However, a baffling decision to put the pair in the tent facing the main stage curtailed the potentially great moment, as the lack of visibility left many confused.
Shortly after this, the weather turned against the festival. With a heavy downpour turning many away for the stellar set of John Glacier toward the covered canopy of the second stage where Tim Reaper played to a capacity crowd alongside Shy FX. Thankfully the energy remained high as the Jungle and DnB tracks allowed the audience to escape the dreary weather.
Sadly the weather showed little respite for the next few hours and the main stage remained lightly attended until, finally, the storm broke and fans streamed out to see the sunny neo-soul vibes of Sampha. His music was perfectly suited to revitalise the downbeat crowd, and his set presented a real highlight of the day.
Following this came the delightfully eclectic stylings of Arca. Immediately grabbing the audience's attention with superstar stage presence, impressive vocals and barbed backing tracks. Sadly shortly into the set came a duo of gatecrashers from the returning rain, and a set time clash with Jamie XX alumni Romy.
With the second stage, once again, at capacity, Romy played an exceptional set to the assembled thousands as they stood literally shoulder to shoulder due to the cramped conditions. Again the quality of the performance turned a potentially sombre moment into a fun celebration of the electronic indie pop.
Thankfully another break in the rain arrived during this set and allowed fans to easily make their way to the main stage for the headline slot of Jamie XX. His set proved to transcend the troubles of the day, immediately energising those in attendance to trade out their wellies for their dancing shoes. 2025 celebrates the 10th anniversary of the seminal album In Colour, and as such the set made reference to it by featuring tracks and motifs. Mind-bending visuals wrapped around the stage, displaying filtered visuals of the crowd and close-ups of audience members. These accompanied intricate sound systems which delivered thumping bass and soaring synths which drove the exhausted crowd onwards. With the days' damp conditions forgotten, the crowd revelled in the carefully curated beats until the very last notes.
JAMIE XX HEADLINING LIDO FESTIVAL 2025 AT LONDON’S VICTORIA PARK
PHOTOCREDIT: ISHASHAN PHOTOGRAPHY
REVIEW BY: SAM MCNAUGHTON
LIDO FESTIVAL 2025 - MASSIVE ATTACK
VIEW REVIEW:
Legends headline new festival for exciting maiden voyage
★★★★☆ (4/5)
MASSIVE ATTACK HEADLIINING FIRST EVER LIDO FESTIVAL SHOW AT LONDON’S VICTORIA PARK.
PHOTOCREDIT: SOPHIAJCAREY
The influential Massive Attack had the honour of headlining the inaugural day of Lido festival, which brings together globally loved artists to curate days that celebrate musical excellence and community.
Lido festival delivered a glittering showcase of hand-picked support acts for a varied collection of soulful electronic delights. Acts such as the shamstep performing 47soul embodied the musical innovation and political activism that Massive Attack has continued to champion. While French duo Air ensured that the headliner played to a thoroughly delighted crowd as they delivered a set which consisted heavily of their debut album “Moon Safari”, including the international hit “Sexy Boy”. An interim set by DJ Milo allowed for the main stage to be made ready for the headline act, and as the lights dimmed a chorus of cheers erupted as Massive Attack emerged onto the stage.
Immediately it was clear that the show was to be an effortlessly cool display of the act’s mastery of trip-hop. Cementing their status as pioneers within the genre and electronic music.
From the first notes of the venomous “Risingson”, Massive Attack captured the audience under a psychedelic spell. The set contents were a celebration of the act's career as tracks such as “Black Milk” and “Unfinished Sympathy” delivered fan favourites which blended their trademark moody atmospherics, bass-laden percussion and haunting vocals. While the iconic “Angel” and “Teardrop” showed their pedigree by rousing the crowd to their loudest cheers of the night. There was no denying the legacy these tracks hold as generations of fans were united in their euphoria.
Transforming the lush greenery of Victoria Park into an atmospheric, almost intimate, venue were stunning visuals which helped to deliver a narrative to each track. Many of the visuals related to the ongoing conflict in Palestine and served to stress the bands continued dedication to political activism.
As the last notes of the performance ebbed away, a delighted crowd stood in awe of a set which had thoroughly delivered. Not simply a nostalgic look back at the past, the night served to show how influential these tracks continue to be and allowed the audience to revel in their much imitated atmosphere.
MASSIVE ATTACK HEADLIINING FIRST EVER LIDO FESTIVAL SHOW AT LONDON’S VICTORIA PARK.
PHOTOCREDIT: SOPHIAJCAREY
REVIEW BY: SAM MCNAUGHTON
MORRISSEY // O2 ACADEMY, GLASGOW
VIEW REVIEW:
A Return Fit for a King
★★★★☆ (4/5)
MORRISSEY PERFORMING AT GLASGOW’S O2 ACADEMY
PHOTOCREDIT: RYAN LOWRY
“You’re the one for me, Morrissey!” said the crowd at Glasgow’s O2 Academy, a sentiment echoed by every adoring face in the packed venue. For his loyal following, this wasn’t just another tour stop—it was a pilgrimage.
It’s impossible to discuss Morrissey without acknowledging the polarising reputation that follows him like a shadow. The former Smiths frontman is as known for his lyrical genius and melancholic anthems as he is for controversial political statements and on-stage rants. Over the years, he’s alienated some fans while solidifying a more die-hard, devoted base—those who can separate the art from the artist. His gigs have occasionally been marred by walkouts, protests, and boycotts. But in Glasgow? He was greeted with nothing but love.
This year’s tour marked Morrissey’s first Scottish shows in some time—his last tour conspicuously skipped the country—so it came as no surprise when both nights sold out in a flash. Outside the O2, groups of hardcore devotees camped out hours, even days, in advance. Many had travelled across Europe, some even further, following their hero gig to gig. Fans handed over flowers and gifts at the doors, which were swiftly passed to security to deliver backstage. The gesture was old-school, sincere, and entirely fitting. To this crowd, Morrissey isn't just a performer—he's a figure of worship.
With no support act, anticipation was thick in the air as the audience chanted his name. When he finally appeared, the roar was deafening. Dressed sharply, eyes blazing, he launched straight into “All You Need Is Me,” wielding the microphone cord like a whip as he prowled the stage—a trademark move that remains oddly hypnotic.
The setlist was a dream for long-time fans, a blend of solo classics and Smiths-era gems. “You’re the One for Me, Fatty” and “How Soon Is Now?” triggered near-euphoria, while newer tracks like “Rebels Without Applause” and “Sure Enough, the Telephone Rings” showed he still has songwriting fire in him. “I Know It’s Over” was a particular highlight, delivered with haunting vulnerability that made the room stand still.
“Life Is a Pigsty” brought the night to a cinematic intensity, with Morrissey framed in moody lighting, the band drawing every ounce of drama from the slow burn arrangement. He seemed emotionally invested throughout, offering little banter but plenty of presence. His voice—still rich, textured, and unmistakably his—held strong even through the encore.
He returned to the stage to deliver two closing songs that felt almost autobiographical: “Last Night I Dreamt That Somebody Loved Me” and “Irish Blood, English Heart.” The latter, especially, had the crowd bouncing and shouting every lyric—a thunderous end to a poignant night.
In Glasgow, Morrissey wasn’t controversial. He wasn’t complicated. He was cherished. Loved. Revered. For those two hours, the noise outside fell away, and all that remained was the music—and the man who, for many, still means everything.
MORRISSEY PERFORMING AT GLASGOW’S O2 ACADEMY
PHOTOCREDIT: RYAN LOWRY
REVIEW BY: KATRIN LAMONT
PHOTOS BY: RYAN LOWRY
MASSIVE ATTACK // COOP LIVE, MANCHESTER
VIEW REVIEW:
MASSIVE ATTACK PERFORMING AT MANCHESTER’S COOP LIVE AHEAD OF THEIR HEADLINE PERFORMANCE AT LIDO FESTIVAL IN LONDON
★★★★★ (5/5)
MASSIVE ATTACK PERFORMING AT MANCHESTER’S COOP LIVE
PHOTOCREDIT: TREV EALES
So much more than a gig . . . Politics, passionate protest, social conscience and great music intertwine as Massive Attack deliver a thought provoking audio visual masterclass at Manchester Co-op Live.
