Opening the Park Stage on Friday morning is equally a privilege and a challenge. Chicago’s Horsegirl stepped up for the 11.30am slot, charming a modest crowd navigating the festival’s unrelenting early heat with a set of minimalist indie rock that boasts some of the finest, most smile-inducing dual vocals around. ‘2468’ from the band’s most recent record, ‘Phonetics On and On’ was a highlight of the weekend, and a track that visibly perked up the festival’s early risers.

An hour of finding bearings, and a quick visit to the Pyramid Stage to kick off my Brit Pop summer for Supergrass, was followed by what felt like Glastonbury 2025’s first big moment. Fat Dog arrived at the Woodsies Stage with the reputation of one the UK’s most important live bands and walked on to a crowd that reflected that. For those that have seen the band, it comes as no surprise that frontman, Joe Love was relentless in his rousing leadership of the audience, nor would an eyebrow be raised when Morgan Wallace and Chris Hughes break off from their multi-instrumentalist duties to perform synchronised dance moves- an act which underlines their primary appeal, joy with intensity. Across this 45 minute set, Fat Dog, with additional live violin and a second drummer in their arsenal, treated the Woodsies stage audience to cuts from their debut album ‘WOOF.’ as well as recent single ‘Peace Song’,  landing a performance that captured the imagination of the festival whilst running riot in the process. 

After hopping in and out of performances from English Teacher at The Park and Wet Leg on The Other Stage, it was Gurriers who next stuck my feet to the drying grass. The Dublin punk band are as barbed and brash as you’d expect in their live performance, but they want you along for the journey. Where ‘Top of the Bill’ and its opening riff rang out as an obvious crowd favourite, their clear ‘pop song’, it was within their Gilla Band washed, sun stroke prodding, noisier tracks that the band truly excelled. 

Wunderhorse could headline festivals. Since their last Glastonbury performance on the Woodsies in 2023, the band have experienced sizable growth and released their second full length album, ‘Midas’. Walking onto The Park stage to an audience that kept on going up the hill, this was a set that had palpable anticipation. Wunderhorse have taken active steps to unpolish their beginnings on debut ‘Cub’ with ‘Midas’ hammering home the band’s grittier, noisier preferences- but what was clear to see was that great songs are great songs and passionate, intense and unifying performances are exactly what they are too. If you see Wunderhorse as two acts, Glastonbury 2025 proved they live together symbiotically. With a set that included crowd pleasers ‘Purple’, ‘Teal’, ‘Midas’ and recent post album single, ‘The Rope’, the band had every word sung back to them with every ounce of rock n roll bite remaining intact. In a world where we are all looking to our left and to our right for who may well be the next new band at the top of a festival poster, it may not be this festival (yet), but it may well be Wunderhorse.

Saturday began with Sorry on the Woodsies stage. Sorry are a special group, where some of the most interesting individuals in alternative songwriting form the sounds of a band who refuse to rest on the sounds of the past, nor the sounds of their past. In Asha Lorenz, Sorry have a star. With endearing confidence, and the movements of a living glitch, she jumps from rap to held high notes – avoiding all eye contact but beaming with gratitude towards those in attendance. Sorry’s accomplished set included favourites ‘Cigarette Packet’, ‘Starstruck’ and recent single ‘Jive’ but what struck hardest were the new ones. ‘Today Might be The Hit’, an assumed title, captures exactly what might be possible from this Glastonbury performance onwards- songs that are open to big things and open the weird, undeniable and unmatched world of Sorry to a deservingly bigger audience. We can only hope!

Without moving a muscle, NYC’s Fcukers appear for what may be the Woodsies strongest one-two of the weekend. We hosted Fcukers’ debut London headline in the Blue Basement some time ago – that crowd of 60 has quickly swelled to a capacity Woodsies off the back of one EP. If ever reduced to a ‘trend band’ or more specifically indie sleaze revival, Fcukers stick two large fingers up to that when playing live. Led by two founding members Shanny Wise and Jackson Walker Lewis, the four piece tear through ‘Homie Don’t Shake’ to get Saturday’s first proper party started. You can’t help but feel that Fcukers have unified the festivals eclectic taste here – serving the alternative kids as emphatically as the dance heads. Every member of the band has that special quality of being watchable. Scan the stage for the live scratch DJ to the live drums and you’ll be entertained- cue Shanny and Jackson to steal your attention and demand your energy in return. It’s very cool, it’s a lot of fun and it’s ready to be massive. 

Where Fcukers unified a tent, Kneecap unified a festival. To have the West Holts stage in your sight, let alone the band,  required an hour of being cooked by a beating sun – the festival closed the stage due to being over capacity 30 minutes before stage time. Fortunately we made the call early, arriving 60 minutes before stage we were still reduced a tight squeeze 100 meters from the stage next to the Venezuelan food truck. The sea of Palestinian flags warmed the heart to match our skin, and everyone there knew they were about to witness history and support the right side of it. Mo Chara’s freedom was celebrated, the government’s disastrous leadership and support for Palestine was called out, and the celebrity fall out that surrounded the rap group mocked- all within the first 5 minutes of their time on stage. This show was at the centre of the earth, and within that hour-long set Kneecap committed to speaking for those who couldn’t, and wouldn’t, alongside a blistering live performance.

