‘VARIOUS ARTISTS’ – ‘VARIOUS VENUES’ – THE GREAT ESCAPE, BRIGHTON 13-16.5.26
Taking over the city of Brighton every May, The Great Escape is the world’s leading new music festival for discovery, bringing together 450+ emerging artists from around the world across 35+ walkable venues, alongside a globally respected music industry conference. There was also a whole host of ‘Unofficial Escape’ events happening throughout Brighton & Hove at the same time again this year, featuring literally hundreds of additional acts to see, and so where possible, we dipped into some of these events for a full rounded perspective of things.
This is our sixth installment. You can find the others below:
SATURDAY 16th MAY (PART ONE 12:00 TO 18:30):
GABBY RIVERS – The Font 12:00 – 12:40
Back again for the third year in a row, Kick Out The Jams programmed four days of unsigned bands under the banner of The Great Rock ‘n’ Roll Circus for the Alternative Great Escape at The Font. In Association with Blaggers Records and Milk, the event has become our annual go-to for new acts. Only able to cover one of the four days we chose, the Saturday. First up for the day, and ready to go on time, was a Norwich five-piece fronted by the eponymous artist. The singer-songwriter specializes in angsty, listenable alt-rock tunes that explore the chaos of the transition into adulthood. This was the band’s first Brighton gig, despite the subject matter of many of the tracks; it was a pleasant warm-up for the day. Rivers thanked the early smattering of a crowd for making it to the venue to see them. During the track ‘Medicine’, the guitarist broke a string and re-strung before the end of the song impressing both Rivers, who had failed to notice and some members of the audience. Before playing her current single ‘Always Messing With My Mind’, Rivers informed the audience that it had enjoyed some airplay on BBC Music the week before. A heavier track than those before, it drew applause from the crowd. Rivers paused to tell the audience that the song ‘Leave Me Alone’ is on the new EP, ‘What’s The Problem’, released in February 2026. Standout tracks from the set included ‘Medicine’ and ‘Always Messing With My Mind.’ All the tracks from the set are on the EP, available on your preferred listening platform.
(Jess Kemp)
MANNEQUIN DEATH SQUAD – TGE Beach Soundwaves 12:10 – 12:35
My day starts on the beach site with the sounds of Melbourne-based, high-energy indie-punk duo Mannequin Death Squad, who are Elly Vex and Dan. In the right circles they are known for their “thrash power-pop” sound and DIY ethos and chaotic, engaging live performances. Today at the Sounds Australia stage is certainly no exception. The duo are introduced as the only band that we will see who have performed live in the foothills of the Himalayas. I do hope that this fact is true and not some industry creative thinking! There’s just the two of them on stage, but they sound like there’s five or six of them up there, such is the powerfulness of their music. It’s just one Fender guitar, drums and joint vocals, which combined offer raw, fuzzed-out riffs with pop melodies. Initially Elly is out front on guitar and Dan to the rear on the drumkit. However half way through the set they swap positions, and there’s a slight shift from metally punk to pure punk with Dan on the vocals. Later in the day when I meet the duo elsewhere I point this fact out to Dan, which surprises him as he informs me that he is the metalhead in the duo. Suffice to say that their performance is delivered at full throttle with the minimum of gaps between tunes, none of which outstay their welcome, and it’s loud and in-yer-face. These are a must for premier punk festival, Rebellion as there’s masses of sound flowing off the stage as if they were a six-piece. For fans of Wargasm, Snayx and Soft Play. In conclusion an energy fuelled tight performance!