Support act 47Soul set the tone for what’s to come. The Palestinian / Jordanian trio mix traditional Middle Eastern sounds and rhythms with twenty first century electronica and excursions into hip hop. It’s a powerful mix, with vocals switching between Arabic and English which seems to add to their compelling sound. It’s an impressive performance and anyone with a taste for Middle Eastern sounds really should check them out.
Massive Attack have always mixed music, politics, personal passions and principles. It’s the enduring foundation underpinning how they approach what they do. They’ve chosen Co-op Live for their only UK arena performance of 2025 because of the firm’s ethical business model but it’s almost unravelled at the last minute. Appalled by the Co-op’s recent partnership with Barclay’s and their involvement in financing arms sales to Israel, the band have threatened to pull out. Thankfully, they agree to play, having secured the removal of all of Barclay’s logo’s and promotion from the venue. Such is their commitment and influence, they’ve also ensured that only plant based food is on sale at the venue tonight; so not a great night for some traders, carnivores and lovers of processed food.
High profile climate activist Tori Tsui precedes the headliners. Unsurprisingly, her speech calling out financial institutions, their links to fossil fuels and their funding of genocide in Gaza is well received. By now any sense that this is simply another gig have surely gone.
But maybe not for everyone . . . Part way through Massive Attack’s headline set I encounter two moaning Mancunians at the bar. Their conversation goes as follows; “The music’s okay but I can’t stand all this Palestine shit.” “I’m more interested in the price of my pint than Palestine,” comes the retort. As they wander away spilling their precious beer, it seems not quite everyone is onside.
And so to Massive Attack.
Lights dim and huge screens around the stage flicker into life. The ambient sounds of Gigi D’Agostino’s In My Mind waft across the arena as the band wander on stage. Behind them bizarre images of a monkey controlling a computer loom large. The mood changes when Robert Del Naja and Daddy G take their places. Risington immediately brings an air of menace as they trade vocals across the stage; darkness punctuated by smoke, strobing white light and subliminal messages flashing across the giant screens.
Horace Andy makes his first appearance on Girl I love. Now in his mid 70’s, he’s noticeably more physically fragile than when I last saw him six years ago. Going forward, it must be a worry as he’s such an integral part of the band. Up next, Elizabeth Frazer adorns the classic trip hop rhythms of Black Milk with her mesmerising voice. She’ll return later for a truly exquisite performance on Teardrop.
Future Proof brings a returning sense of menace and darkness, played under a red glow backed by flashing computer data. It’s an atmosphere amplified a little later by Inertia Creeps; for your reviewer, probably the musical highlight of the night. Tonight, the song feels like a force of nature. As the track builds, the band’s dual drummers reveal their power while visceral guitar emits a sense of real aggression. Meanwhile, flashing strobes give way to images of Trump, Putin, and Netanyahu interwoven with scenes of destruction in Gaza and Ukraine. It’s just incredibly powerful!
So how do you follow that? Everything brightens for an energetic cover of Ultravox’s ROckwrok – a song that’s originally sampled in Inertia Creeps. It’s the on screen visuals that bring the track to life – a three minute kaleidoscopic barrage of images and text aimed at conspiracy theorists and social media addicts. It’s both ironic and worrying that the target audience probably don’t realise that it’s aimed at them.
As the mood changes, Horace Andy returns for a wonderful rendition of Angel, before Deborah Miller appears to sing Safe From Home and Unfinished Sympathy. The latter garnering probably the best audience response of the night.
An uplifting snippet of Avici’s Levels brings a false dawn of optimism before Elizabeth Frazer returns to duet on Group 4. Her voice brings an ethereal feel to the track’s beginnings but there’s a sense of impending darkness as guitar and drums kick in. Above the performers, images of jolly dancing give way to authoritarian violence. Mary Poppins fades to scenes from vintage horror movies and the KKK. The voice of an angel is juxtaposed with visions of a dystopian world framed by authoritarian violence. Before the track comes to a close, heavenly images trade places with Benjamin Netanyahu’s face.
And then they’re gone, into the night. Massive Attack don’t play by the usual rules. There’s no pretence of returning for an encore. Tonight, the band have been faultless. Vocalists and musicians have captured the essence of every track while the ever changing visual backdrop’s provided brilliant enhancement. But they haven’t just come to entertain, they’ve come to make us think, to consider our place and role in a world increasingly dominated by far right authoritarianism.
Have they succeeded? For your reviewer, absolutely; tonight’s been a complete triumph. As for the two miserable Mancunians cherishing their beer, I suspect not.
REVIEW + PHOTOS BY: TREV EALES
CREEPER // KOKO, LONDON
VIEW REVIEW:
CREEPER PERFORMING AT LONDON’S KOKO
★★★★★ (5/5)
CREEPER PERFORMING AT LONDON’S KOKO
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
Here’s the deal – Creeper are currently the greatest band in the scene, no objections accepted. With their theatricality, old-school Americana-meets-80s-horror aesthetic, clean vocals and a stage presence that can shake an entire venue to its core, it is difficult to find flaws or criticisms for a band that shook Wembley Arena only a few months back. So when Creeper promise a one-off set at Camden’s iconic KOKO, performing ‘Sanguivore’ in its entirety and promising a special surprise, there is again no reason to say no.
Starting off the night (or the evening) early, Lowen took the stage at 7pm sharp. Having supported Zakk Sabbath in their UK tour, the band have been gaining a lot of traction lately due to the uniqueness of their music and set. They are spread on the stage as the eerie vocals come on under heavy and doom rhythms, and a C-shaped dagger glows in the red lights. Lowen’s sound is an acquired taste, but it fits perfectly with the theatricality of the night. Despite their performance being short, it was impactful and sharp, with intense drumming and basslines framing the otherworldly vocals that seem like a prayer or a curse to an unknown deity. As the last notes linger in the air before the main act, I can definitely see a few people becoming new fans of Lowen’s music.
A Creeper set is not just music, it’s an experience. It is a snippet from an old horror film, a tale of vampire lovers consuming each other until death and beyond, a sacrifice in an old chapel. It does not start with music – it starts with fans flooding Camden in ghoul makeup, Bloody Mary cocktails, Creeper charcoal pizza, flash tattoos and a masked figure resembling like the Black Death warning us ‘The End is Nigh’. Darcia comes on stage and plays a videotape in an old TV, referencing iconic Scooby Doo films and explaining what the set will entail. As the TV screen rolls off the stage, the band is on wearing their signature makeup, the cathedral lights are on, and the music starts. ‘Further Than Forever’ is one of the band’s most famous songs, spanning 9-minutes long but feeling like seconds. The venue is full of energy, the crowd is going wild and ‘Sanguivore’ begins.
I am definitely biased in saying that this album is one of the band’s best work. Whilst their previous albums are more Bowie-meets-Ice Nine Kills, ‘Sanguivore’ is an album that feels like a ‘Only Lovers Left Alive’ type of record. Creeper have a lot of theatricality on stage that matches the vibes of the music, and every song flows seamlessly, going into ‘Cry for Heaven’, ‘Sacred Blasphemy’ and then the slower ‘The Ballad Of Spook & Mercy’. It is a tale of love, death, devotion and everything in between, and it is perfectly told through the music.
Whilst the album was released a year and a half ago, the fans are already citing word for word. Crowd-surfing picks up as ‘Teenage Sacrifice’ and ‘Black Heaven’ come on, while a more heartfelt moment of tearful faces comes in full swing when ‘More Than Death’ is performed – a song that the band do not perform live that often. Creeper also keeps engaging with the crowd through the set, often leaving the audience to fill the lyrics. But even though the album is finished, this is definitely not the end. The band comes back on stage bathed in light to perform some more of their most iconic songs – ‘Down Below’, ‘Suzanne’ (with a very special guest joining), ‘Midnight’ as a duet with Will and Hannah, ‘Ghosts Over Calvary’ and finally, crowd favourites ‘Cyanide’ and ‘Annabelle’, where the energy picks up so much the whole venue feels like it’s moving.
Finally, the set ends with ‘Misery’, sang almost exclusively by the crowd as the band sits in awe. Admitting that they release music not knowing how it will be perceived and having a sold out venue sing back every single lyric definitely felt very fulfilling and you could see the band almost unable to grasp the waves they have made. But alas, we were not gathered in Camden just to watch them perform an album live. As the set ends, a masked and muscly executioner comes on stage and the curtain drops, giving its place to a projection. The ‘Sanguivore’ videotape comes out of the TV, replaced by another one titled ‘???????’, making the crowd roar. Then a small teaser of an 80s slasher-like film comes on, staring the very same executioner, teasing the band’s newest album that comes to supersede ‘Sanguivore’. To say that all of us have our eyes peeled for this would be an understatement.