It’s something of a pleasure to see an artist who’s been on the cover of So Young grace one of Glastonbury’s big stages. Amyl and the Sniffers are one of these bands and their performance on The Other Stage can be summed up by bassist Gus Romer’s warm welcome of “what’s up cunts?”. A middle finger with a smile. The band are in fine form, and Amy Taylor a pop star. Her warmth and realness shines through the spike and spit of the punk songs and it lands like no other. The set list served everything from ‘Hertz’ to ‘Chewing Gum’, ‘Balaclava Lover Boogie’ to ‘Big Dreams’- capping it off with a wonderful off the cuff speech on the current political climate, using the platform as we wish many more would have. 

Who is Patchwork?  We all knew, the field was packed for them, and we were all glad to have the heads up that Pulp were back on the Pyramid, wherever it came from. As charli xcx once projected behind her, it’s a Pulp summer – and Jarvis a tank of charisma as full as the Other Stage headliner too. During a set that told the bands 1995 headliner story, where Pulp filled in last minute for The Stone Roses, Jarvis commanded the stage and charmed a crowd with all his usual pointing, pointy joints and “ooo’s”.  ‘Spike Island’ was amongst a host of tracks from the bands recent number one album, ‘More’, which didn’t disengage in a way many heritage artists can when playing the new ones, but set up the euphoria of the hits. ‘Common People’ closed the show and welcomed the Red Arrows overhead. A special moment.

Saturday was rounded off with a singalong set from Father John Misty, an awkwardly thin crowd for Neil Young, whose voice was in fine form, and a swollen capacity crowd for a celebration of charli xcx- a celebration of which she also partook. 

Upon inspection prior to arrival, Sunday presented itself as THE DAY. Buzzy new bands, returning indie icons and big stage moments from regular favourites. 11.30am welcomed winners of the Emerging Talent Competition, Westside Cowboy to the Woodsies stage. They’d played prior sets, but this one their biggest- confirmed by guitarist/vocalist Reuben Haycock’s claim that this show was by far the most people they’ve ever played to. This isn’t my first time seeing this band and it’s true there’s a lot of hype, but with each performance they prove their worth. Westside Cowboy are a substance first band. Substance that will naturally be refined, but whether they turn to folk, country, or punchy indie rock, they get it right. With all four members having vocal roles within the band, granted, drummer Paddy Murphy’s core role is to give the now famous shout of “Westiiiiiide Coowwwbooooy” ahead of debut single ‘I’ve Never Met Anyone I Thought I Could Really Love (Until I Met You)’, the talent stretches far and thick. Westside Cowboy at Glastonbury showed their collective power, and it’s the collective you buy into from out front. Their welcome was warm and their exit warmer – this set won them fans and cemented those already in touch with the group.

Following a quick stop for the hits from The Libertines at the Pyramid, Mên An Tol performed their first of two Sunday sets at the BBC Introducing stage. Welcomed on with some kind words from 6Music’s Steve Lamacq, the London based band rattled through a set that boasted the big chorus’ of 90’s britpop and the deep story telling of your folk favourites. Debut single ‘NW1’ was a natural highlight, but new ones ‘Lucky’ and ‘Not Ideal’ presented frontman, Bill Jefferson as the next exciting voice in indie.

Via the West Holts for a lay on the grass amongst a big crowd for Brian Jonestown Massacre, it was to the Other Stage once again, for a band that had been on our cover, again. Wolf Alice are very much back and you can feel it in the way they carry themselves that this set could well be the important trigger moment for some genuine mainstream success. They enter like excitable kids throwing fists in the air to almost celebrate how many people had come to see them, before frontwoman Ellie Rowsell took a breath, took to the podium and entered pop star mode with back to the audience and one arm aloft-surrounded only by her silhouette. Wolf Alice have some catalogue to play with now, each set of 3 songs feeling like a chapter in the set. Ellie’s voice travelling inexplicably between riotous punk roars to delicate balladry and theatrical power- wildly all on show at once in recent single ‘Bloom Baby Bloom’. ‘Bros’ united the audience for a proper festival singalong, ‘Silk’ satisfied a personal favourite and ‘Don’t Delete The Kisses’ capped a special set that asked a big question of where they could sit on the bill when Glastonbury returns in two years. 

And then to The Park. The Park stage for return of The Maccabees- a set which judging by a crowd that went all the way up the hill, was marked as a must see moment of the festival for many. The band enter to a huge roar and you sense that whilst The Maccabees have done this many times and performed these songs to larger crowds, the ten year break had them checking themselves, balancing that buzz to be back and that nervousness to achieve all that came before. From the jangly art-school indie that broke the band, to soft, intricate tracks like ‘Feel to Follow’, to rock songs ‘Marks To Prove It’ and ‘Spit It Out’, they can still do it all and the crowd want it all. Every song sung back to them and when you thought they were safe to catch a breath, Orlando and Felix ensured you stayed with them to create those big song moments. After a brief tease, The Maccabees deliver an encore that welcomed special guest Florence Welch to join them to finish ‘Love You Better’ before The Maccebees became her machine for ‘Dog Days Are Over’. One of the festival’s biggest singalongs. Once untangling herself from Hugo White’s guitar Florence left and the band performed their final song, ‘Pelican’. A joyous finale to a set from a band that has a clear and permanent place in many hearts. 