(Nick Linazasoro)
HALF HAPPY – Patterns Upstairs 12:30 13:00
Half Happy are an emerging four-piece indie band from Cardiff, blending dream-pop, indie-rock, and post-punk. Originally formed as a living-room lockdown duo featuring lead vocalist Rosalie Miller and bassist Zac Noneley, they expanded to a four-piece, adding long-time friends Pete Smith on lead guitar and Jon Wilson on drums. The band won the prestigious Triskell Award at the 2023 Welsh Music Prize. As they prepare to start their set, Rosalie says, “Hi, we are Half Happy.” Zac looks up as though he is expecting a comment from someone in the crowd but there doesn’t appear to be one, and they get going with three new, unreleased songs. These are ‘Love Rat’, ‘Rollie’, and ‘Chill Pill’. These all feature beautiful vocals and plenty of jangly guitar. Next, it’s the 2024 single ‘Bloom’. The vocals on this one switch seamlessly from casual, dreamy spoken-word to soaring melodies. This is followed by another new song titled ‘Nosebleeds’, and the set is wrapped up with the upbeat and foot-tapping anti-capitalist anthem ‘Well Done Honey’.
(Ian Holman)
TULLAMARINES – TGE Beach Deep End 12:35 – 13:00
Tasking with shaking off the cobwebs of an extremely hungover Saturday crowd is no easy feat. The Tullamarines manage it with ease, with jangly jubilance, hell-bent on proving their greatest export isn’t just wine and rugby players. They have the surf-rock movement of Dutch Criminal Record, with shades of Royel Otis in an echoed-type vocal, remarkably energetic for a band that probably didn’t drink half as much as the delegates did that night. Introduced with “We’ve brought Australia to you”, as Dom Alessio grins, “…we haven’t brought the sun though. Baggage limit.” Opener ‘Lying’ alternates vocals with sunny Triple J-baiting indie. While ‘Running On Empty’ in all its Grouplove-harmonied, up-down indie rock guitar style seems like more of the same, its strength comes from Benny Waltho’s vulnerable lyrics of burnout. Throughout their set, they playfully introduce songs with lines such as “this one is about falling in love and having sex a bunch” (‘Give Me Love’) and tease the crowd – especially after a particularly tuneless audience participation moment on ‘Head Roll Back’. The Tullamarines don’t seem fazed at all by the dreaded early slot, instead winning over the crowd with their emotional, if ever so slightly cookie-cutter brand of indie. By the time closer ‘OMG’ bounds in with sharp synth chirpiness, the hangover is starting to dissipate from the unbridled joy of the band: The Tullamarines have only gone and made everyone present fall in love with another Australian band.
(Keir Shields)
SCREENS – The Font 12:45 – 13:25
Next to the stage were Bristol three-piece Screens. Formed in May 2026, the band have yet to release any music. Understandably, given only a small catalogue to work from, their set was a short but sweet debut from the trio, offering an insight into what we can expect from them in the future. The lead singer contrasted strikingly with his more casually dressed bandmates, wearing a maroon suit and sporting a fetching tach. The trio’s sound was a mix of garage rock and post-punk revival, fast-paced, raw, and guitar-heavy. The lead chose to wait until after the first track to introduce the band, thanking Roger from Kick Out The Jams, the crowd for turning out so early in the day, and finally wishing the sound engineer for the day, Jock, a “Happy Birthday”. A fair crowd turned out to catch their performance, which the charismatic lead informed us was their first-ever live gig. We look forward to seeing them grow.
(Jess Kemp)
MEL BLUE – TGE Beach Deep End 13:20 – 13:45
Australian three-piece Mel Blue delivered a sleek, synth-driven performance, drawing heavily from their second album ‘Nomorejacketsplease’. With a set-up built around a large deck of synths, a Korg front and centre, pulsing bass guitar riffs and precise live drumming, the band created a danceworthy blend of electronica that felt perfectly suited to their early afternoon time slot. Several tracks from the album landed particularly well live, balancing catchy melodies with darker rhythmic undercurrents. Later in the evening, I spotted the band soaking up Mother Soki’s set at Dust, underlining just how embedded they were within the festival’s collaborative spirit.