REVIEW + PHOTOS BY: CHARIS LYDIA BAGIOKI
JOHN LEGEND // OVO HYDRO, GLASGOW
VIEW REVIEW:
JOHN LEGEND LIVE AT GLASGOW’S OVO HYDRO
★★★★☆ (4/5)
JOHN LEGEND PERFORMING AT GLASGOW’S OVO HYDRO
PHOTOCREDIT: CALUM BUCHAN
John Legend is out on tour to celebrate the 20th anniversary of the release of his most successful album, Get Lifted, which was released in 2024. The UK leg of his tour started in Glasgow.
I remember this album coming out at the time, soulful, packed with hits and a real change from what was being called soul at that time, melodic, stylish and a throwback to old school soul like Marvin Gaye and Otis Redding, full of songs with a purpose and emotion.
I didn’t get to see him perform then so was really keen to see if he could be as good live as he sounds on record.
The OVO wasn’t fully sold out which was a shame but there was a large crowd there to see the gig, there was no support, instead he came on stage at 8.30, allegedly playing until 10.15 but he kept going well past that planned end point concluding with All Of Me.
The overwhelming feeling was there was a real soul man in the house, one who was clearly raised in a gospel tradition as he told us about and then demonstrated. The one downside for me on the night was the crowd, they took a long time to get warmed up and, despite John asking everyone to get on their feet as soon as he came on stage it felt like they never got going. They were four people behind me who never stopped talking for the whole show.
It's a real shame the crowd were not more up for it as Mr Legend was giving a masterclass in being a soul man on the stage, the staging itself was excellent, the between songs stories really gave you a feel for where he had come from and who he is, the melody of hits he’d been involved with for others showed just how much influence he’d had and his voice was even better live than it is on record.
There were a couple of really good bits of audience interaction, when he got one volunteer up on stage to dance with him she gave it all she had and left nothing on the bench and when he sang Ordinary People, a brilliant piece of song writing, there was finally a mass sing along.
I really hope the crowds on the rest of the tour are more engaged as this was a man, and his band, who were giving it their all and showcasing just how good they can be. Aside from the obvious big songs everything off the album was played, and it was all played to a level of perfection which shows just what a tight unit this band are.
I left this gig realising I’d seen a powerhouse of a vocalist with a brilliant band and an excellent back catalogue who is a consummate performer and raconteur. If you get the chance to get a ticket for one of the remaining UK shows you should, just to hear him sing gospel if nothing else!
REVIEW BY: IAIN MCCLAY
PHOTOS BY: CALUM BUCHAN
WET LEG // USHER HALL, EDINBURGH
VIEW REVIEW:
Wet Leg anticipated return to Edinburgh
★★★★☆ (4/5)
WET LEG PERFORMING AT EDINBURGH’S USHER HALL
PHOTOCREDIT: WILFRED MAGNUSSEN
“We’re so back” proclaimed Wet Leg on the 17 March, and tonight, after exactly two years, they make their anticipated return to Scotland’s capital. Hot on the heels of a performance at Radio 1’s Big Weekend, they’re riding a wave of momentum into a new era of shows and an upcoming album, moisturizer.
But first, the growing crowd welcomes Bristolian, Katy J Pearson who brings a vibey set blending folk and country stylings with pop-rock. Pearson’s stellar voice grabs the attention of the room instantly and her clever songwriting is brought to life by her ridiculously tight live band. There’s a breezy selfassurance to the whole set and I get the distinct sense she’s gained a lot of new fans tonight.
By the closing notes of Pearson’s set, the grand Usher Hall is well and truly at its capacity. Ambient nature sounds waft from the PA as smoke floods the stage. I wonder what Wet Leg’s return to Scotland will look like–but as the punchy opening riff of “catch these fists” (a cut from the new album) blasts out, the only answer is: confidence.
The early run of songs blends the familiar (“Oh No”) with the fresh (“liquidize”), and by the time “Wet Dream” hits, everyone around me is dancing and singing along–it really sets the tone for the rest of the set.
On stage is a band that blew up with two songs and went on to write a 12-song album of bangers that cemented their status. Fans are rightfully here to enjoy these hits. During one of the new songs I spot a few folk making a break for the bar, but they’re sprinting back as soon as “Ur Mum” starts. At this point, it’s a crucial live staple and we’re all part of a cathartic, scream therapy session. We’ve certainly been practising our “longest and loudest scream”. The band’s original duo, Rhian and Hester are face-to-face at the drum riser, locked in and shredding through the outro–it’s a highlight.
f there were doubts about new material, the band brushes that to the side. They’re on form, clearly confident in their new tunes (the set is almost split down the middle with old and new). “We have another new tune,” Rhian announces, playing a song called “mangetout” (ID’d after some digging on Genius). I like this one.
The hits keep coming: “Piece of Shit”, “Angelica” and the unreleased but already massive-sounding “pillow talk”. Before the breakdown in “Too Late Note”, Rhian stumbles over her lines, styling it out with a charming laugh (“Now everything is going wrong…”). It’s a lovely, authentic moment and we’re all on board. I can tell they’re enjoying being back on stage and the energy is infectious.
As I check my watch, I’m surprised we’re already nearing the end. It’s been back-to-back tunes but I know (or hope) there are a few more big ones to come… but we’re running out of time! Encore? Nope! “We have a couple more songs to play” announces Teasdale as the rhythm section plays the driving opening of the iconic “Chaise Longue”. There’s something to be said for bands not mucking about and just cramming the full set with music. Understandably, “Chaise Longue” is the most “documented” moment of the night but it doesn’t detract from the energy, everyone’s bouncing.
The closer is “CPR”, a track that dropped today and will open the new album. It’s a dark, chugging, grungy number with Rhian declaring her love over an onstage telephone (telephone pictured)–“I’m in love and you’re to blame” is the closing sentiment and I sense that the whole room is feeling the love as the house lights come up.
I find that pre-album tours can sometimes be a bit tricky–unreleased songs sucking energy from the room–but Wet Leg played this one spot on. There was enough anticipation to sell out the Usher Hall, treat fans to familiar songs whilst leaning on their confident songwriting to play unreleased tracks to great reception. It’s a perfectly executed teaser of what’s to come and I can’t wait to hear the new record. I’m already itching for a UK tour after launch but with a summer of festival sets it seems unlikely (however the album launches the day they play TRNSMT in July).
I leave the Usher Hall in a haze of witty, poppy, indie euphoria and I think, if this is Wet Leg “so back”, what a return it is and I hope they’re back for a while
“moisturizer”, Wet Leg’s sophomore album, drops 11 July via Domino.
REVIEW + PHOTOS BY: WILFRED MAGNUSSEN
SLAM DUNK FESTIVAL 2025 - NORTH // HATFIELD, UK
VIEW REVIEW:
SLAM DUNK FESTIVAL 2025 AT HATFIELD
★★★★★ (5/5)
A DAY TO REMEMBER HEADLINING SLAM DUNK FESTIVAL 2025
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
The start of festival season could not have been better – Slam Dunk weekend is a much promising one for both the South and the North. With an array of bands, from up-and-coming to established, the UK’s largest emo-filled field opened its gates to people who eagerly got there early to enjoy a day full of scream, mosh and endless crowd-surfing. There were far too many bands to watch everything, but here are some highlights below divided by stage.
I have to say that the small stage in every festival is my sweet spot. Usually in a circus tent under minimal lights and full of sweaty bodies who avoid the sun like vampires, the Key Club Stage was for me the best one out of all of them. I found myself going there to check out the smaller and upcoming bands all the time, with a lot of names making an impression. Mouth Culture brought on their incredible energy early on, having people crowd-surfing since early afternoon. Even though their sound is more indie/alternative, the energy was really high, while the soulful vocals were perfect for a mellow start to the day. The energy was even higher as Winona Fighter came on. This was my third time seeing them in a week, and they definitely delivered a show that had people cheering up all the way to the back of the tent. I have said it before but when you combine Green Day with Paramore, you definitely have a recipe for success.