Glastonbury 2025 has been described as one for the pop stars, but alternative music was alive and as in demand as ever. It will be two years until the next one, which is both exciting for my feet (30k steps a day is a lot), and for what could be in store for 2027 with many staking a rightful claim to their next step on the Glastonbury pyramid. Pun intended.

All imagery by Josh Whettingsteel

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It felt strange walking into Sebright Arms knowing I’d seen Man/Woman/Chainsaw tear Scala apart just a few months back, 800 bodies packed and bouncing around like a sea of bodies crashing together, in full, ecstatic tide. Now here they were, where the ceiling drips with sweat, the front row might as well be on stage, and it felt like a perfect space to revisit this up close, tight squeeze that chaos into a 150-cap basement.

Opening duties fell to Brighton’s AtticOMattic, a genre-blurring five-piece with a spell of skittering drums, airy keys and restless guitar loops. Their tight, rhythmic grooves moved with an easy fluidity. The band’s subtle shifts in tempo and volume never felt forced. And the vocals added an ethereal layer that echoed around the small room, wrapping the audience in a dreamy haze. When they slipped into a final burst, you could feel the crowd soften, drifting with them. A perfect, dreamy primer for the storm to come.

Between sets, the room filled, and the AC did its best to hold back the heat. MGMT drifted out the speakers, and the walls started sweating long before anyone else did. Man/Woman/Chainsaw walked out to their entrance song, ‘In Da Club’. They slipped into ‘The Boss’ first, a colossal rock tirade that flipped from a wall of noise to a single, creeping violin line before detonating again in glorious unison chants. The heaviest track from their debut EP ‘Easy Peazy’, it’s a song that grips its anger tightly. Watching Vera Leppänen (vocals, bass), Billy Ward (vocals, guitars), and Emmie-Mae Avery (vocals, keys/synths) in perfect sync was something else. By the time ‘Adam & Steve’ landed, the crowd were swaying in that soft push-pull, a controlled chaos humming quietly.

Perhaps one of my favourite parts of Man/Woman/Chainsaw is the way they wield dynamics, from moments of crashing stabs to when the chaos pulls back and you hear how locked in they are. Each tiny part slots into place into some of the softest, most beautiful sounds. ‘MadDog’ was a case in point: it started teeth-bared and snarling, Vera’s voice cracking with frustration, until halfway through the anger melted into something mournful, Clio Starwood’s violin weeping over twinkling piano keys. 

When they hit ‘Ode To Clio’, the room felt like it was holding its breath. The first five seconds, a tight flurry that vanishes as quickly as it came, leaving you chasing it through the rest of the song. What starts as gentle, searching strings and hushed harmonies slowly swells until it can’t hold itself together any longer, the calm crumples, Lola Cherry’s drums and the guitars splinter apart, and for a moment the room is just pure, glorious chaos before those strings cut through again, carrying everyone with them.

Nights like this are why these shows matter. A band like Man/Woman/Chainsaw in a basement like Sebright Arms turns a branded event into a reason to gather, pint in hand, shoulder to shoulder, to lose yourself for an hour or so in something loud and messy. If SON Estrella Galicia keeps backing independent bands and the small venues that give them space to roar, the beer will taste better for it. SON Estrella Galicia brings small rooms, big sounds, and the sense that sometimes the best gigs still happen just below street level in your local independent venue.

All photos by Anna Delf

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It almost didn’t happen. The outcome of a legal battle between Lambeth Council and a group of local residents found that the council hadn’t applied for proper planning to host Brockwell Live’s one-day festival series, including Wide Awake. This was with a week to go. The stages were up, but would any bands be able to take to them? And then. Even more. After confirmation from Wide Awake that it would indeed be going ahead this year, Mo Chara, of headliners Kneecap, was charged by the Met with a terrorism offence. “They tried to stop this gig”, the biggest the group have ever played, Kneecap tell us as they come on stage, “honestly, you have no idea how close they were to stopping this gig”. It must have been a hell of a week in the Wide Awake office. 

But yet here we all were. Walking through the gates, and it all felt normal. Beyond a few spraypainted slogans on the fences, there were no signs of the chaos that had unfolded the week prior. It just felt like Wide Awake. As it should.

Ugly started our proceedings on the main stage, the London-via-Cambridge group providing their now trademark vocal harmonies and folky art-rock. New single ‘Next To Die’ fits in seamlessly with their previous material, and the band themselves weren’t daunted by the main stage setting they find themselves in. Choral, anthemic, experimental; it’s what we’ve come to know and love from Ugly. Next up were the excellent Hello Mary, with the New Yorkers bringing their alt-rock to the Shacklewell Arms stage. Moody and loud, it’s exactly the sort of thing that would’ve been suited to the venue’s very own floors. But we couldn’t stay long. The first UK performance from Sextile since they blew the roof off one of the tents at End of the Road last summer meant they were a must-see, (or a must-see-again in this case). They tried their best to get the party started, but as they themselves admitted to the crowd that had got down to see them, this was too early a slot for Sextile. Their take on dance punk is suited to the early hours of the morning rather than a summer’s mid-afternoon. And even bringing out Jehnny Beth did little to help, despite the ex-Savages frontwoman’s best efforts. 