(Martin J Fuller)
LOOSE CONTENT – TGE Beach The Jetty 13:20 – 13:50
This is my second Loose Content show of the festival, having already caught them tearing it up at The Font, but this time the setting could not be more different. The sun is out, and the Byron Bay three-piece hit the Jetty stage at the beach site looking every inch like a band ready to make the most of a moment. Comprised of MiLLa on bass and vocals, Sam Sanders on guitar and Aquila Porter powering things from the back on drums, Loose Content deliver a set that crackles with promise and proper bite. Their sound swings between heavy, guitar-led alt-rock and those delicious loud/quiet dynamics that pull you in before kicking the doors open, with a post-punk edge adding extra grit. For a band still in their early 20s, there is already something thrillingly self-assured about them, a spark that suggests they are only just getting started.
(Cris Watkins)
EL CAPITAN – The Font 13:30 – 14:10
Seasoned Brighton trio El Capitan took the stage, bringing something a little more practiced. If you are a regular on the Brighton gig circuit, you may already be aware of their back catalogue. Self-styled as an “Alt-Rock and Psych Trio” who offer “Guitar Driven Rock & Psych.” Rather than waiting until some point in the set, the lead introduced the band before the set opened and thanked the crowd for joining them for the afternoon. The second track was slower and more mellow after the heavier opener. The overall set clearly referenced older influences and offered a different delivery style to the other bands performing on the day. The third track was “About family and the things that are really important.” It featured a long rumbling intro and occasionally staccato vocals. The third track was another slow one, a little downbeat and slightly dirgey. Ever the professional, the lead thanked the audience for “Watching and listening,” then launched into their final track ‘For What You Want.’ Another brief set, offering visitors a taste of the local band’s sound.
(Jess Kemp)
FLOODHOUNDS – Volks 13:30 – 14:00
I make my only festival trip to Volks next in order to catch Yorkshire indie rock trio Floodhounds who are known for blasts of stomping fuzzed-up indie guitar, savage riffs and hook-heavy choruses. It’s said that FloodHounds deliver tight rabble-rousing live shows – bursting with startlingly jagged guitar, driving bass and wild rhythmic drums, so let’s see if this is the case today. The trio are all miked up and there’s bass, guitar and drums (with presets) action aplenty going on here. With a “Release the Hounds” recorded backing they were away with ‘One Horse Race’, which features some great rumbly bass guitar action. The indie rockin’ numbers continued with a performance of ‘Our Own Worst Enemy’ which rocked even harder. The venue is relatively busy and those present seem to be enjoying themselves listening to the trio’s powerful punk-infused and darkly melodic tunes, as they bob their heads along to the beats as the trio continue to show us what they have in their locker!
(Nick Linazasoro)
HEMI HEMINGWAY – Komedia Basement 13:30 – 14:00
After being turned away from The Prince Albert for the double bill of Legss and Goodbye, I stumbled my way down to Komedia Basement for New Zealand’s Hemi Hemingway. Unequivocally for the girlfriends, he flies between glossy-synth pop and the rumbles of post-punk in a set influenced by Wim Wenders ‘Wings Of Desire.’ While the jump from ‘Desiree’ – a peppy track evocative of keytars and shoulderpads – to the doomed-out A Flock of Seagulls-owed ‘(To Be) Without You’ asks a lot from the audience, Hemingway just about sticks the landing. The project of Shaun Blackwell charms the audience with his baritone-murmured tracks, vamping for cheers from the basement and joking, “it’s so nice you did that unprompted!” The titular track of debut album ‘Wings Of Desire’ dovetails dichotomies of Crime and City Solution influences with 80s pop liveliness, with soft synths floating in the back of the mix like Damiel. While closer ‘Oh My Albertine’, a duet with bandmate Lucy, features some gorgeous harmonies, it feels slightly too emulative of the weeping slide guitar of ‘Fade Into You’ to land as an impactful big finish, despite a soaring climax.