Continuing on, one of my absolute favourite bands of the festival were South Arcade. The youngsters have only just finished their UK tour and they are already rocking festivals – and they really know how to work the crowd too. The dim lights and sweaty atmosphere gave their set an edge that made them all the more suitable to the stage – they were definitely one of my absolute highlights to watch them. The stage filled with smoke as Graphic Nature came on, with a more nu-metalcore sound mixed with electronic music having people shake to the bassline. Amongst the underground, the band has been making waves with their music and lyrics (focused on mental health), and their set was almost ghostly as the members kept jumping in and out of the thick smoke.
I headed back to the stage just as Split Chain came on, a band only formed in Bristol a couple of years ago, yet already gaining a strong following and fanbase. The band is already signed with Epitaph Records, promising a lot of nu metal riffs and post-hardcore influences. The stage was a bit more mellowed out when Delilah Bon hit the tent, whose style is a mix of 2000s style hip-hop, melodic rap and nu metal music. Alternating her vocals between singing clean, rapping and screaming, she brought chaos as the sunset came on. Last but not least, the night was closed off by Scowl, a band that is already touring the world and marking their spot in the industry. With the signature neon green hair, their singer had the most difficult job of the night – entertaining a crowd that was split between two headliners who chose to watch their set instead. I did not watch all their set, but I could tell that they were one of the fan-favourites and managed to cheer up the people who came to watch them.
You can tell I prefer the smaller stages because other than The Key Club, the Kerrang! Stage was also one of the ones I visited the most. Whilst I missed Lake Malice’s set that was early on in the day – and the guitarist who joined the crowd – I managed to catch Sophie Powers, former American Idol contestant and hyperpop performer. The young singer already collected a big crowd during her set, showing people her vocal prowess and engaging stage presence. Next up were I See Stars, who I almost didn’t watch as they clashed with Movements (at the main stage). Yet, I was really happy I did. The band has a unique sound blending electronicore with rock and pop-punk elements, making the band one of the first of its kind. The vocals were definitely a high point, and the band had everyone entertained within seconds of hitting the stage. There were people there who came only to see them – and that is probably a representative statement to the velocity of this band in the UK scene.
One of my most anticipated sets was Rain City Drive, the band on everyone’s Spotify Wrapped in 2024. Having released the quite famous song ‘Medicate Me’ with Dayseeker, the band formerly known as Slaves has created a completely new identity for themselves and a very dedicated fanbase. Their set was super uplifting start to finish, and it left a long impression as the music and lyrics made everyone in the crowd go wild. Next up were the Scottish alternative band Twin Atlantic, who matched the energy straight on. The band is the ultimate blend of genres – alternative, rock, power pop, emo pop, indie and a bit of grunge – they have something for everyone. They sound like Blink and Depeche Mode had a child – and the child became famous. They were very enjoyable to watch and a band that I had on my headphones on the journey back home that night.
The Kerrang! Stage brought two more acts to Slam Dunk, both of which are making history. As It Is came to the festival for their only UK, a much-anticipated reunion that had a lot of people in tears (and the band too). Not only did they perform songs from the much beloved Never Happy, Ever After, but they also brought guests on stage to perform with them, ending the set with ‘Dial Tones’ that was sang by the fans way too loudly for the band to keep up. The singer was in tears at the crowd’s welcoming, constantly expressing gratitude for the reaction of the crowd to their set that was short but sweet and nostalgia-filled. There were not a lot of bands during the day that managed to move the audience as much as they did, so they remain a highlight for me – and I am sure for many other people. Lastly, the stage hosted the hottest band in the UK currently, Hot Milk. The English rock band was full of energy as they entered the stage, with their lyrics addressing social and political issues bringing them up in popularity over the years. The band know how to handle heat – they just pour a bottle of water over them whilst performing – and they had a lot of people cheering for them, showing how much they’ve grown as a band. For those who did not catch their set, they’ve got a UK tour coming this autumn and their biggest UK headliner show to date in London – please go and see it, you won’t regret it!
The second main stage of Slam Dunk was definitely one of the fan favourites this year. The band line-up was iconic to say the least, with a lot of bands shaking the grounds as they performed. Dream State brought their stamina all the way from South Wales and the energy they had on stage was phenomenal. In the leadup to Slam Dunk, their singer Jessie stated how she had been coming to Slam Dunk for 10 years before playing the main stage, which in itself is not only inspirational but also quite remarkable. They were a great opener for the festival and their performance left a lasting mark on the crowd who watched them. Shortly after, Swedish band Imminence came on stage. I have to admit, I have a bias towards this band because I was eagerly anticipating their set this year. Imminence are one of the few bands that can blend metalcore with a violin and do it so well it feels almost personal – can we have more violins in metalcore please? I thoroughly enjoyed their set and felt like I needed a few more songs to digest the musical power this band has on stage. Slam Dunk, we’d like them back next year please.
The Main Stage East was extremely popular during the other sets, but nothing stood out to me as much as Stray From The Path did. The band brought hardcore punk to the mix and honestly, showed everyone how it’s done. They had people crowdsurfing and moshing like there is no tomorrow, presenting old and new songs that had the crowd thirsty for more. Even actor Jamie Campbell Bower tweeted that he wanted to be at the festival and watch SFTP live – so you know where the deal is when you see it. For a band that has already toured with Spiritbox, their bravado and beats tore down the stage, quite literally. I have never seen the crowd go as crazy as they did during their set, and I think it is fair to say that they were one of the most loved acts during the festival.
Last but not least, Electric Callboy were one of the most anticipated acts of Slam Dunk. The band that brings Disco Rammstein into the mix knows not only how to entertain a crowd, but also put on a great show and roll with it. Their energy on stage, coupled with the lights, visuals, confetti cannons and pyros were a treat to the eye. Their performance was an audio-visual feast, with members moving tirelessly from side to side and having great banter on stage that left a lot of people smiling by the end of it.
Controversial opinion, but the Main Stage West was my least visited one this year. I only went to it towards the late afternoon, as Hot Mulligan came on. The American band brings on pure emo energy in their music, with a lot of post-punk elements and playful riffs. The band knew very well how to work the main stage, performing a lot of their fan-favourite songs as well as songs that the members like for their own reasons. Creating a festival setlist definitely paid off, because the crowd was going wild in the barricade. Next up were Neck Deep, another band that has been making waves with their music this year. Continuing on the pop-punk theme, the band had the crowd bouncing before they even hit the stage. Their set was seamless, as the crowd sang along to most of the songs with unmatched fervour, proving that the band have a very loyal and fast growing fanbase. They also proved that they are a great act to headline a festival, and I am sure that this will happen very very soon.
The festival could not be complete without mentioning this year’s headliners A Day To Remember. Taking the stage in an array of smoke, pyro and floating balls in the audience, the band was under strict instructions to perform ‘as many songs as possible’, so they kept on stage banter to an absolute minimum. Their setlist was an elder emo’s dream, with songs spanning their whole career that had everyone sing in unison throughout the set. The energy on stage was contagious, as crowd-surfing reached its peak – especially when the band prompted the audience to do ‘crowd-surfing on top of crowd-surfing’, which ended up with the Cookie Monster making its way on top of the crowd all the way to the barrier. The set ended with anthems ‘All I Want’, ‘Flowers’ and ‘All Signs Point to Lauderdale’, solidifying why A Day To Remember are the ultimate festival headliner. It was a great year to be at Slam Dunk and we are looking forward to next year already!
PS: Special shout-out needs to go to The Used who performed their album ‘In Love and Death’, exclusively for the festival and Alkaline Trio who headlined the Monster Stage and reminded everyone how emo music started.
REVIEW + PHOTOS BY: CHARIS LYDIA BAGIOKI
INTERVIEW WITH DREAM STATE
DREAM STATE AT SLAM DUNK FESTIVAL 2025
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
In today’s world we know the modern woman is more independent and ambitious than ever. That doesn’t come much truer than who we spoke to during Slam Dunk South. Since joining Dream State in 2022, Jessie has unknowingly become a role model for women and girls of all ages. Her talent speaks for itself, harnessing a power on their latest release, Bittersweet Scars of My Past. To which she’s only just realising how much their music helps people. Lyrics she wrote alongside members Aled Evans, Jake Bowen, and Tom Connolly.