Back in the daylight, there was the part performance art, part musical duo of Mermaid Chunky who enlisted a troupe of dancers to mingle amongst the crowd. And then it was off to catch the dreamy art-pop of Chanel Beads. It may have only been 3 o’clock, but it was already time to catch our breath. Their collage of sounds washed over the crowd in the Dazed tent, and we were drawn into their world. You couldn’t help but to be. Of course, ‘Ef’ and ‘Police Scanner’ were obvious highlights, but the real joy was in watching Shane Lavers and co construct their carefully considered sounds live. After that, though, it really was time for a break. And after having refuelled and refreshed it was time for a secret set, of sorts. Jeremy Corbyn was brought onto the main stage, just before Nadine Shah, to give an impassioned speech on the power of music and the need to protect grassroots music venues, as well as the strength in our country’s diversity, and railing against the ongoing genocide in Palestine. It was genuinely powerful stuff. “Music for the many, hope for all of us” he told us. I couldn’t have said it myself any better, Jezza. Wide Awake might need a new slogan.

It felt like we could’ve gone marching into the streets if they would’ve let us, such was the energy in the crowd. But we couldn’t. So instead we went dancing. Billed to me by a friend as the American answer to Confidence Man, Fcukers lived up to the hype. Harking back to the days of 2000’s club bangers, they got the tent shaking. Bringing an infectious and unrelenting energy, making this corner of Brockwell Park briefly feel like the coolest club in the world. 

CMAT kept the fun going with her set on the main stage. The crowd were in raptures, but I don’t think there’s anyone who enjoys a CMAT gig as much as Ciara Mary-Elizabeth Thompson herself. Her country-pop brilliance speaks for itself, but when you add such an irrepressible stage presence to the mix, it really is something special. Joined by the “super sexy CMAT band” (as we were reminded a fair few times), they reeled off the hits. ‘I Don’t Really Care For You’ and ‘Have Fun’ came out early on, before we got a live debut of new single ‘Take A Sexy Picture of Me’. It feels like it’s already a classic. We were all singing along to ‘I Want To Be A Cowboy Baby’ (how could you not?), before she closed with ‘Stay For Something’, and spent most of it clambering on the barricade. It was a masterclass in fun and personality. 

Despite the whirlwind that preceded, though, there was a sense of anticipation that lingered in the back of your mind throughout the day. And this wasn’t the usual can’t-wait-to-see-the-headliner sort. Just what would Kneecap do? There had to be something planned. Their answer was to deliver a storming set in front of their largest ever crowd, just as the rest of the world decided to tune in. After a week in which they’ve been making headlines (and really, it’s been a few months), they haven’t lost their sense of humour. “Has anyone been watching the news lately?”. But they’re serious about their message too. They doubled down on their support for Palestine, and once again called out the Israeli state for committing a genocide in Gaza. It is an important message, and one that would continue throughout the set. But then, it was on to the music. From the start the crowd were up for it. Apologies to anyone who decided to watch Peaches instead, (or anyone doing literally anything else in London that night) but this was the place to be. 20,000 Brits singing along to ‘Fenian Cunts’ and ‘Get Your Brits Out’, chanting along with Republican slogans. Here they were in the belly of the beast, and this was what was happening? It could only be Kneecap. Every time you scanned the crowd it was bouncing, with the energy from both crowd and band relentless. The centre was a constant moshpit, and the rest wasn’t much calmer. They ended it in force, with ‘H.O.O.D’ followed by ‘Guilty Conscience’ before ‘C.E.A.R.T.A’ finished it all, with DJ Provai, balaclava and all, ending up in the pit. Of course.

As we funnelled out back into the streets, there was no talk of NIMBY’s, legal decisions, terror charges, or whatever else may have been on people’s minds as they entered only a few hours earlier. Instead, we left with tired legs but beaming smiles; the sort of joy that only live music can produce. 

ALL PHOTOS BY JEANIE JEAN

So Young is a new music magazine and our new issue is out now. Buy in print here. Subscribe here.
Issue Fifty-Five features Model/Actriz, YHWH Nailgun, The Orchestra (For Now), Westside Cowboy, Car Seat Headrest, Real Farmer, School Fair, Elias Rønnenfelt, feeble little horse, Kissing On Camera, Pooneh Ghana and Rhi Dancey.
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The first of many sets across the weekend was kicked off on Wednesday, a packed Patterns basement waited in anticipation for the classic rock’n’roll sound of Holiday Ghosts. Playing their beloved socially and politically aware tracks like ‘Mr Herendi’, the band proved themselves to be a great first taste of what was to come. Pete Doherty took to headline the festival’s Deep End beach stage with an enthusiastic showmanship that reflected the crowd’s energetic atmosphere in anticipation for the remaining days of The Great Escape. 

Photo by Barnaby Fairley

Thursday being the first full day of acts meant for a stacked schedule, with Sorry Girls opening the Patterns upstairs stage for the Montreal showcase. Vocalist Heather Foster Kirkpatrick’s dreamy vocals led the indie pop group to a warm reception at the start of the festival. Heading to the Komedia basement, Australia’s Folk Bitch Trio played beautifully in front of a full crowd, expertly mastering their vocal harmonies in tracks like ‘God’s a Different Sword’, amongst acoustic instrumentals in a room so quiet you could hear a pin drop. After spotting some Alt Escape acts throughout the afternoon, the evening was spent securing a space in a consistently full capacity Charles Street Tap for the So Young takeover. 