(Keir Shields)
SHTËPI – Patterns Upstairs 13:30 – 14:00
Shtëpi are a five-piece art-punk band based between London and Guildford. They headlined The Hope & Ruin in Queens Road last month as part of a Hidden Herd promoted showcase. They are a highly entertaining band that give it 100% pure effort. ‘Holy Smokes’ starts off this afternoon’s nine-song set Upstairs at Patterns with lead vocalist (Ioan Hazel) shouting his vocals into a 1970s style cream-coloured telephone receiver microphone while stomping his feet. The other band members are Tom Thorpe (drums), James Richardson (keys), Harvey Coates (guitar), and Harry James (bass). The second song ‘Leather’ features heavy guitar with a danceable beat. There’s more shouty vocals from Ioan and by the time they perform the third song ‘Yacht Rock’ sweat is dripping from his brow. They rock out to ‘Scary Vincent’ while ‘Always On’ features a bit of way-wah. There’s playful onstage banter during the groovy and psychedelic pace-changing ‘Missile Maracas’. Following this it’s ‘The Well’ and then a cover of The Fall’s ‘Mountain Energi’. For this Ioan joins the crowd and is in some of their faces as he blurts out the lyrics. We get more funk and groove with the final song ‘Slaughterhouse Motion’ wrapping up a very good set.
(Ian Holman)
ROOMER – Bella Union 14:00 – 14:40pm
I legged it at Warp Factor 10 to the new Bella Union store in the heart of North Laine for the very first time in order to catch Berlin-based outfit Roomer, who are performing an instore set. They are running a little behind and so I take the opportunity to grab a decent coffee from the shop and settle in to watch what the trio of Ronja Schößler, Ludwig Wandinger, and Luka Aron have to offer. Their debut album ‘Leaving It All To Chance’ from last year captures the haunting power of their live shows, pairing diaristic lyrics with spectral textures and sudden bursts of catharsis. Their March 2026 single ‘Written By’ introduces a fresh sound, combining first-take spontaneity with immersive production and raw emotional clarity. This Roomer performance is number nine of ten that is going down here under the banner of ‘The Greatest Ape’. It’s an intimate setting as we are up close and personal with the trio who utilize vocals and guitar, second guitar, and drums, presets and chimes. It’s strumming led shoegaze music for a dreamy relaxing Saturday afternoon with sounds that no-one is ever going to break into a sweat. There’s no moshpits to see here, just folk lapping up the vibes as they flow around the unusual shop. Don’t get me wrong as there is some head bobbing when required when their tunes become more intense. None more so than on their closing number which was a new one called ‘For Yves’ which had a different feeling to all of the other songs. It had more rockin’ oomph, which might signify a slight shift in direction for the band.
(Nick Linazasoro)
JAMAICA MOANA – TGE Beach Deep End 14:05 – 14:30
Non-binary Sydney (Dharwal Land) based Jamaica Moana delivered one of the most wildly entertaining and unapologetically fun sets of The Great Escape 2026, arriving on stage draped in a veil under which was striking hair and a large faux-fur coat before launching headfirst into a chaotic yet mesmeric and brilliantly choreographed 30 minutes. Repeatedly declaring “my name is Jamaica Moana” throughout the set and jettisoning said coat and veil, they commanded the awestruck beach venue with total confidence, balancing tongue-in-cheek humour with razor-sharp delivery and infectious drag energy. It would be easy to overlook the quality of the musical performance, but Jamaica with their drummer and keyboardist rightly declared “I’m a rapper baby” and their music fuses rap, R&B, soul and dance. Jamaica turned the crowd into willing participants in the spectacle including a risky invite to catch them when they dived into the crowd (a near-miss), while their larger-than-life stage presence made the whole performance completely impossible not to enjoy. This was entertainment in the Confidence Man/Big Wett arena who’ve gone before on this very stage and which Australia seems to do so well. Arguably the most all-round entertaining half hour of the entire festival.