Earlier in the day Dream State had played over on the Main Stage East. Not only did the four-piece go on to dominate the giant stage, but they also filled it with so much kinetic energy that despite it only being a 12:40 slot, the field felt like a giant party complete with crowd surfers having their share of the fun.
We caught up with the frontwoman to discuss the poetic freedom that comes with songwriting and the excitement of getting to play at Slam Dunk.
Let's talk about your latest release, Bittersweet Scars of My Past. I found the lyrics not just powerful, but powerfully raw. When you put out a song like that, do you feel vulnerable, by putting your feelings out there on display?
Absolutely a mixture of both. Yeah, I think there is a real power in being open and vocal about your feelings. It's important to get it out there. But for me, I really like writing, and it feels like free therapy (laughs) or something like that. It is very raw. So it means a lot to me. I feel like this is a song that a lot of fans have connected with, and that connection means everything to me.
When it comes to songwriting, what does your creative process look like?
I just write loads of words and the melodies. Then the guys will send me, like, a rough skeleton of a song, and then I'll just go look through all my pages of words or the melodies to see what fits best. I’ve been singing and playing guitar since I was little, probably even before I realised I was writing a song (laughs.) It always felt natural to me.
Have you always written songs?
Yes, I’ve been writing since I was about 12. I've been singing and playing guitar since I was a little kid, and like I mentioned, maybe I didn’t even realise what I was doing was songwriting. I thought of them as little poems or just thoughts whirling around in my head.
Would you find that a very cathartic experience?
Oh, yeah, absolutely. Like I said previously, connecting with our words is so important to us. It really feels like a release.
How do you feel on release days? When people begin to react to the new music, do you feel a sense of release?
Yeah, there is definitely a sense of relief, but I would be lying if I said I didn’t get a bit scared. There’s a voice that is there thinking, “What if no one likes it?” So yeah, there are vulnerabilities out there, as our words and emotions are out there for everyone to hear. But the responses have been pretty good, which means a lot.
You just played the main stage, and that is one of the big ones to play. There were so many people out there it seemed like everybody gravitated towards you guys (laughs).
Oh my god, I know (laughs). I definitely got emotional out there. It is such a privilege. I couldn’t believe how many people showed up out there for us. I actually had to check myself and think, “Wait, you know Green Day aren't here, right? (laughs) But honestly I can’t describe the feeling; I just keep coming back round to the world privileged. I feel very grateful to have this opportunity.
How do you feel when you’re onstage and looking out to a wave of people singing back to you? Do you have a different version of yourself to take over, or is it all adrenaline?
Oh, 100%, there is definitely a wave of adrenaline that takes over. You just have to lock in and go for it.
I want to touch on something you posted on Instagram the other day. You mentioned that the last time you were at Slam Dunk, it was your 10th time attending, and now this year you’ll be on the main stage. How do you hold onto that confidence of achieving your dream? Especially where women tend to have a tougher time in the industry?
Thank you. I do think there's a fine line between confidence and arrogance. But I think it's OK to have self-belief and to really believe in yourself. If you’re a good writer, then just write? If you’re a great interviewer, go out and interview; like, just believe in yourself. Stay humble and work hard. I truly believe that if it's supposed to be for you, what’s meant for you is not going to pass you by. I’ve been doing this for 20 years, and people don’t realise how long I've been grafting. It takes a long time, so to finally get on the main stage is just incredible.
You’ve also spoken about how, regardless of age or gender, if you just keep working hard, it will pay off. Do you feel like you’ve become a role model for young girls and women of all ages?
I didn’t feel like a role model. But lately, especially today, it’s starting to feel like maybe I am. As people keep telling me the same sentiment. Over the last three years. That's a word that crops up quite a bit. So if I can be someone that all the young kids look up to, especially young girls, or even women my own age can look up to, as girls my age, we’re not dead (laughs.) I’ve got another 50 years of life ahead of me, and nothing is stopping me. So, just keep doing whatever makes you happy. That’s all that really matters.
How do you keep that positive mindset?
It has taken a lot of work. I definitely have good and bad days. I'm not always this chipper (laughs), and I have to be realistic about that. You just gotta ride the waves as they come. For me, a lot is just like a lot of self-reflections. I like going for walks to clear my head. I take things day by day. Honestly, some mornings I wake up and it’s a bad day; sometimes it’s a great one. So just learn to slowly roll with it.
What does the second half of the year have in store for you all?
It’s a busy year! We’ve got Slam Dunk North tomorrow, then we’re off to Rock for People. We’ve also been invited to perform Rock the Castle at Cardiff Castle with Funeral For a Friend, which is such an honour to do that with them. And there’s plenty more coming up that hasn’t been announced yet!
What would be the ultimate dream for you?.
Oh, easy. I would love us to go on tour with The Used.
They’re literally sitting across from us now – go shoot your shot (laughs).
(laughing) No way, imagine. But that would be the absolute dream!
INTERVIEW WITH HOT MULLIGAN
HOT MULLIGAN AT SLAM DUNK FESTIVAL 2025
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
Known for their impossibly long and amusing song titles, if not a little deadpan, it’s an unmistakable reflection of the offbeat sense of humour from the guys of Hot Mulligan. If you’re missing that early 2000s emo-pop-punk fusion of angst, emotional chaos, and inner turmoil, then this is the band for you. Over the past few years they’ve surged in popularity, thanks in large part to their distinctive sound.
We caught up with Chris, Ryan, and Jonah shortly before their stage performance over on Main Stage West. To which their humour, alongside their talent, was a highlight. They mentioned earlier in our interview how they continue to take inspiration from pop-punk giants Blink-182 for their stage presence and, importantly, humour. Of course they emulated that wonderfully later on the main stage with the frontman Tade remaking how “Coming up with banter is hard!” Guitarist Chris replied, “As to which am I.” It doesn’t get much more Blink-182 than that.
So, kicking off, you’ve hit the Slam Dunk stage before. How would you describe your connection with the festival?
Chris: It's always a good time. We’ve got a lot of friends here. This is actually our second time playing here. The first time was a great introduction. It kind of feels like what I imagined playing Warped Tour back in the day would have felt like, though we never got the chance to play it ourselves (laughs.) But yeah, Slam Dunk has that same energy we love.
How do you try to approach keeping each performance fresh, especially since you’ve played here before? What do you have in store for today?
Chris: We’ve got some new songs in the set. Last time we were here, we only had two or three records out, but since then we’ve released the Warmer Weather EP. So you’ll hear a bit of that sprinkled in. Hopefully now, we’ve built a larger fan base behind us; the energy will be more exciting all around.
How many songs are you performing?
Chris: Hmmm, let’s say around 14?
And in your opinion, what’s the best song to really get the crowd going?
Jonah: Probably Drink Milk and Run, or Armadillo Shells. We usually start off with Armadillo Shells, as that's just one of our more popular tracks, and most people know it, so it’s a good strong opener.
Ryan: I’d go with And I Smoke, just because it’s fast and really gets the energy up.
Chris: I mean, those are the best answers (laughs). But I definitely feel that And I Smoke definitely gets people moving. Armadillo Shells, too — that one always hits.
So, for those seeing you for the first time today, what can they expect from your set?
Chris: Screaming, screeching energy. (laughs)
Ryan: Yeah, a lot of jumping around, maybe even an “Open this up!” moment. I sometimes refer to our live show as “the ship” — it’s wild and chaotic in the best way.
Chris: It’s sh*It is raw punk. No frills. Just pure energy.
And even though the U.S. is home base, what’s it like playing to UK crowds?
Chris: It is kind of refreshing. Because, you know, the states are home and where we have our best crowds. But coming here and having great crowds, it’s always like a little reminder of how far we have come. The energy and love – we do feel that.
Jonah: Yeah, I feel like the UK is pretty matched with the energy we get back in the US, to be honest (laughs).
Ryan: Yeah, like Jonah was just saying yesterday, it is always refreshing. While the US is our home and the biggest crowds gather, I find that the UK definitely gets down with our riffs. That’s something that I’ve noticed you guys love. (laughs)
Chris: But it’s always like a little reminder of why we do this. There’s a different kind of pressure and experience, a different kind of energy too, but that’s what keeps things exciting.
For someone seeing you for the first time today, who walks away a new fan, how would you describe the band, the vibe, and what you're all about?
