Every genre, every stage – here’s what went down at one of the UK’s best-run fests (25th-27th July 2025)
Starting life in 2009, Tramlines was a city-centre DIY fest spread across bars and basements in Sheffield. It’s now grown into something altogether more colossal, since 2018 calling Hillsborough Park home. The ghosts of the cutlery works still haunt the Don Valley, but for one weekend a year, it’s the sound of music that echoes through the air.
One of my favourite festivals of the year. No pretension, no nonsense, just a properly friendly crowd, fantastic management, and a ridiculously well-run setup. Five stages. 100+ acts. Killer food options, classic funfair chaos, and VIP upgrades including the new near-stage area that added a new layer of class, the VVIP upgrade!
And don’t forget the lifeblood – lots of local talent at every level, stacked across the bill from openers to headliners. Here’s the breakdown:
Friday
One of the strongest opening days in years! Femur were straight-up filth in the best way – psyche-grunge-punk with raw edges and blistering attitude. One of my favourites of the day.
The Second World War dropped heavy, moody post-punk sounds with serious bite.
Then came the master – John Cooper Clarke. What a wordsmith. Still razor sharp, still spitting truth, still untouchable.
Feminem brought the camp and chaos – slapstick pop with a wink and a wig, and the crowd loved every minute.
Oracle Sisters delivered hazy, hypnotic art-pop.
Fear Of Marko – beautifully off-kilter, like Bowie if he’d grown up in Crookes.
And then – Pulp’s eagerly awaited headline set. A local icon, reunited and on form, weird, witty and totally Sheffield. They made a proper entrance – hidden behind a velvet curtain, which dropped to reveal cardboard cutouts of the band before the real deal stepped forward, all set against a retro chat-show style backdrop.
They opened with ‘Spike Island’ and dropped three new tracks – ‘Grown Ups’, ‘Slow Jam’ and ‘Tina’ – which sounded sharp, but let’s be honest, many in the crowd didn’t know them well enough to fully connect, but give them time. There was a clear sense that plenty were just waiting for the big hitters. And when they came – ‘Disco 2000’, ‘Babies’, ‘Do You Remember the First Time?’, and especially ‘Common People’ – the blue touch paper was lit, word-for-word singalongs erupting across Hillsborough Park and no doubt beyond, so many memories, so many truths.
But this wasn’t just a greatest hits set. They dug deep with rarely played tracks like ‘Sheffield: Sex City’ and the live debut of ‘Last Day of the Miners’ Strike’, which hit harder given the city’s history. Another brilliant local legend, Richard Hawley, joined for a few, including a stripped-back encore of ‘A Sunset’ that nodded to the closure of The Leadmill. Jarvis Cocker was exactly as you’d want him – awkward dancing, offbeat jokes, handing out grapes and throwing Thatcher puppet visuals up on the screen. For some, it might’ve taken a few too many new detours, but this was no stale nostalgia trip – Pulp showed they’re still sharp, still strange, and still completely at home in Sheffield. Jarvis might be older, but the fire’s still there. What a way to end day one, loved it!
Saturday
The sun came out again, and so did the legends. The Everly Pregnant Brothers had everyone singing. ‘No Oven No Pie’ to the tune of Bob Marley’s ‘No Woman No Cry’ – genius. Add in ‘Stuck In The Lidl With You’ and it’s a masterclass in local parody gold.
The K’s and Freddie Halkon each brought massive followings – serious scenes down front both well worth tracking down.
Natasha Bedingfield showed no signs of fading – absolutely smashed it. ‘Unwritten‘ had arms in the air from back to barrier.
Chloe Slater deserves watching.
Nørskov blew me away – rich, soulful, a voice with depth and truth. Sheffield busker, Voice contestant, Rudimental collaborator – she’s going places.
Heather Small, lead singer of M People, still huge, so many hits, still belting out her rich soulful voice, what a treat.
Franz Ferdinand got the field bouncing especially with their monster hit ‘Take me out’.
Then came The Reytons – local heroes, the first unsigned band ever to headline the festival’s main stage – underlining their rise from grassroots to local legends. It started with full-on theatre with a Trojan Horse emerging from a castle followed by a gang of intimidating figures dressed from head to toe in black riot gear body armour, tactical helmets and heavy-duty shields moving in tight formation like a paramilitary unit pacing around the smoke-filled stage. With flames spewing from cannons and strobes flickering wildly, the figures took up position, forming a barrier at the front of the stage like riot cops facing a protest.
Pure cinematic spectacle, then, as the last blast of fire hit, the Reytons stormed the stage behind them, led by lead singer Jonny Yerrell to a hero’s welcome and launched into their set list. You could feel the pride, defiance, and unity in the air as the crowd bounced up and down singing back every lyric – it was a milestone for a hometown band whose working-class ethos and lyrical honesty found its perfect stage. The emotion, energy, and authenticity of their opening made the evening one of the most celebrated moments of the festival.
Sunday
Knackered? Yes. Ready for more? Always. Cowz were a riot. Offbeat indie-punk energy and a duo who connect, loved them. Then a brilliant little moment – Pia Rose and Ted Mitchell from Minds Idle teamed up. Ted’s one of my old pupils. Always a treat to catch up with him and now he’s living in the big smoke it shouldn’t be long before he attracts even more attention.
Scouting For Girls took us back – ‘She’s So Lovely‘ still does the job.
Hannah Rowe – stunning voice, could’ve heard a pin drop.
Freddy Forbidden – what a voice, what a show. Theatrical, emotional, real. This one’s destined for a bigger stage. Definitely keeping a lookout again for Freddy, great presence, great talent.
So pleased I made the effort to track down Luvcat whose unique dreamy sound was most refreshing and seemed to deeply resonate with the appreciative crowd.
The Sherlocks and The Lathums both delivered to large appreciative audiences – Sheffield and Wigan meeting somewhere in that sweet Britpop revivalist space.
Then CMAT – one of the best of the whole weekend. Offbeat, brilliant, and totally in command. A whirlwind of glitter, wit and country pop brilliance delighting the packed crowd with several bangers including ‘I Want To Be a Cowboy, Baby!’ and ‘Have Fun!’. We did and we loved her for it.
The Last Dinner Party came with a reputation of drama, flair and stunning vocals. We got exactly that. They lit up the Main Stage with one of the most striking sets of the day. Kicking off with ‘Burn Alive’, they brought a bold mix of theatrical flair and crunching art-pop energy – dramatic outfits, soaring vocals, and riffs that packed real weight. Even with just one EP under their belt, they played like seasoned pros, slipping in new tracks like ‘Big Dog’ with total confidence. Their set felt big, confident, and completely at home on a festival stage. I’d certainly go out of my way to catch them again.
Finishing the Festival off were Kasabian, with a storming set – blasts of energy and big hitters. Delayed slightly after the Lionesses’ Euros win, they launched into ‘Club Foot’ and powered through ‘Underdog’, ‘Empire’ and ‘Shoot the Runner’. Sergio Pizzorno was electric – in full command, at full throttle.
The front crowd was all in – mosh pits, flares, total chaos. A blazing encore of ‘Bless This Acid House’ and ‘Fire’ wrapped things up in style. Brilliant finale.
Severely suffered from FOMO the whole weekend! Fitbit says over 30 miles walked. Feet say more. Apologies to anyone I missed – there was just too much to see.
Thank you, Tramlines 2025! Talent overload, superb organisation, banging atmosphere, and proper value for money. If you’ve never been – sort it out. Get it in your diary for next year – 24–26 July 2026 – you won’t regret it.
Main Photo Credit / All Photos: PHIL THORNS
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