(Martin J Fuller)
RIZZY & THE GENTS – The Font 14:15 – 14:55
The London-based quintet drew a small band of loyal supporters, which made for an interesting contrast to the gathering football crowd—a potential clash for the performers to deal with or an opportunity to gather new fans. As soon as Rizzy introduced herself, it was obvious who was in charge: “Hi, I’m Rizzy, and these are my Gents.” This was no disservice to the talent of the Gents, gathered by a performer with a sharp ear and eye for talent. The effusive and electric Rizzy, a self-styled “Punk Princess”, brought a vibrant energy to The Font’s stage. The mix of Rizzy’s powerful vocal projection, stage presence and ‘the Gents’ musical talent made for a heady combination that could not fail to win the audience over. The second track was full of high-octane energy and punk-rock riffs. Rizzy played to the audience, spotting potential converts interacting with skill and humor between tracks, much to the amusement of the Gents, who were clearly enjoying performing. Rizzy’s audience interaction, initially playfully provocative, shifted with the gathering audience towards queer advocacy. Announcing “The next song is about the existence of being a Queer person in this world, going to slow it down with this next one.” The song was delivered with impressive conviction and control. Finishing with a cover of the Abba track, ‘Lay All Your Love On Me,’ offering a much slower tempo, Rizzy’s belting vocal bordered on torch song, filling the whole of the venue. The start caught the audience off guard as it switched to up-tempo funk, with the chorus again skipping back into the slowed, emotive chorus. It was a masterclass in delivery and how to truly make a cover your own. At the end of their set, Rizzy informed their new converts that they would be playing their first headline show at The Hope and Ruin on the 28th of May before taking leave of the stage.
(Jess Kemp)
EBI SODA – Komedia Basement 14:30 – 15:00
Next up, down in Komedia’s basement, is London-formed but Brighton-based sextet Ebi Soda. While the Ezra Collective comparisons are inevitable, they put their own spin on modern jazz, drawing on structures from punk and rap, with a vehemently late-night sound that breezes through the aux sounds of a downtempo afterparty. Opener ‘Pseudocreme’ is all driving bass, splatters of trumpet, with an opening samba swing on ever-shifting drums; the sound feels entirely mood-based and heavily improvised. Turning an afternoon set into Ronnie Scott’s is no easy feat; they even manage to get the performative reading man in the crowd out of his head and into his body, with soft-synth swaying of ‘Spooki’ only punctured by William Heaton’s trombone solo. Throughout their set, Ebi Soda give each member a chance to shine, with ‘Ecchi’ highlighting the fitful drumming of Sam Schlich Davies. With a new cut in ‘Have I Not Been Enough’ teasing more arpeggios, the closer ‘Dahling’ gives everyone a victory lap: a distillation of everything they do well, with a syncopated hi-hat swing from Davies holding the structure for guitarist Conor Knight to get his solo. While the track is extended to allow for a brass battle between Heaton and trumpeter Dan Gray, it garners raptures from a crowd happy to bob their head along. Their tracks feel like late-night ventures in Kemptown, fittingly where closer ‘Dahling’ was conceived, absorbing the sounds of every bar and every student house through your own headphones. While slightly winding down the tempo for the middle of the day, I was half-expecting to leave the room to a crisp May evening, Ebi Soda’s artistry is absolutely remarkable: it takes a lot to quieten a room at The Great Escape, more so with only instrumentals, yet Ebi Soda manages it with ease.