Chris: I’d say we’re somewhere in the realm of emo — maybe post-emo. There’s definitely a raw, emotional edge to what we do.
Both the song titles and lyrics feel poetic, tinged with that emo vibe. Do you feel vulnerable putting that out there?
Chris: Honestly, most of us didn’t write the lyrics — that’s more Tade’s department. (laughs) But we all have some songs that we connect with. These days, I don’t feel as awkward about it. I just try to ride the wave and let the emotion come however it comes, you know.
And how does it feel playing a stage this big — especially the main stage? Do you still get nervous?
Chris: It’s wild, honestly. Playing in front of a crowd that size is something you dream about. There’s always a bit of pressure, but mostly it just feels like an opportunity to really connect on a bigger level. It’s surreal in the best way.
Ryan: There's always a few pre-show jitters, but by now we've played enough festivals that I feel like we're a lot more comfortable with it. It’s become more natural and a little bit more accustomed to it.
Do you have any pre-show rituals before you head out?
Chris: We put our hands in a circle and we chant, “Play dubstep real loud, and don't trap the bass.” (laughs.) Which kind of eases all our nerves because basically what it means is to have a good time anyway. So, even if the crowds are not super into it, we have fun. It's just like a giant band practice where it turns into a party. It’s all about just having a fun time on stage.
How do you go about putting together setlists? Do you lean towards picking the fan favourites or songs you prefer to play?
Chris: Today we picked some fan favourites, and we sprinkled a couple of our own picks too. But as we’re up on the main stage for the festival this year, we figured we'd play the biggest songs that get a crowd going.
Having played a lot of festivals over the years, what's the wildest story that's happened over the years?
Chris: Well, there’s a skate park in Germany at Rock for People. They had this skate park with a mini ramp inside the festival grounds. That was pretty cool... not exactly wild (laughs.)
Jonah: We don’t sound very rock and roll, do we? (laughs)
To be honest, you guys do come across very chill (laughs).
We’re halfway through the year; what does the second half have in store for you all?
Jonah: Yeah, we have some tours just stacked up. We’re doing an Underplay tour in the US, hitting up Bonnaroo. And then we’re coming back this way in the world later this year touring with Pierce The Veil.
Would you say that is one of your dream artists to tour with? Who else would you love to perform with?
Jonah: Well, honestly for me, that dream is kind of being accomplished this year. As I love Pierce the Veil.
Ryan: I think, like many musicians, Blink-182 had a big impact on us.
Chris: I’m an emo, so I’m also Blink for sure.
Would you say they had a hand in inspiring you to get started in music? Gave you a push into this path?
Jonah: Definitely, one of the earliest bands that influenced me. Because I had older siblings who were super into the whole early 2000s pop-punk thing.
Ryan: Oh, for sure, early 2000s pop-punk inspired me.
Chris: For me, I really respect their stage banter; there are a lot of jokes in there where it’s not all serious all the time.
And it feels like everyone’s in on the jokes too, right? The crowd knows what to expect, and that creates a great connection.
Chris: Oh for sure, and that definitely happens, and we take inspiration from that on to our stages (laughs.)
INTERVIEWS BY: KIRSTY BRIGHT
PHOTOS BY: CHARIS LYDIA BAGIOKI
WIDE AWAKE FESTIVAL 2025 - BROCKWELL PARK, LONDON
VIEW REVIEW:
WIDE AWAKE FESTIVAL 2025 AT LONDON’S BROCKWELL PARK
★★★★☆ (4.5/5)
KNEECAP HEADLINING WIDE AWAKE FESTIVAL 2025 AT LONDON’S BROCKSWELL PARK
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
Kicking off the 2025 season with a series of festivals, Brockwell Park welcomed Wide Awake, a festival that represents defiance, diversity and the spirit of a dazzling performance. The festival line up was one of the best ones yet, however, it has been a legal and political challenge pulling the festival off this year.
Just days before Brockwell Park opened its gates to festival goers, organisers faced a legal battle that threatened to cancel their events. In the leadup to Wide Awake, local residents in Brixton raised concerns over environmental impacts and public access, leading to a court case that put the festival’s future in jeopardy. Even though the case resolved in favour of the residents, the festivals were allowed to proceed as planned and will hopefully continue their run in the coming years. In light of this, the festival’s CEO made a public appeal for support, urging people to purchase tickets up until the last minute to help sustain the event and its mission to promote independent music.
As if this was not enough to dent the festival’s livelihood, headliners Kneecap had recently been in the news for their comments during their performance in Coachella, with the trio facing pull-outs not just from Wide Awake but also from Glastonbury. Yet, they came and they conquered – but more on that later.
Wide Awake is a festival that champions diversity – not just in terms of artists they bring on but also in terms of their crowd. The festival goers pull off incredible outfits but this year the message was much more political, so the festival attire was mostly Palestinian flags, expressing solidarity for the ongoing war in Gaza. Kneecap were not the only artists that rallied fans with chants of ‘Free Palestine’, as many artists spoke about the atrocities committed in Israel on stage, the Doctors without Borders gave a speech on the situation in Gaza and lastly, Jeremy Corbyn made a surprise appearance just before Nadine Shah hit the stage to urge people to support live music venues and festivals and to not turn a blind eye to the ongoing war. All these little initiatives were met with incredible enthusiasm from the crowd, as solidarity and humanity remained at the epicentre of Wide Awake’s philosophy that united fans in the first place.
But let’s talk about the music. Wide Awake always knows how to entertain a diverse crowd, with multiple stages across the park, as well as some independent venues providing space for up-and-coming artists to showcase their talent. Highlights this year included an array of artists such as English Teacher, CMAT, Fat Dog and Peaches. Starting off with Warmduscher performing at the second stage, the London-based band brought their signature post-punk riffs and playful energy under London’s sun to entertain the audience. Their sound is not only eclectic but includes flair, style and disco beats making the crowd move well early in the set.
Running off to main stage straight after, Jeremy Cobyn welcomed Nadine Shah on stage for a performance that was jaw-dropping. The Mercury-nominated singer and songwriter has a very unique voice, blending indie with rock and jazz. She pulled a very large crowd during her set, whilst her voice was heard all over the festival grounds because, yes, she is that good. Following on, English Teacher joined the main stage after a talk from Doctors without Borders. In an emotional state after giving their own speech against the war, the fresh off their Mercury Prize win band showcased their talent and musical prowess on stage performing their most famous tracks from their acclaimed album ‘This Could be Texas’. The band blends alternative and post-rock vibes into their music, whilst the breeze made their performance feel all the more commanding and otherworldly.
The stage became then home to the Dublin garage punk band Sprints, who in my opinion were one of the standout acts of the festival. Raw energy, expressive vocals, powerful stage presence and hypnotising drum beats. The band brought the performance to another level with their intensity, as most previous acts were a bit more mellow, whilst Springs were here to bring chaos. They played a fairly long set with a lot of energetic songs to hype the audience up and definitely made an impression. Thanks for the recommendation, said a friend to me when I told her I am going to watch Sprints because they ended up being her favourite act of the festival – and she hadn’t even heard of them up until ten minutes before she saw them. That is a true testament to how good this band is live.
As if the energy was not already hitting red, CMAT entered the stage during the early evening, with the sun still shining and the heat raging. The international pop star knows how to treat the audience with her theatrical and melodramatic tunes. Entering the stage wearing just underwear and an oversized shirt, the ginger singer was all about the attitude. Sexy, provocative, soft, dramatic, tearful – she had it all. Her audience went wild, and that is an understatement as people from barricade to sound board sang every single line of the song, screamed the lyrics back at CMAT and cheered when the performance got a bit more cheeky and risqué. Treating the loyal and enthusiastic crowd, CMAT performed not only her most famous songs but also three new songs that have not been performed before – in fact, the Brixton audience was the first ever audience to hear them in general. Her voice was incredible as it echoed all around the park, solidifying her status as one of the festival favourites.
It would not be Wide Awake if the second stage did not have Fat Dog performing. The band returned to the stage for a second year in a row, delivering a very high-octane performance. Considering the band plays fairly small venues around London when they tour, the crowd they pull at the festival is astonishingly big. Loyal fans know the deal – moshing, dog masks, singing along and jumping, whilst the singer sings to the charged audience from the precarious spot of the barricade. The band’s sound is enhanced by a sax and drum beats on stage, whilst the cowboy attire inspired a lot of people’s festival outfits. The audience knew the songs before they even started being played, showing that the band is not only well-loved in South London, but also has the potential to headline music festivals repeatedly.