First on the lineup was green star, playing their recently released rock fueled songs like ‘four-o-five’ to enthusiastic heads in the crowd, displaying their effortlessly cool aesthetic reminiscent of noughties emo and grunge. With a lot of recent buzz around the group, they proved themselves worthy of the excitement surrounding them. Still hot off the release of their debut EP, ‘The Country’, Mên An Tol were the next act to follow. Blending elements of folk and indie rock to the audience’s surprise that they unconventionally originated from Cornwall, thanks to frontman Bill Jefferson. Rabbitfoot took to the Charles Street Tap stage, one of the only acts across the weekend to shock yet draw in their audiences with the uniqueness of their act. Bouncing from spoken word, to delicate vocals, to screams, River Fernandez led the group as they merged violin with synth bass, switching from heavy post-punk to elements of baroque in their live performance, making them one of the most memorable acts across the week. 

Rounding off Thursday’s festivities, a fair few worn-out feet and addled minds seek restoration at the Green Door Store to catch a performance from the hotly-tipped Silver Gore. An alt-pop duo centred around the production wizardry of Ethan P. Flynn and the melodic fantasies of Ava Gore, the band were as slick and polished as anything for what was basically their debut show. Their set offers a hamper of instant earworms varying from pounding synth-anthems to soaring acoustic flourishes, and the venue’s beleaguered bricks and cobbles soon shone like gold.

For the unlucky rabble queuing outside tiny basement venue Rossi Bar at 1am and who failed to gain entry to a late night Thursday set from much hyped newcomers R.I.P Magic, Friday afternoon at the sunnier, and much more spacious Deep End stage on the shorefront provided a gracious second opportunity. And it quickly becomes clear they’re a band worth queueing for. Clad in baggy clothes, grounded in massive, stadium-sized hip-rock/rock drums, and churned up by grinding bass rumbles and badass electro swells, absorbing the attention in front ‘floating’ 3D holograms of spinning lamborghinis is lead vocalist Marco Pini (of Sorry), flopping and swaggering about like an inflatable air dancer at zero gravity, domineering the mic, and owning the hustle.

TTSSFU took to the Charles Street Tap on Friday, instantly capturing the crowd’s attention in one of the most energetic shows seen over the weekend. Mixing indie pop and shoegaze, Tasmin Stephens was an undeniable force onstage, from belting her tongue-in-cheek songs to mingling with the crowd throughout. Liverpool’s Courting powered through a slick setlist of their take on experimental alt-rock for the Deep End stage, smashing through tracks from their latest album. In a fun blend of rock, shoegaze and indie-pop with nonchalance, the band proved their ambition and place on the stage. Ending the night, Deep End headliners English Teacher returned to Great Escape to play a lengthy and expert set, showcasing their award winning debut album, ‘This Could Be Texas’. Keeping their crown as one of the UK’s best indie bands, the group continue to be the ones to watch at any festival lineup due to their fresh take on alternative rock and eclectic stage presence from Lily Fontaine. 

The fourth and final day began at Dust, barely able to fit into the basement where Martial Arts played a hectic midday set to a completely full room, pumping with heavy guitars and feedback with raw and expressive vocals from Jim Marson. Following this, Mould took to the same stage with the Bristol rockers’ infectious energy presenting itself in their short bursts of music, once again packing out the room for a loud and frantic start to the end of the festival. After making our way to the end of the pier, shoegaze-inspired band Hank played the stage at Horatio’s – pacing their way through a fuzzy, guitar heavy set that easily set them up as one of the best alternative acts in the London music scene right now. 

LEMONSUCKR were an unexpected surprise to watch, with their set at The Three Cats catching the word-of-mouth treatment. Getting the crowd moving from the get-go, their upbeat indie-pop turned into an immediate earworm as they electrified the stage with a solid presence. Turning our step towards club Revenge, instrumental trio wing! are in transcendent spirits. Applying the groovy mannerisms of vintage trip-hop to the winding narrative ecstasies of post-rock, their lack of vocals is more than made up for by an exuberant charisma. Far from a pensive, moody experience, wing! are gloriously uplifting – the band themselves are all smiles, living the music’s highs and lows as much as their audience.

Icelandic outfit Spacestation were next onto the Revenge stage and became instant standouts, playing groovy rock tunes reminiscent of early 2010’s indie pop with a fresh, bouncy sound as audience members gathered piling outside the door. Eterna played little ways down the road at Patterns, sharing pensive shoegaze to the intimate room with a moody sound. In the evening we were back at the end of the pier, with KuleeAngee kicking off the SubCat showcase at Horatio’s. Immediately filling up the bar, the Scottish duo had an outrageous energy that kept everyone on their toes throughout their set with consistent electro-pop hit after hit. 

Flip Top Head were the perfect goodbye to the long weekend’s activities, being true representatives of the distinctive talent Brighton has to offer. The six-piece masterfully played their signature mix of folk-rock accompanied by the tender vocals of Bowie Bartlett and are a must-have experience live. 

Photos by Cameron JL West. Words on Silver Gore, RIP Magic and wing! from Elvis Thirlwell. 