(Keir Shields)
Y – Patterns Upstairs 14:30 – 15:00
Formed in 2023 by Adam Brennan (Gibson guitar & vocals) and Sophie Coppin (vocals & Synth), this five piece band from London are completed by Harry McHale (saxophone), Dab GB (Fender Precession bass) and Fells (drums). This afternoon they are all in their sunglasses and it’s their last set of the Great Escape and oh brother this room is packed to the gills, I am so tightly packed in, my right foot is stuck one side of a front stage monitor and I can’t move it. I am glad I got here for doors opening 2 bands ago. “Hello” called out Sophie and a stomping drum beat got going, the sax started saxing, the fast bass line is away, the synth keys are hit seemingly randomly and the guitar fires up, like a factory machine starting up, Sophie is on vocals. I think the song was called ‘Rip’, but well what a start, so full of energy and fun. The music chaos machine starts once again for a fast paced instrumental number, one very enthusiastic fan at the front wearing a matching red Y T-shirt, the same as Adam was jumping about going crazy. The next song was new and called ‘Duplicate’ and had so much brilliant noise, Adam was on vocals for this one. The band are always moving, shaking their hair, leaning back and forwards. This was followed up by another new song coming from their EP ‘Oh No’. Adam and Dan swapped positions on stage and guitars for ‘Ladies Who’. Sophie shouted “to everyone outside in the queue we love you” as people were on the terrace trying to watch through the window and trying to get in. Another with Sophie on vocals came next called ‘Skipper’ this one had me thinking how Sophie’s vocals really remind me of someone, maybe Siouxsie Sioux or Blondie, this song definitely had vibes of that 70/80s era. Guitars and positions were switched back again for ‘Waiting Winning’ and before we knew it the last song of this intense 30 minute set was the ultra-frantic ‘Why’. Goodness me, what a set, it really should have been in my top five of the festival, you can’t really describe their music style, its genre defying, it’s visual, it’s a vibe and feeling. It’s relentless, fast, has some hints of Madness but times it by 100, all I could do was half bounce due to my trapped foot, but next time I see them I want to be centre front with the ultra-enthusiastic Y t-shirt guy because that is how you feel when hearing this band.
(Ben ‘Jerry’ Robinson)
TONY BONTANA – Alphabet 15:00 – 15:40
I made my way to the JOY RSVP Party event at Alphabet near the Clock Tower in order to catch The Gnomes, but there was a change of plan. First up though was Tony Bontana a rapper, producer, and multi-instrumentalist who is celebrated for his signature “Splayed” sound. This unique style blends heavily manipulated samples, non-linear rhythms, and deeply introspective lyricism. As the founder of Everything Is Perfect Records, he has become a cornerstone of the UK’s experimental underground scene. His 2026 album, ‘My Name’, marks his first full vinyl release, this amazingly being his 35th album! Tony informs us that he is from Birmingham and tells us he’s going to rap for us over the next half hour. It’s just his voice and backing. He wasn’t joking. Tony offloaded his material at a rate of knots with his eyes shut as the booming and jaunting beats fought against him. Some numbers mid set benefitted from a more soulful backing which I enjoyed more. He must have been exhausted after his set after offloading many thousands of words at us. Tony took his hat off and jumped off the stage near the end of the set and moshed with the punters. Bless him, he handed out some CDs at the end of his set. This style of music is way outside of my comfort zone but it doesn’t hurt to broaden your horizons from time to time.
(Nick Linazasoro)
HOME COUNTIES – Patterns Upstairs 15:30 – 16:00
The crowd crush at Patterns upstairs continues for Bristol based 6 piece band Home Counties. The band are Will Harrison (co-lead vocals, guitar), Lois Kelly (co-lead vocals, Korg synth), Conor Kearney (guitar), Bill Griffin (bass), Barn Peiser Pepin (Korg synths, percussion), and Dan Hearn (drums). Yes that’s right 2 Korg Synths in the mix here. This near 30 minute set took in 7 songs, ‘Back To The 70s’, ‘Exactly As It Seems’, the very danceable synth heavy ‘Bethnal Green’, ‘Humdrum’, ‘Spain’, ‘Break It’ and ‘Uptight’. And they were bloody great. A band with a real happy energy, their vibe is fun, punchy, vocal duties swapped about between Louis and Will, there is no repetition or getting the same old here. This is a band that keeps lively on stage, dancing and moving about, giving great humorous crowd interaction, much like when they got everyone to drop low during ‘Uptight’. Their sound is indie alternative guitars with fast synths, nothing slow, all very dance-like. If I was to compare them to other bands I am familiar with, I’d say a little like Welly with a bit of Blur for good measure. A great way to end this session at Patterns and uh oh, oops, looks like I’ve just bought their second album ‘Humdrum’ LP on Dinked whilst typing this. A band that has made my Top 5 of the festival.