Under siren sounds and ‘Free Palestine’ messages, this year’s headliners Kneecap delivered a charged performance. The Northern Irish punk rap trio has been the hottest act this spring, starting off with the controversy after their Coachella performance and the Glastonbury drama. The crowd was glad the band did not pull off the festival given the ongoing legal issues they are facing, but not only did they pull the biggest audience of the festival, they also showcased solidarity and defiance through their music. The setlist was an array of chaos, with songs such as ‘Amach Anocht’, ‘Fenian Cunts’, and ‘Sick in the Head’ making the audience lose their marbles. People were dancing, jumping and moshing, as the band performed song after song tirelessly, while also communicating with the crowd to promote their undying message of resistance against political oppression. ‘A lot of people have supported us and agreed with us, so we know we are on the right side of history’ is what the band said during one of the ments, and that was a phrase that struck a cord with people around me. Ending the set with ‘Get Your Brits Out’ and ‘H.O.O.D’, the stage was set alight by Kneecap’s setlist and energy. They are definitely an act to keep an eye out for because they truly deliver a message that resonates with many people around the world.
Last but not least, Wide Awake left Peaches to close off the night. The Canadian musician has an iconic style that delivers feminism and sexiness, as the performance artist and the dancers push boundaries and break barriers. Combining electroclash with bold art. Her lyrics are usually about feminism, queerness and gender role representation, and her performances are often a piece of art that aims to provoke. Appearing on stage almost naked with stark makeup and dancers wearing outfits that look like genitalia, Peaches’ show is a bold one to watch. The songs are incredibly famous, given how much they have been used in multiple popular films, so the audience that was not there for Kneecap was definitely showing up for Peaches, as the chanting came in loud and proud. It was a great act to end the festival that showed how artists are there to challenge social norms and to promote themes that make people think a bit harder. We are already looking forward to Wide Awake 2026.
REVIEW + PHOTOS BY: CHARIS LYDIA BAGIOKI
MICHAEL MONROE // NEWCASTLE UNIVERSITY, NEWCASTLE UPON TYNE
VIEW REVIEW:
Opening Night For The Michael Monroe Sweatfest
★★★★☆ (4/5)
MICHAEL MONROE PERFORMING AT NEWCASTLE’S UNIVERSITY
PHOTOCREDIT: JOHN HAYHURST
On a balmy Thursday evening, Newcastle University’s Students’ Union transformed into a haven for rock enthusiasts, as Michael Monroe, the Finnish glam-punk icon and former Hanoi Rocks frontman, delivered an electrifying performance.
Michael Monroe's illustrious career spans decades, from his early days with Hanoi Rocks to his ventures with Demolition 23 and a prolific solo journey. His music, a blend of glam rock and punk energy, has influenced countless artists.
The band enter to a western soundtrack and look like a pack of bad guys from a movie, weather beaten and dressed in all black they will soon regret wearing long sleeved shirts and hats as it’s already boiling in here.
There are no changes to his band from recent years, ex New York Dolls – Steve Conte on guitar and ever present Sam Yaffa on Bass, and Rich Jones (Ex Ginger Wildhearts) on Guitar and Karl Rockfist on drums. Both Conte and Jones shared production duties on the last album so now they are both well engrained into the band but tonight, as always, is all about Michael Monroe.
The opening has already hit 100mph and it just doesn’t stop, the sweat starts pouring and that perfectly pimped blonde hair on Monroe’s head soon looks like a wet dog as he struts, kicks and punches the air on this small stage. He is constantly standing on the monitors to get closer to the crowd, slapping hands and waiving his mic stand around complete with black polka dot and red scarves tied around – Steven Tyler style.
There is no time for pleasantries tonight, a packed setlist of over 20 songs from his entire career ‘Last Train to Tokyo’ is delivered like a classic, even though it’s actually only a few years old. He’s hardly taken a breath before the next few songs are released to this eager toon audience.
Highlights included "Ballad of the Lower East Side," and Hanoi Rocks classics like "Motorvatin’" and "Don't You Ever Leave Me" and when ‘Malibu Beach Nightmare’ truly kicks in, the surfing and moshing can really start. Then there’s an expected punked up version of CCR’s ‘Up Around the Bend’, probably the best cover version of that song. The performance has been relentless, a powered-up punk and roll sweatfest. Monroe using his mic stand as a rest around his shoulders in a James Dean stance, although he’s currently looking more like Diamond Dave Lee Roth in the flesh.
Monroe showcased his multi-instrumental talents, switching between vocals, saxophone, and harmonica. His high-energy antics, including climbing stage structures and engaging directly with fans, added spontaneity to the show. The concert was more than just a musical performance; it was a celebration of Monroe's enduring legacy and the timeless appeal of proper rock’n’roll music.
For those unaware, the likes of Motley Crue, Poison and even Guns’n’Roses owe a massive debt to Monroe, because once Hanoi Rocks had played in Hollywood CA. all those bands started to copy the style and panache of this frontman. He’s a 100% rock’n’roll icon and it’s a shame that his bands didn’t make the move to the arenas in the same way that those that were influenced have.
For those that know though, he’s our favourite outsider, and it means we can see him in action at so many smaller concert halls for years to come – check out the back catalogue, get to a show soon but prepare to sweat!
REVIEW + PHOTOS BY: JOHN HAYHURST
A DAY TO REMEMBER // O2 ACADEMY, GLASGOW
VIEW REVIEW:
A DAY TO REMEMBER PERFORMING AT GLASGOW’S O2 ACADEMY
★★★★★ (5/5)
A DAY TO REMEMBER PERFORMING AT GLASGOW’S O2 ACADEMY
PHOTOCREDIT: PAUL STORR
Opening the night with a heavy dose of metalcore, Bristol five-piece Split Chain waste no time setting the tone for what is to come.
Drawing comparisons to the likes of Korn and Deftones, their set is a swirling mix of aggression and atmosphere, grabbing early attention from the growing crowd.
Frontman Bert Martínez-Cowles commands the stage with intensity, his emotionally charged vocals anchoring the chaos.
“Future” sees him encouraging the crowd to start surfing, and the energy in the room ramps up accordingly.
For closer, “I’m Not Dying To Be Here,” Martínez-Cowles amps things up even further, shouting, “when this song kicks in, you need to run at each other! Open this up!” A small but enthusiastic section of the crowd duly obliges, forming a wall of death that brings the set to a thunderous close.
A Day To Remember kcik off their set torching the room—literally—with flames erupting during “Make It Make Sense.” From the first note, the energy is relentless.
Things escalate even further with back-to-back bangers “I’m Made of Wax, Larry, What Are You Made Of?” and “2nd Sucks,” the latter dedicated “to all the kids that grew up on heavy music.” The pit wastes no time proving that Glasgow still throws down hard.
Beach balls bounce through the crowd during “Rescue Me,” and the singalong for “Have Faith In Me” has the entire room belting their emo hearts out.
The set takes an unexpected turn with the bands cover of Kelly Clarkson’s “Since U Been Gone,” chosen by bassist Bobby Lynge. Frontman Jeremy McKinnon confesses he’s said “fuck no” to playing it for 20 years—ending the song with a laugh and the verdict: “Great song, questionable cover.”
Things get wild during “All My Friends,” featuring a t-shirt gun-wielding Mario and a confetti cannon exploding into the final chorus.
“Mindreader” sees one of the night’s most chaotic moments: crowd surfing on top of another crowd surfer, with McKinnon remarking, “you can go home a legend or you can go home safe.”
Toilet rolls fly overhead for “All Signs Point To Lauderdale,” and the band hit hard with the double punch of “LeBron” and “Feedback”—a highlight of the evening.
The main set wraps with “Sometimes You’re the Hammer, Sometimes You’re the Nail” and crowd favourite “All I Want.”
The band return for an encore, with McKinnon grinning: “I’m assuming since you guys haven’t left yet, you want us to play some more songs?”
We have a sea of phone lights and lighters for “If It Means A Lot To You,” before the night is closed out with “Flowers” and an absolutely stomping “The Downfall of Us All.”