So Young is a new music magazine and our new issue is out now. Buy in print here. Subscribe here.
Issue Fifty-Five features Model/Actriz, YHWH Nailgun, The Orchestra (For Now), Westside Cowboy, Car Seat Headrest, Real Farmer, School Fair, Elias Rønnenfelt, feeble little horse, Kissing On Camera, Pooneh Ghana and Rhi Dancey.
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Whilst the festival is only in its second year, there’s already a strong sense of community as festival-goers gathered to collect their wristbands outside the festival’s smallest venue, Heartbreakers. The venue acted as the festival’s headquarters with plenty of seating available outside for punters to bask in the early summer sun and plan their days.

There may have been a small temptation to try to top up my tan, but we had more pressing matters. Wanderlust had curated two days of exceptional talent and we had our running shoes on to see as much as humanly possible.

Midding

We kicked off Saturday in Heartbreakers for the exciting lo-fi of Midding. The Welsh five-piece use their DIY techniques masterfully as the set kicks off with a winning combination of droney vocals and loud, shoegaze-inspired guitar tones that swarm the room, bringing the audience closer with each chord. The set seemed to take a shift at the midpoint with a more Americana indie inspired sound, riffs that Keith Richards might have had an eye on using given half a chance.

We’re staying put for the suave punk sounds of Sounds Mint. A name that fits the billing rather well as onlookers take the band straight into their hearts, with plenty of looks of approval from the packed-out room. Blunt lyrics mixed with a penetration of punk sounds give the band an energy of ‘we’re-not-here-to-take-part, we’re-here-to-take-over’. New single ‘Zombie’ had a surreal shoegaze feel but doesn’t lose the heart of the punk energy the band has instilled in the room. 

Sounds Mint

And we’re off! We, along with many an excited music lover, headed to The 1865 to catch the live delights of Dutch band, Personal Trainer. A wonderful assortment of instruments and sounds welcome the crowd as the Dutch collective’s energy is matched as smiles fill the room.

Our first trip to the world renowned Joiners followed for the 80’s synth love-in of The Itch. The show is a gripping journey that not only has you moving, but also locked in on a young band in full flow. You get the feel of an LCD Soundsystem party, with fingerprints of a wide array of influences being felt across each song. An experience you didn’t want to end from a band that wouldn’t look out of place letting rip in a dingy nightclub in Berlin. 

A nice stroll in the evening sunset leads us back to Heartbreakers where plenty still revel in the bank holiday sunset, as the DJ, who’s been soundtracking for the revellers at Heartbreakers all afternoon, starts to wind down to move in doors; the party is not stopping anytime soon.

The Orchestra (For Now)

We have a double bill of hotly tipped acts; The Orchestra (For Now) are up first. Beautifully chaotic, the band roar through their half-hour set as frontman Joe Scarisbrick serenades and tears through the band’s intricately composed songs. 

We’ve had the delights of violins, pianos and using a paintbrush as a guitar pick from The Orchestra (For Now). Now it’s the turn of The None, and there’s not a violin in sight. It’s back to basics and the 4-piece are a force of nature as from note one they force you to take a step back with a wall of intense punk. It’s an addictive performance, one that grasps the audience tight. Coming soon to an unassuming festival near you.

The None

Antony Szmierek

The Saturday is brought to a close at The 1865 with headliner Antony Szmierek delivering his lo-fi poetry to draw a close on a fantastic first day of Wanderlust Festival. He’s happy to answer the crowds calls for a party, covers of Angels and a confetti cannon to send everyone home.

There’s a lot to be said for a warm shower and not waking up in a tent-turned-sauna. So feeling fresh(ish) we head for the Joiners for local trio Fudu who open up Sunday’s festivities with their brand of sleazy rock, with the prowling presence of frontman Curtis Gale bringing an enigmatic start to the day.

The step count is soaring this weekend as we glide over to Heartbreakers and catch the jaunty indie rock of JOPY with 2024 single Graveyard Romance being a Television inspired groove highlighting the bands brilliance. 

You didn’t have to go far this weekend before the name The Sickman of Europe was brought up and their set at Heartbreakers justified the anticipation. The band’s frontman decides that the dancefloor is his stage as he glides and prowls through the crowd. Every beat, every baritone vocal claws against the wall as phrases are repeated like a commander calling on their followers. It feels dystopian, it’s surreal, it’s a mysterious masterclass.

Otala

Adult DVD

We take a well-earned breath before genre blending 5-piece Otala take to the stage. The band feel right at home within the Heartbreakers setting as they drive through their jazz rock repertoire, the sound bellowing within the confines of the 100-capacity room. 

We don’t stop as The 1865 and Adult DVD are calling. Their acid house fused indie is the perfect soundtrack to start the Bank Holiday Sunday party, as weary heads are woken by the increased energy levels from tracks like ‘Bill Murray’ which show off the bands playful approach.

After releasing their second album in 2024, Feet returned to Southampton with a jovial presence and their blend of jokey indie post-punk. While no umbrellas were needed this weekend, ‘English Weather’ is met with a roar, providing one of the sing-alongs of the weekend, and groovy single ‘Greasy Boy’ is a true ear worm.

Deadletter

As the evening blends into the night we head off on our final tour of this year’s venues with huge excitement as the raucous live unit of Deadletter are set to close out the Joiners. The queue to get in runs down St Mary’s and they do not disappoint, a scintillating performance provides a fast paced mosh pit inducing melee. Hit singles such as ‘Binge’ and Madge’s Declaration’ are awash with crowd surfers and flailing arms, a set that provides further proof of the bands live prowess. 

