From Hillsborough Park to the smallest details between the stages, discover why this festival remains one of the friendliest weekends in the musical calendar
I’ve lost count of how many Tramlines Festivals and Fringes I’ve photographed over the years, but every July, it still feels like coming home. What started in 2009 as a city-wide celebration spilling out of Sheffield’s pubs, clubs and independent venues has grown into one of the country’s best-loved festivals, now centred around Hillsborough Park. Bigger it may be, but thankfully it hasn’t lost what made it special in the first place.
Tramlines has never just been about the names on the poster. It’s about the people. The security staff greeting you with a smile first thing in the morning, the volunteers still full of energy after three long days, the photographers making room in an already crowded pit, and the crowds who are just as happy sharing a laugh as they are singing along to their favourite songs. There is a warmth here that can’t be manufactured.
I was reminded of that while wandering between stages. I stopped to photograph one of the food vendors, grabbed a few shots and then wandered over to show them the image on the back of my camera. Their reaction said everything. Before I knew it, they were insisting I take away a generous helping of their freshly cooked food. It wasn’t expected and it certainly wasn’t why I took the photograph, but it perfectly captured the spirit of Tramlines.
Friendly. Appreciative. Unpretentious. Sheffield through and through.
That’s what keeps bringing me back. Yes, there are world-class artists, unforgettable performances and spectacular moments under the lights, but it’s the atmosphere between the songs, the conversations while walking between stages, and the characters you meet along the way that make Tramlines different. It isn’t just another festival; it’s Sheffield throwing open its doors and inviting everyone to join the party.
So, with camera in hand, memory cards at the ready and the inevitable fear of missing out already kicking in, it was time to see what the 2026 edition had in store…
Day One: Decisions, Discoveries and serious FOMO
One thing became abundantly clear before I’d even pressed the shutter for the first time – no one can truly “do” Tramlines. Five stages, over 120 artists across three days, and a timetable littered with cruel clashes means every decision comes at the expense of something else. Add photography and reviewing into the mix and the fear of missing out becomes a constant companion. Every set you commit to means another is slipping through your fingers somewhere else in the park. It’s frustrating, but I suppose that’s also the sign of a healthy festival!
Friday was a perfect example. There wasn’t a weak run of artists all afternoon, making the schedule as enjoyable as it was impossible.
One of my first highlights came from Max Tanner. Having recently swapped Sheffield for Frinton, he’s now carving out a solo career that feels increasingly confident and distinctive. There are unmistakable electronic influences that immediately bring Pet Shop Boys to mind – perhaps, with Max being a solo artist, Pet Shop Boy is more appropriate. His songs are packed with infectious synth hooks, but beneath them lies some excellent songwriting. It feels like a project that’s found its identity, and one that’s well worth keeping an eye on.
Australian outfit Radio Free Alice brought an irresistible burst of energy, but one of Friday’s unexpected discoveries came completely by accident. As I dashed between the two main stages, I found myself passing the Open Arms Stage when something stopped me in my tracks. Like the Pied Piper, The Slow Cooked Bears seemed to pull me towards them. I hadn’t planned on catching their set, but I’m very glad I did. Their performance had a real energy and confidence about it that immediately grabbed my attention, and although I couldn’t stay as long as I’d have liked, they left a lasting impression. They’re a band I’ll definitely be making a point of seeking out again.
The afternoon gathered momentum beautifully with Starsailor, whose catalogue still sounds as timeless as ever, before Black Honey injected a welcome dose of swagger and attitude into proceedings with a polished, confident performance that deserved every bit of the crowd it attracted.
By early evening the park was filling rapidly as anticipation built for Kaiser Chiefs. Although not Sheffield natives, they’ve long enjoyed a special relationship with Yorkshire audiences, and that affection was obvious from the opening notes. Ricky Wilson barely stood still, prowling every inch of the stage, while the crowd bounced as one through a string of festival-ready bangers that have stood the test of time. My own highlight was ‘Every Day I Love You Less and Less’, which, judging by the reception it received, couldn’t have been further from the truth. Hit after hit was greeted by thousands of voices singing every word back at the band, making it one of those classic festival performances that reminded everyone why Kaiser Chiefs have remained such a dependable live act for two decades.
Friday Footnote
Before anyone reaches for the comments section, I know I’ve left out some excellent performances. That’s the impossible reality of covering Tramlines as both photographer and reviewer. So, a heartfelt nod to Milly Pye, Cruz, The Clause, Saint Clair, Vanessa Carlton, Lavelle, Etta Marcus, The Coral and The Vaccines, all of whom helped make Friday such a strong opening day. If I’d tried to do justice to every artist, this review would have turned into a book.
Day Two – Sheffield Takes Centre Stage
If Friday was about impossible choices, Saturday was about unforgettable moments. The quality never dipped, but the atmosphere seemed to crank up another notch as Hillsborough Park filled with a sea of smiling faces determined to make the most of another glorious day.
It takes something special to get a festival crowd moving before lunchtime, but The Everly Pregnant Brothers managed it with ease. Sheffield humour was in full flow as thousands gleefully joined in with ‘Mi Chip Pan’s On Fire’ and ‘Stuck in the Lidl With You’, turning the main stage into one giant smiling singalong that only this city could fully appreciate.
Elsewhere, Sleeper proved they’ve lost none of their charm, Girl in the Year Above continued their impressive rise, and Lucy Spraggan once again showed why she’s such a natural festival performer, effortlessly connecting with the audience.
Gabrielle rolled back the years with a beautifully judged set, while Nydu provided one of the weekend’s genuine vocal standouts. Describing a voice is never easy, but hers had a crystalline, velvet-like quality that was impossible to ignore. If there is such a thing as crystalline velvet, that’s exactly what it sounded like!
