Tramlines 2025 Three Days of Sun, Beer, and Sonic Euphoria in Sheffield
- Desh Kapur
- Jul 31
- 5 min read
Tramlines Festival 2025 - Sheffield – Friday 25th - Sunday 27th July 2025
IMAGES DESH KAPUR / WORDS JON WILLIAMS
It’s that time again. Tramlines. The jewel in Sheffield’s musical crown and one of the UK’s most beloved inner-city festivals. Three days of indie icons, emerging talent, sun-soaked (for once!) fields, and tens of thousands of music lovers converging on Hillsborough Park for one almighty party.
With the forecast promising sun, sun, sun, the energy was already sky-high before a single chord had been struck. And as I stepped into the showground on Friday afternoon, the place was buzzing — rammed with excited fans, pints in hand, already bouncing to early sets. I arrived early, but it was clear: Tramlines 2025 was already in full swing.
FRIDAY: WORDS, WIT, AND WALL-TO-WALL INDIE
My opening act of the weekend was a personal bucket list moment — Manchester’s punk poet laureate John Cooper Clarke at T’Other Stage. As someone who grew up spinning “I Married a Monster from Outer Space” on vinyl with my brother, this one hit deep. Just Clarke, a mic, a notebook, and decades of razor-sharp wit. His mix of poetry, stand-up, and cutting social commentary had the packed Big Top howling. A living legend doing what he does best — leaving you laughing, thinking, and quoting him for days.
Next up: a stroll to the Sarah McNulty Stage for the beautifully layered sounds of Oracle Sisters. Their blend of indie, folk, rock, and psychedelia felt like a soft breeze across a loud weekend — intricate, confident, and warmly received by an increasingly sunburnt crowd.
Then came the first unexpected triumph of the weekend: Beguiling Junior. I couldn't find a thing about them online beforehand, but their Leadmill Stage set blew me away. A two-piece made up of Okay Kaya and Oli Burslemi, delivering clever, punchy songs with all the raw chemistry of early White Stripes. Easily one of the weekend's standout discoveries.
On the Main Stage, Baxter Dury oozed cool in his crisp suit and slacker swagger. Son of the legendary Ian Dury, Baxter's set was all louche poetry and synth-backed, sardonic grooves — equal parts groove and grimace. The contrast between his deadpan delivery and his sultry backing vocals created a fascinating, genre-bending performance that had the crowd fully locked in.
John Grant followed at T’Other Stage with his signature blend of heartache, humour, and electro-glam torch songs. He moved from piano ballads to vocoder-laced synth pop with ease — a chameleon performer who never fails to stir something deep in his listeners.
Back at the Main Stage, Spiritualized delivered one of the most transcendent sets of the day. Their ethereal blend of psychedelia, gospel, and space-rock built in slow waves and sonic explosions. It was less a performance and more a hypnotic journey through shimmering soundscapes. Mesmerizing.
Back to the chaos with Fat White Family at The Leadmill — unhinged, sleazy, brilliant. Frontman Lias Saoudi brought pure Iggy Pop energy as the band oozed punk nihilism. Their sound — part garage, part psych, part industrial meltdown — was visceral and unforgettable.
And then, the grand finale: Pulp. Back home. Back on stage. Back where they belong. Jarvis Cocker — the undisputed king of Sheffield indie — led 40,000 fans through a euphoric, emotional masterclass. “Common People,” “Babies,” “Sorted for E’s & Whizz” — each song landed like a confetti cannon of nostalgia and relevance. It wasn’t just a gig. It was a celebration of everything Tramlines, Sheffield, and British music has to offer. A flawless end to Friday.
SATURDAY: SUNBURN, SHOEGAZE, AND STAGE DOMINANCE
Day two dawned even hotter, the crowds even thicker. Opening act She’s In Parties brought dream-pop and shoegaze shimmer to wake us up gently. Katie Dillion's boundless energy pulled everyone in, kicking off the day in style.
Danny Mellin followed on T’Other Stage with catchy riffs and massive choruses — indie rock with potential, and the crowd responded in kind.
On the Main Stage, Natasha Bedingfield surprised a lot of people with a powerhouse performance. Equal parts pop party and emotional balladry, she reminded us why she’s got festival pedigree. “Unwritten” brought one of the weekend’s biggest singalongs.
Freddie Halkon took The Leadmill next, greeted like a returning hero. Mixing Britpop, folk, and gritty indie, he had the crowd chanting his name before he played a note. Think early Jake Bugg with the swagger of Gerry Cinnamon.
Speaking of Jake Bugg — he followed soon after on the Main Stage, delivering a tight, confident set full of singalongs and snarling energy. “Lightning Bolt” hit especially hard under the blazing sun.
Back at The Leadmill, The Rosadocs delivered a high-octane indie rock set that invoked The Jam and The Enemy with powerful vocals and anthemic choruses.
Then came Franz Ferdinand, the indie titans from Scotland. Alex Kapranos was charisma incarnate, guiding the crowd through a blistering set of hits. “Take Me Out” nearly blew the speakers. Everyone danced. Everyone sang. Everyone smiled.
The Futureheads kept the momentum going with strong harmonies and smart energy, blending classics with newer tracks. Their cover of Kate Bush’s “Hounds of Love”? Still a banger.
But the night belonged to The Reytons — the first unsigned band to headline the Main Stage at Tramlines. Their ambition showed. Actors, visuals, a giant Trojan horse, and a message from frontman Jonny Yerrell: “This isn’t a fanbase. This is our community.” Their gritty, passionate set sealed Saturday as another triumph.
SUNDAY: BLUES, BIG MOMENTS & KASABIAN CARNAGE
The clouds rolled in Sunday, but the rain held off — and Hillsborough Park was ready for one last indie explosion.
Hannah Rowe opened the day with soul-drenched blues and jazz at T’Other Stage. Her voice was a revelation — rich, emotive, and backed by an incredibly tight band.
The Sherlocks brought solid, stadium-sized indie to the Main Stage, reasserting why they still matter. Huge choruses and good vibes all round.
Then came Cork’s The Cliffords at The Leadmill — a real gem. Fronted by the magnetic Iona Lynch, they merged shoegaze and pop in a cinematic, swirling soundscape. One to watch.
The Lathums owned the Main Stage next, their infectious energy spilling across the park. Alex Moore's vocals soared, while fans danced and sang like it was the last gig on earth.
The Clause followed at The Leadmill with a full-throttle indie rock show. Pearce Macca's stage presence was electric, and the tent erupted with every riff.
And then it was time. Time for Kasabian.
After a short delay — thanks to England Women winning the Euros (which only added to the fever pitch) — the Leicester legends hit the stage at 100mph. Serge was everywhere, feeding off the crowd, and they gave it right back. The field was a sea of bouncing heads, air-punches, and flares. A proper gig. Hits like “Club Foot,” “Underdog,” and “Fire” sent the masses wild. The synergy between band and audience was off the charts — a perfect ending to a perfect weekend.
FINAL VERDICT
Tramlines 2025 delivered in every possible way. Sunburnt skin, ringing ears, sore legs — and full hearts. From poetic legends and punk energy to shoegaze dreamers and indie heroes, it was a celebration of everything good about live music.
A weekend where legends returned, newcomers arrived, and everyone found their moment. Sheffield and Tramlines — you did it again.
See you in 2026. I wouldn’t miss it for the world.
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