A Day To Remember prove once again why they’re one of the most beloved live bands in the scene. Anyone catching them at Slam Dunk or elsewhere on this tour is in for a real treat!
REVIEW + PHOTOS BY: PAUL STORR
CASSIA // HERE AT OUTERNET, LONDON
VIEW REVIEW:
CASSIA LIVE AT LONDON’S HERE AT OUTERNET
★★★★★ (5/5)
CASSIA PERFORMING AT LONDON’S HERE AT OUTERNET
PHOTOCREDIT: JACK BRADY
Cassia bring their unique brand of sunshine indie to London on their “This An Album Tour” in support of their latest release “everyone, outside”. The venue, Here at Outernet, which is one of London’s best new venues, is sold out for tonight’s show, which is the biggest for the Macclesfield lads to date.
First up we have support from two other artists, Sean Trelford and Arcy Drive. Sean Trelford is a solo artist who stands centre of the large stage with just a microphone and electric guitar. It would be easy to get lost and cower to the pressure but Sean handled the occasion exceptionally well, interacting with the sparse but receptive audience frequently and getting the crowd warmed up.
Next up is Arcy Drive from New York who are touring with Cassia. They take to the stage with an energy I was not expecting. If you listen to their records they are somewhat chilled with folk vibes mixed with mellow 60s rock. However, tonight the band's sound is quite a bit heavier than their records would suggest. Arcy Drive are well received by the crowd who are again on top form and interacting with the band any chance they get.
Cassia take to the stage as the crowd enter a new level of excitement. The band walk onto the stage like they belong there and are clearly making the most of their time in the spotlight on this tour.
The set kicks off with “western front”, followed by new album title track “everyone, outside” which gets a great response from the crowd this early in the set. It’s clear that Cassia has a loyal following from the reaction to the songs from the new album. The sold out crowd had been in great spirits after two great support acts and we’re ready for a party. Rob (guitar / lead vocals) and Lou (bass / vocals) both striding across and amping the crowd up any chance they got.
New album tracks such as “everyone, outside”, “heat” and “reframe” take the bands unique sunshine indie sound and push it even further, carving themselves a unique position in the musical landscape. The songs translate exceptionally well live and are lapped up by everyone in attendance.
The new songs blend well with old favourites such as “100 Times Over” which gets the biggest love so far and the tempo of the set is helped along with slower acoustic numbers like “Don’t Make A Scene” which singer Rob tells us was wrote in Berlin during Covid.
During the set the band effortlessly swap between instruments with both Rob and Lou jumping on keyboards for various songs in the set. It’s clear that not only can Cassia write catchy choruses but they are equally talented musicians.
As “Don’t Make A Scene” ends the stage descends into darkness and a light show ensues. The band jam on multiple instruments with what can only be described as an almost Jungle like sound making the gig feel more like a club night than a gig. We are treated to synths and bongo drums layered on top with repetitive vocals. This is a great interlude to the set and really sends the gig in a different direction.
The jam ends with “Morning’s Coming”, the intro song to their second album followed by the popular “Similar” which sees the crowd singing back the chorus with a new energy.
The rest of the set sees both band and crowd continuing the party vibe ending with an encore of crowd favourites “reframe” and “Right There”.
Tonight was huge for both Cassia and their fans and shows the band’s growing maturity on larger stages. It’s clear to see that they have carved out a unique sound in the vast sea that is indie rock and are ready to take the baton from the likes of The Kooks and Circa Waves as one of the forerunners of this generation of Indie. They are a band that are perfect for playing festivals and if they carry on this trajectory will surely be going on to bigger and better things.
REVIEW + PHOTOS BY: JACK BRADY
BRADLEY SIMPSON // ENGINE ROOMS, SOUTHAMPTON
VIEW REVIEW:
BRADLEY SIMPSON LIVE AT SOUTHAMPTON’S ENGINE ROOMS
★★★★★ (5/5)
BRADLEY SIMPSON PERFORMING AT SOUTHAMPTON’S ENGINE ROOMS
PHOTOCREDIT: AMY MARTIN
To a sold-out capacity the eager crowd waiting in anticipation were not disappointed as the iconic voice of the front man of the British band ‘The Vamps’ presents his first solo tour promoting his debut album ‘The panic years’. This album marks the departure from the bands signature sound, showcasing a more introspective indie-rock influenced style.
Bradley opens the set with ‘Getting clear’, bringing dynamic and charismatic stage presence and incredible vocals.
Supported by rising indie-pop artist Nieve Ella, who has accompanied Bradley throughout his UK 2025 tour. Nieve Ella was received by the crowd and delivered a stripped back acoustic set alongside musician Finn Marlow.
Halfway through to show, Bradley brings out Nieve Ella to duet their collaboration of new hit ‘Favourite band’. Following on from this great performance Bradley told the crowd he promised one fan earlier in the day a pint of beer, which he proceeded to pass the luke warm beverage through the enthusiastic crowd
The Engine rooms is known for its intimate atmosphere, Simpson jumped into the centre of the crowd for his acoustic performance of ‘The bands not breaking up’. With a room lit by phone lights and complete silence, Bradley ‘s vocals echoed vulnerability throughout the room.
Bringing the show to a close Bradley performed a popular track with the crowd ‘Carpet burn’, capturing audience engagement and asking fans to put away their phones and just live the moment. Everyone responded and it was fantastic seeing the crowd singing and dancing without a care in the world.
REVIEW + PHOTOS BY: AMY MARTIN
WINONA FIGHTER // ENGINE ROOMS, SOUTHAMPTON
VIEW REVIEW:
WINONA FIGHTER PERFORMING AT SOUTHAMPTON’S ENGINE ROOMS
★★★★☆ (4/5)
WINONA FIGHTER PERFORMING AT SOUTHAMPTON’S HEARTBREAKERS
PHOTOCREDIT: CHARIS LYDIA BAGIOKI
Just ahead of a hot weekend at Slam Dunk, Nashville based rock/punk band Winona Fighter have decided to resurrect punk from the dead with their short UK tour. And it seems to have worked as Heartbreakers was full to the brim with people who came down to Southampton to enjoy their set in prep of their festival appearances this weekend.
First up were Baby Said, one of UK’s fastest rising bands of youngsters. Sisters Veronica and Jess lit up the venue with their glitter guitar and bass as well as their harmonic voices in a set that was equally rock and mellow. The duo had started playing covers before they created their own music, which is punchy and rock, all collected in their newest debut EP and full album. With clear influences from Måneskin (and the band name should say it all), their stage presence and voice capability is impressive. They performed restlessly for about forty minutes presenting all their best songs, laced with guitar solos, intense drumming and alternating or harmonising vocals layered to create a multi-dimensional sound. In between the rocky set there was also a ‘deep’ ballad, which showcased the voices even more, before the set ended on a high with the guitar solo closing off the setlist.
Winona Fighter are a band that brings emo’s greatest combo into reality – with Green Day riffs and Paramore vocals, the American band is definitely making waves in the UK rock scene this year. Set to play Slam Dunk over the weekend, the band have decided to warm up their crowd all around the UK with a high-octane pop-punk and alternative rock blend that had people singing along and dancing through the whole set. Their show was full of energy and audience engagement, as the crowd even sang back some of the songs, something the band said (to my disbelief) ‘has never happened before’. Playing through songs from their latest album ‘My Apologies to the Chef’, it was obvious from the start that the band knows what they’re doing. With shouty and clean vocals, catchy American Idiot-style riffs and hooks, a raw punk energy and a truly authentic presence, Winona Fighter created a show that felt much more grand than it actually was – in the best way possible.
Their setlist consisted of songs such as ‘Drunk Phoebe’, ‘R U Famous’, ‘Attention’, ‘Jumpercables’ and ‘Swimmers Eat’, whilst later on they added ‘Talk’, ‘Jonny’s Dead’ and ‘Don’t Wallow’, all of which had the audience singing along, dancing and jumping almost to the ceiling of the venue. The early summer heat did not stop them from dancing relentlessly on stage, making the sweaty gig feel even more authentic and unique. And even though their show was small for now, the band is poised to expand their reach and solidify their presence in the modern punk scene following their festival appearances. It will be great to see how they perform on a larger stage and across a big festival crowd, because the Southampton intimate gig was definitely one for the books.
REVIEW + PHOTOS BY: CHARIS LYDIA BAGIOKI