Now for Sunday’s headliners at The 1865, the awe inspiring English Teacher. Our Issue Forty-Seven cover stars and the 2024 Mercury Prize winners have had a whirlwind twelve months and it doesn’t look like stopping. They tear through songs from their impeccable debut album ‘This Could Be Texas’ and the crowd are obviously grateful for their return as Lily Fontaine accepts the rapturous reception with a very Northern “you’re alright, you, Southampton.” The headliners from Leeds show they’re worthy headliners with a double bill of ‘Nearly Daffodils’ and ‘Albert Road’ bringing this year’s jaunt at the festival’s biggest venue to a close. 

English Teacher

Folly Group

The after party demands a trip to Heartbreakers for the final time as Folly Group played out a very special late show to say goodbye to Wanderlust Festival 2025. While old favorites like ‘Fashionista’ and ‘Butt No Rifle’ are art rock powerhouses it’s the new songs that show a different side to the band with a more emotional foray that swoons the crowd, it’s a perfect mixture of force and flow. 

You’d be forgiven for thinking Wanderlust had been a constant fixture in the Southampton music scene for the past 10 years. Utilising three very unique venues and showcasing a variety national and international talent, Wanderlust invites more people to see Southampton at its best.

Wanderlust Festival returns in 2026 on Saturday 23rd May and Sunday 24th May.

All photos by Ethan Jones.

So Young is a new music magazine and our new issue is out now. Buy in print here. Subscribe here.
Issue Fifty-Five features Model/Actriz, YHWH Nailgun, The Orchestra (For Now), Westside Cowboy, Car Seat Headrest, Real Farmer, School Fair, Elias Rønnenfelt, feeble little horse, Kissing On Camera, Pooneh Ghana and Rhi Dancey.
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Though, by the time we reach the thick southern accents on the searing slow-burn of ‘summer indoors’, and reality has to lead back to cage, we have probably learned that the healing power of horses are a duo from Cambridgeshire, who at the time of writing leave scarce biographical trace – save these 5 songs, collected in an EP named tape NS005, named simply by the catalogue number of the cassette label, Glasgow’s No Soap, that released it. The only other information provided is that they “play heavenly games in the fenlands and shake light into damp rooms, and that they “rely mostly on improvisation, faith, and noise”, which is to say, not a lot of extra information. 

What all of this really means is that this mysterious EP from the equally mysterious the healing power of horses is absorbing, fragile and just a little bit special. A definitive gem of smothering shoegaze and freaked-up lo-fi excursions, at once unafraid to flip a feedback switch and descend into caterwauling weirdo squalls, but confident enough in their songwriting to still wheel out smooth, cohesive rock experiences. At one extreme, ‘tear me all over town’ whispers and enchants with an almost Phoebe Bridgers’ esque indie-pop sensibility. And on the other, there’s the harsh noise climax of ‘4 leaf clover’, and no-holds barred fuckery that caps off ‘summer indoors’ which does all it can to eviscerate the very eardrums it once treated so tenderly. 

One other vital piece of information here is that the EP was recorded during a “biblical” heatwave: “Listening back”, they band , “it reminds us of the choking heat, the scorched grass in our tiny garden, the broken mirror and the flu the two of us had at the time. Which are all in fact very happy memories. We remain untouched and undefeated by the men who live in the walls.”

And you can definitely hear the heaviness of the heat weighing in here, but there’s energy and movement there too bursting in like a garden hose drenching the parched soil. Wait until some sticky shirtless night at the height of summer to dig into this one, or better, check it now .

So Young is a new music magazine and our new issue is out now. Buy in print here. Subscribe here.
Issue Fifty-Five features Model/Actriz, YHWH Nailgun, The Orchestra (For Now), Westside Cowboy, Car Seat Headrest, Real Farmer, School Fair, Elias Rønnenfelt, feeble little horse, Kissing On Camera, Pooneh Ghana and Rhi Dancey.

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The post Improvisation, Faith, and Noise – Cambridge Duo the healing power of horses Share Special Debut EP ‘tape (NS005)’ appeared first on So Young Magazine.

Mingling lo-fi, noise, shoegaze and industrial textures via classic influences like My Bloody Valentine or Slint – for recent references think bar Italia, Model/Actriz (at moments) and Julie (with whom the band are currently touring the US) – it’s a style that’s smothered in absorbing grooves and tantalising abstractions, sounding quite close to misery but is actually mystifying expression of self-empowerment. It’s grimy, it’s moody; it’s hoods over faces half concealed; it’s an aversion to taking photographs in focus and a desire to render in noise an amorphous ball of troubled, angsty feeling and bizarre but beautiful hopefulness. It’s either a suave concealment of deep-down shyness or a seriously cool and attractive aesthetic ploy. Here’s to it being both and neither of them.

While all these efforts to contextualise Her New Knife within an alternative zeitgeist might bring them across as mere imitators or tail-coat riders, their intricate alchemies of all the above render them a deeply compelling prospect in their own godless right. The pummeling, slow-cooking riffage of  ‘purepurepure’ or ‘skinny/baby’ are gripping exposés of spine-chilling tension and murderous release. The shoegaze-worship of ‘veaserella’ or ‘vitamin beauty’ tastefully channel those aforementioned 90s influences while ‘12r’ is an unhinged highlight: that ‘Model/Actriz-moment where the boundaries between ‘rock’ and ‘electronic’ become difficult to draw (I swear there’s an actual blacksmith anvil clank on there.)  

