Liverpool’s inner city festival shines with new talent.

Review and Photos by John Hayhurst

There’s something electric about Liverpool during Sound City. The city thrums with a shared pulse as revellers hop cobbled lanes and neon alleys in search of the next unforgettable set. Over the two days we traversed between snug basements, historic ballrooms, and feverish lofts – catching 25 acts that brought grit, groove, and raw emotion to the heart of the inner city.

Shania Sabrina opened the day in the warm shadows of Shipping Forecast’s basement, delivering sultry, jazz-tinged R&B with effortless poise. A resident of Leeds she bears more than a feel of local Corinne Bailey Rae Old Meditation shimmered with late-night vulnerability, her voice wrapping around the crowd like velvet. It’s only about 13:30 but in this basement it feels like a late night neo soul get together – a great start!

Following her in the same room was alt folk band The Solaas whose beer soaked harmonies prompted sing-alongs galore “Home” their latest single started a set of heartfelt anthemic tunes that deserved a bigger room than the one they were in.

Crossing some streets to one of the smallest venues – Kazimier Stockroom is tiny, and if you don’t get in early then you just don’t get in. Here we witnessed some more funky neo soul from Immi Dash. Overkill it wasn’t, it sounded immense live – even with only a two piece backing band. Love the fact that these artists that rely on samples and electronics can truly breathe in a live setting when they have proper musicians alongside them.

Similarly Hannah Morgan gave a shimmering pop/soul 25 minutes set including Warm at the Arts Club Loft, although we didn’t stay too long because in order to get into The Jacaranda you need to arrive 15 minutes early, this is another basement venue and we are eager to hear aimei媚. We arrive and witness a great soundcheck bonus, albeit I’m far too close up for comfort, the voice is immaculate though and shines through the minimal accompaniment.

Longing for a full band and something with a little more bite we go back to Shipping Forecast for Better Joy and get exactly what we were craving. Fronted by Bria Keely it was like Debbie Harry had picked up a guitar and sang some pop/indie tunes which are made for chart success. One of the highlights of the day.

If we needed to go even harder then Dirty Blonde did just that back at The Jacaranda. Vocalist Ailis Mackay wasted no time in getting right into the crowd and singing into faces, this two piece Manchester band were noisy in a very good way and have come on in spades since I last saw them at Stockton Calling three years ago.

It’s the early evening and we have planned to take it easy for the rest of the night at Grand Central (Main Stage) venue. However, first another look at Imogen & The Knife, I saw them in Teesside a couple of weekends ago and was so taken by the ethereal vocals and persona on stage that it demanded a further experience. It’s the eyes that get you, Imogen moves like a ghost dressed in a black suit and tie, it’s like Portishead via Kate Bush, every gesture deliberate and eerie. EBGB’s is the darkest venue too with a single white light pointing in the middle of the stage. It was part gig, part séance, and utterly entrancing.

To the Main Stage and Overpass delivered crisp, emotionally charged indie-rock in the tired grandeur of Central Hall. Their anthem Right Time had all the soaring choruses and shimmering guitar lines of festival glory. The acoustics added splendour to their jangling sound, echoing through cracked marble and timber. It felt like standing in the middle of a coming-of-age film set.

We were here mainly for Rianne Downey – self confessed Scot turned “adopted scouser” who looks more like she’s auditioning for a Tammy Wynette bio, hair is all up and wearing a flowing white dress. Country music has come to town and with a great backing band including a fiddle player, we have 25 mins of pure gold, big smiles and finally someone that can own that big stage. To top it off a version of Paul Heaton’s Rotterdam with the lyric “Liverpool or Rome” sat very well in a set that could have headlined today.

Nieve Ella on the other hand was having tech issues, which is what happened to her last time she played Sound City, and many here remember that. Finally, a shorter than expected set gets the crowd going. They lit up the stage with alt-pop urgency and candour. Her standout track Girlfriend bristled with longing and tension, her delivery brimming with angst and edge. She had a generation singing their own heartache back at her.

Finally for tonight The Royston Club who went on 25 minutes fashionably late but that didn’t matter to this Liverpool crowd – opening with new track The Patch Where Nothing Grows they raced through a frantic indie pop setlist including an unreleased track called Joe and ending with I’m a Liar from their debut album Shaking Hips and Crashing Cars. Mrs Narcissistic was a personal favourite, and these lads went down so well it made you think they are ready for a headlining Academy circuit at least, rather than another support slot tour. That said, they are just recreating good time indie pop for this current generation, like so many have done before – see The Kooks, The Fratellis, Two Door Cinema Club, The Wombats…. etc. etc.

The Sunday started with a young local lad who was happy just to play in front of his Dad but Harry Fazakerley had a decent turnout to watch his boyish ‘Gerry Cinnamon’ styled tunes, in truth we were just waiting for the next artist but it was a pleasant 20 mins spent waiting. When Amber Saqladi entered the room – heads definitely turned, wearing a short and plunging cream lace two piece with cowgirl boots she certainly looked the part, but would the image be equalled with her artistry. Thankfully yes, when this girl threw her head back she gave no quarter and her vocals were impeccable, this was pure joy to watch and listen to, we stayed for the whole set, alt country pop at its best and she is one to watch out for in years to come.