(Ben ‘Jerry’ Robinson)
SHRINK – Alphabet 16:00 – 16:40
I had ventured to the JOY RSVP Party event at Alphabet near the Clock Tower in order to catch The Gnomes, having already missed their set earlier today (presuming they played it), however, when the band took to the stage it was another act. These guys immediately pointed out that they weren’t The Gnomes but in fact were called Shrink and they come from Bristol. The venue is very busy, but despite the news, I can’t actually see anyone vacating the first floor room, which must have been encouraging for this two guitars, bass and drums outfit. There was some floor shaking bass with swirling guitar and solid drumming action from this rockin’ tight outfit, who certainly got heads bobbing from the very first song. There’s a Radiohead meets Embrace meets U2 vibe going on here. These lads were definitely singing off the same song sheet, they were tight and accomplished. Top tapping stuff indeed. There’s even stadium filling guitar shaking sounds at times too. They saved the best tune as their final number and I kid you not there’s serious potential on offer here, and it’s by a lucky fluke that I’ve caught them in action today.
(Nick Linazasoro)
SLEUTH GANG – The Black Lion 16:00 – 16:40
Sleuth Gang are a seven-piece punk and rap group from Leeds. I first saw them last year at Daltons and was mightily impressed, so when Larry—who handles merchandise and fixer for Snayx—reminded me they were playing today I made sure to head along. I arrived early and managed to get to the front, but like all great alternative gigs, the venue quickly filled up. They launched into ‘God Damn Day’, and it didn’t take long to get the crowd animated. The sound was driven by hard-hitting drums and tight, polished three-way rapping, clearly honed through months of rehearsals and live shows. While the band’s musicianship is excellent, it’s the three rappers who really command the crowd’s attention, each bringing their own distinct character: Sam—skinny, stubbly, and with a bit of that local lad charm; Lewis—big, with an angry-looking face but the heart of a teddy bear, covered in tattoos; and Jeremy—a cheeky, fun-loving Bermudan with plenty of charisma. Their next single, ‘Happy Hour’, was played at full pace, instantly sparking a moshpit. At one point, Sam went right into the middle of the crowd, dancing along with everyone in the thick of it. They finished with ‘Safe Bet’, leaving everyone exhausted but fully satisfied. If you get the chance, Sleuth Gang are definitely worth catching—especially when they head down south to bring their energy closer to the coast and the sun!
(Stephen Willcox)
SALARYMEN – The Folklore Rooms 17:00 – 17:30
With a gap in the official Great Escapes with nothing going on, I decide to head on down to The Folklore Rooms which is very busy in order to catch a trio of acts. The first of these are Salarymen who hail from Sydney in Australia, but inform us that they are now local, but not Brighton. They’ve just headlined their second UK tour and supported DMAs across the country, playing to 20,000+ people. They inform us that they have recently dropped their debut album ‘Take It Or Leave It’, and have hotfooted here from their set at TGE Beach The Jetty. Their instruments of choice are bass and vocals; guitar and vocals; second guitar; and drums. With two enigmatic lead singers and a hypnotic blend of indie, disco and psych influences, they set about performing for us. They open up with a track about Japan and it’s a dreamy number like The Sundays. Tune two is called ‘Surrender’ and is followed by ‘If You Want Me’ which was the choice of the three. Their most streamed song on Spotify is next and is called ‘We Could Be Together’ which is a slow chugger with lovely female vocals. They signed off with their “attempt at a French disco song”. I wouldn’t have branded it as that. The full house enjoyed them. Personally, I thought they were pleasant enough, but nothing special. File under “Music to sway to”.