Across the 6 songs on ‘chrome is lullaby’, Her New Knife twist that blade deeper and deeper into your rotting soul, leaving their indelible bloody-handed print on your mental list of ‘sick up-coming bands’ and making sure they’re one of them.

Photo by Adris Raal

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With just over thirty minutes of relentless energy and raw emotion, Tramhaus pays homage to the brevity and intensity of classic punk records while carving out their own unique space in the Dutch music landscape. This album is not just a debut; it’s a statement of intent, a loud declaration that Tramhaus are here to stay and a force to be reckoned with.

From the opening moments of ‘The Cause’, it’s clear that Tramhaus are a band deeply rooted in the urgency and defiance that has always characterised the best punk rock. The track begins with a frenetic drum fill reminiscent of Joy Division’s ‘Disorder’, but quickly veers into territory that is entirely their own. The guitars, played with machine-like precision, create an atmosphere of controlled chaos, while Lukas Jansen’s vocals cut through with a mix of desperation and defiance. This is music that refuses to be ignored, and it’s impossible not to be drawn into its orbit.

Lyrically, ‘The First Exit’ is a deeply personal album, with Jansen’s experience coming out as a gay man providing the thread that knits the album together. There is a raw honesty in his delivery, a sense that he is baring his soul with every word in a way that is both vulnerable and powerful.. Tracks like ‘Once Again’ and ‘Beech’ carry a palpable melancholy, with lyrics that explore identity, isolation, and the search for meaning in a world that often feels hostile.

Despite the album’s brevity, Tramhaus manages to pack in a wealth of ideas and emotions. Each track feels like a different chapter in a larger story, one that is still unfolding. The band’s ability to create such a cohesive and compelling narrative within such a short runtime is a testament to their skill as songwriters and musicians. The influence of bands like Pixies, Joy Division, and Nirvana is evident, but Tramhaus never feels derivative. Instead, they have taken these influences and woven them into a sound that is distinctly their own.

Recorded at Katzwijm Studios, an old converted bulb shed in the southern Netherlands, the album captures the energy and spontaneity of the band’s live performances. A true musical highlight for those that have been lucky enough to see their show. The studio’s intimate setting allowed Tramhaus to create a record that feels both polished and raw, maintaining the essence of what makes them such an infectious band.

Perhaps what is most exciting about ‘The First Exit’ though, is what it represents for the future of Dutch guitar music. Tramhaus are part of a new wave of bands that are breathing life into a scene that has often been overshadowed by its counterparts in the UK and the US. With this debut, Tramhaus have shown that they have the potential to be at the forefront of this movement, leading the charge with their blend of punk energy, emotional depth, and sonic innovation.

In many ways, the record feels like the beginning of something much larger. It’s an album that opens doors, both for the band and for the listener. For Tramhaus, it’s a platform from which to leap into the unknown, to explore new sounds and ideas, and to continue pushing the boundaries of what guitar music can be. For the listener, it’s an invitation to join them on this journey, to dive into a world that is as challenging as it is rewarding.

‘The First Exit’ is released on Friday 20th September 2024. Pre order here.

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This 4th event at Hackney’s favourite clothes-shop-by-day-venue-by-night Paper Dress Vintage, by intention, offers an experience beyond just the standard gig. Enriching the occasion is a programme celebrating beer culture, street food, as well as a focus on ‘Zero Waste’ sustainability and fostering local communities. After a delicious jackfruit corn tortilla supplied by The Yellow Warbler Cafe based up the road, one can savour the workshops on clothing repair or on how to pour the perfect beer, Spanish-style (I nailed it, by all accounts).

And of course, at the top of our agenda today are the bands on show. Having previously paired the lager with the likes of DEADLETTER, Prima Queen, and Swim Deep, even more refreshing than the beverages themselves is the opportunity to witness some of the UK’s best new alternative artists in such an intimate setting. Such is the case with opening act The New Eves. An intoxicating brew of cellos, violins, flutes and squeeze boxes, bolstered by captivating vocal harmonies, pounding stand-up drums and delicious bass grooves, their sound carries a wonderment that extends beyond these four walls and to somewhere out of this time and world. At one moment resembling CAN, the next, traditional Swedish cow-herding song, their roots in old school 60s garage and punk too rings clear, not least in a joyous rendition of The Troggs’ ‘Wild Thing’ that rounds-off their set. The irony is not lost on them that they’re all drinking water, but the crowd is sure left drunk off these riches.

Packing an altogether beefier, noisier, and ear-battering punch are Isle of Wight indie-rockers Coach Party. A band that, over these past 12 months, has grown far beyond rooms like this, it’s a delight to witness such a fiercely tight and boisterous set in this environment. Here with no other intention other than to ‘rock’ – read: there’s a white flying V front and centre – vocalist Jess Eastwood frank cut-the-bullshit lyrics scissor through the engorging fortresses of hard-rock, punk and grunge that stand formidably in its way, and which the band, build, collapse, and reconstructive across their hour long set. Cheers to that. 

Thanks to Son Estrella Galicia for inviting us along.

Photos by James Potter.

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