Then came Rick Astley. Whatever preconceived ideas people may still have about him quickly disappeared as he delivered one of the most enjoyable sets of the weekend. His voice seems to keep improving with age, he worked every corner of the stage, and when he took his place behind the drums it was another reminder that Rick Astley is a far more accomplished musician than many give him credit for.
Saturday Footnote
Saturday was no easier. Between dashing from stage to stage and trying to capture the best moments on camera, there simply wasn’t enough time or column inches to mention everyone. Special apologies to Freddie Halkon and his passionate followers, Keyside, the incredibly talented (and remarkably bendy!) Darcy Rose, Creeping Jean, Norskov and Seb Lowe. Every one of them contributed to another outstanding day of live music.
Day Three – Saving the Best Until Last
By Sunday, the accumulated miles around Hillsborough Park – weaving in and out of 40,000 festival goers with all my camera gear – were beginning to tell, but there was still one final day packed with impossible decisions.
The biggest clash of my weekend perfectly summed up the Tramlines dilemma. Sheffield favourites Femur, a band I genuinely love photographing and watching live, were playing at the same time as Brooke Combe. It was one of those horrible decisions every festival-goer faces.
Brooke Combe won this time. It proved to be the right decision. She was simply magnificent! Technical problems delayed the start of her set by around 20 minutes, but credit where it’s due, Brooke, her band and, just as importantly, the crowd never lost their patience. The unavoidable delay meant a shorter, more intense performance, but if anything, it only heightened the occasion. Brooke’s glorious retro sound, steeped in Northern Soul influences, feels fresh rather than nostalgic, and with every performance she seems to raise the bar again. If you’ve never heard ‘How Can I Tell You’, do yourself a favour and listen to it now. There’s every chance you’ll be converted. For me, Brooke Combe was the artist of the entire festival.
To Femur, my sincere apologies, I know I’ll make it up to you soon.
Earlier in the day, Sam Scherdel, a singer often described as the South Yorkshire Springsteen, stepped onto the Sarah Nulty Main Stage for the first time, and it felt thoroughly deserved. I’ve been photographing and reviewing Sam’s progress for several years now, watching him steadily build momentum with every performance. Blessed with a beautifully husky, gravelly voice that’s packed with character, he has an authenticity that draws people in from the very first note. The big stage can expose an artist, but Sam looked completely at home; in fact, he seemed made for it. He’s been my “one to watch” for quite a while now, and it’s great to see the wider music world beginning to take notice. If you’re new to his music, start with ‘Somewhere in the Middle’. It’s a real earworm, and don’t be surprised if you find yourself hitting the repeat button.
One of the funniest performances came courtesy of The Lottery Winners. Frontman Thom Rylance had the audience eating out of the palm of his hand from start to finish, his between-song banter every bit as entertaining as the music itself.
Over on another stage, Bleech 9:3 delivered one of the weekend’s edgiest sets. Their blend of raw energy and attitude made them another one of my discoveries of the festival, and they’re a band I’d wholeheartedly recommend catching whenever you get the chance.
Back on home turf, Reverend and the Makers reminded everyone why Sheffield continues to produce such enduring live act s. The crowd lapped up every moment, but the biggest surprise was saved until the final song. As if the appearance of Sheffield legend Richard Hawley joining in wasn’t enough to bring the house down, Thom Rylance from The Lottery Winners also wandered on stage with his camera in hand, capturing the moment from the band’s perspective. It was one of those wonderfully spontaneous festival scenes that perfectly summed up the spirit of Tramlines, musicians celebrating each other, the crowd roaring its approval, and a finale that nobody there will forget in a hurry. A magical Sheffield moment and a fitting celebration of the city’s rich musical heritage.
Then came Wet Leg. Watching them live is about far more than simply hearing the songs. It’s pure theatre, equal parts quirky, edgy and gloriously entertaining, with the band effortlessly switching between deadpan humour and bursts of raw energy. Crowd favourites such as ‘Chaise Longue’ sparked huge singalongs, with the audience enthusiastically embracing every twist and turn of the performance. It was one of those sets where the connection between band and crowd never wavered, Wet Leg providing the perfect build-up to the festival finale.
Wolf Alice brought the curtain down on the Sarah Nulty Main Stage in fitting style, delivering a powerful, atmospheric headline set that sent the weekend out on a high. Unfortunately, they were the only band all weekend where I wasn’t able to gain access to the photo pit, so my camera stayed frustratingly silent while everyone else enjoyed the finale. It was a disappointing way to end three days behind the lens, but sometimes that’s just the nature of festival photography.
Sunday Footnote
Sunday delivered one final round of impossible decisions, with more brilliant artists than any one person could hope to cover. So, a final tip of the hat to Junk, Brooki, Matilda Shakes, The Rosadocs, The Royston Club and Florence Road. Missing you from this page certainly isn’t a reflection of your performances, it’s simply proof that Tramlines packs far more quality into three days than one photographer/reviewer and one article can ever hope to capture, and if you didn’t get a mention that means I couldn’t catch you on the day. Hopefully I’ll get the chance to make it up to you in the near future!
As I packed away the cameras and headed home, I was left with that familiar warm glow that only a truly special festival can provide. Three days of outstanding music, countless photographs and memories that will last long after the final notes have faded. More than anything, it was wonderful to see such an incredible breadth of talent – from emerging local artists taking their first steps to seasoned headliners at the top of their game, spanning every genre and every generation.
Over three days, more than 100,000 happy festivalgoers came together to celebrate live music in one of the friendliest atmospheres you’ll find anywhere. Friendly. Appreciative. Unpretentious. Sheffield through and through. Long may Tramlines continue!
Tickets for Tramlines 2027 – on Friday, July 23rd to Sunday, July 25th – are already selling fast – get yours HERE!
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