(Nick Linazasoro)
MORN – The Hope & Ruin Downstairs 17:30 – 18:10
Morn are another band who have played multiple shows across TGE, and after failing to get into three of them already, I make sure to rock up early for their set at The Hope and Ruin. A four-piece originating from Monmouth, now relocated to London, and made up of two sets of siblings, they waste no time making the downstairs bar their own. I’ve seen some classic shows in this room over the years, and as soon as Morn smash into ‘Modern Man’, they’ve got me — and they’ve just been added to that list. Their sound is loose, fast and gloriously ragged, driven by scratchy guitars, shout-along choruses and a proper early-2000s garage-rock revival feel, with a dollop of post-punk and a definite nod towards The Libertines. This is one band I need to see again and again. Another TGE 2026 highlight.
(Cris Watkins)
MOTHER SOKI – The Folklore Rooms 17:45 – 18:15
Remaining at The Folklore Rooms I take in the delights of Minneapolis-based Mother Soki who flew in from Amsterdam this morning in order to play for us. This being the first of two gigs today, with the second being at Dust at 9:15pm. She is joined by a left handed guitarist and a laptop. She discovered her love for music whilst at college in Chicago and immersed herself in everything she loves, thus gravitating toward the dreamy textures of Dreampop and the sonic nostalgia of the ’90s. Mother Soki’s compositions are filled with soothing multilayered dreamy vocals that delicately float around the room as if someone like Sinead O’Connor had delivered them. The crowd are enjoying what they are being played and within a very short space of time Mother Soki is signing off her set with ‘Bygones’ which for me was the highlight of her performance and very much in the vein of Julie Cruise meets the Cocteau Twins, this tune being worthy of inclusion in any movie. The overall backing music compliments her vocal style – it’s music to chill out too.
(Nick Linazasoro)
RISCO – The Font 18:00 – 18:40
We returned to the venue buoyed by an extended break for the football and looking forward to more music. Setting up on stage were Risco, who had already played earlier that day as part of the main Great Escape. After a short warm-up, the trio from Stockton-on-Tees steamed into their first track. The trio brought an entirely unexpected, very welcome, high-octane, explosive indie surf rock, brimming with energy and vibrancy throughout their set. The lead vocalist and the bassist even threw in coordinated air jumps several times. Some tracks had an air of the earlier, dirtier versions of Green Day and Nirvana, and even a little of the Presidents of the United States, interspersed with their own take on the more cinematic surf rock played at breakneck speed. These touch-points all blended seamlessly with Risco’s own refreshing take. Towards the end of the set, they included a reworked cover of The Sonics ‘Have Love Will Travel’. At the very end, the bassist sang lyrics to ‘Rockafella Skank’, a cheeky and slick nod to the ubiquitous local DJ and musician. The electric performance confirmed the trio’s sheer talent, humour, and skill; they were by far the standout act of the day. Catch them on the way up while you still can.
(Jess Kemp)
NIERRA CREEK – The Folklore Rooms 18:30 – 19:00
The final of the three sets I take in at The Folklore Rooms falls to Nierra Creek who we last saw in action just a month ago at the ‘Homegrown’ multi-venue local one day festival. Between acts today, many folk had vacated the cosily decorated first floor performance room but thankfully for Ryan Deag and Sebastian Müller, who together are Nierra Creek, the venue filled back up again to full capacity as these venue regulars rattled off another thrilling Folklore Rooms set. They are running twenty five or so minutes behind schedule, but nobody seems to mind as much banter is had prior to the beginning of the local duo’s enjoyable set. With a “already everybody lets do it” and they set about their business. Their unique blend of electronica and indie folk afforded by an array of synthesizers, both digital and analogue are assembled on the stage for Ryan Deag and Sebastian Müller to assimilate themselves around. The guitar is also key to their sound and melodies, which shouldn’t be overlooked. Yet again, another enjoyable set from the lads.
(Nick Linazasoro)
A further Great Escape review will follow…………