Our only visit to The Jacaranda today would be for Paige Kennedy, and whilst we were disappointed to realise that Paige was using backing tapes and loops, she more than made up for it with charisma and persona on that small stage. However, next door at The Shipping Forecast, one of the sets of the day was about to take place – PEVOVA, who at the time, I felt like I’d seen somewhere before. It only dawned on me days later that they used to be called Aimee & the Parade and I did see them at Live at Leeds last year. Aimee is centre of attention still and I can see and hear Siouxsie Soux, Bjork and PJ Harvey with a few Kate Bush theatrics thrown in for good measure. This is both dramatic and visceral – especially when she either stares directly at you, or unleashes a banshee like scream into the mic. It was enough to place them on the “must see again soon” list.

For different reasons Ruby J is also on that list, at the Arts Club Loft she was confident, captivating, and full of soul. She blends modern R&B with a vintage blues edge, delivering vocals that are both smooth and gritty, switching effortlessly between sultry restraint and explosive power. Her stage presence radiated warmth and charisma, commanding attention without ever needing to shout for it. Even dismissing her backing band members for suggesting last minute changes to the set list, you don’t mess with Ruby, her vocal style has an Amy Winehouse feel, albeit more commercial and polished.

We decide to stay a while and catch Ava Joe too, there is a strong sense of vintage soul with her performance too. Black Smoke is a highlight from her latest EP Eleanor Close and features early in the set which was intimate, emotionally charged, and utterly compelling. With a vocal style that merges indie-pop clarity with raw, folk-like honesty, she delivered each song like a personal confession. Her voice carries a delicate huskiness that feels both fragile and fierce, especially during Polly Pocket where she stripped everything back to just her voice and guitar.

Daytime TV were next up at the Arts Club Loft, however they were late getting started due to a few tech glitches, so we only saw a brief glimpse. Good to see they have a new female bass/keys player though as the last one looked like he wanted to be in a death metal band and didn’t really fit.

We left early as we needed to catch the return to Liverpool of STONE, fronted by Fin Power (son of John Power from Cast) they have an energy that was unrivalled on this stage over the weekend. Elliot Gill (guitarist) is like a guy possessed, shaking and kicking with abandon. After a request by a punter Power jumps into the crowd shirtless and conducts probably the only circle pit over the two days. Thankfully they have left the jokey songs behind now (Left Right, Moto etc.) and have a barrel of newer stuff to play from their 2024 album Fear Life For A Lifetime which is far superior, although Leave It Out is still an absolute banger.

A brief jaunt to see Issy Sutcliffe rocking out in her orange boiler suit at Shipping Forecast, and then we return to Grand Central Hall for Brògeal (pronounced “Bro-gale”). These Falkirk lads are riding a new Celtic wave spearheaded by The Mary Wallopers recent success (who they have supported).They transformed Central Hall into a Celtic celebration, their folk-rock tunes igniting a joyous atmosphere. Friday On My Mind had the crowd dancing, its infectious rhythm and spirited instrumentation impossible to resist. The band’s camaraderie and passion were infectious. They have yet to record an album. It won’t be long though, banjo, bouzouki and other instruments made a welcome return to the live stage today.

Our final trip was back to the Arts Club Loft where we stayed to the end. First we caught the tail end of TTSSFU who was shrieking in the pale green light like some kind of witch casting a spell. Then the room almost cleared out for Grace Gachot, leaving 3 girls who had been there all day on the rail waiting for her to appear. Thankfully a few more arrived with 5 minutes to go and those lucky people that were present heard some of the most powerful female vocals I’ve heard in a long while. Ballads were forthcoming and like many other artists she writes plenty about failed relationships, but the clarity and tone was something to really shout about. Her Tik Tok based followers are not wrong, and I wished that the room was more than 25% full to witness it. “Built To Be Bad” felt like an epic ballad that could give Adele a run for her money. It was also great to see her take some time out at the end of her set with the 3 devotees who lapped up all the hugs, photos and autographs they could gather.

Punk revellers started moving in to any spare places as Panic Shack took to the Arts Loft stage, a place they will be playing on their own headlining tour next week. Such a short set but it included Who’s Got My Lighter, The Ick and Jiu Jits You plus a cover of The Ting Tings Thats Not My Name within I Don’t Really Like It.

Every song was at 100mph and these four Welsh Girls are a bundle of raucous fun, with a bit of choreography thrown in – they are having a great time up there and so are we. Their mic sound check consisted of each of them saying “Vape, Phone, Keys, Lipgloss” over and over again, which it turns out is part of the chorus of new song Pockets, another new song is called Tit School which mainly involves tongue in cheek lyrics and singer Sarah Harvey shaking herself around the stage. It was a gloriously unfiltered performance—funny, furious, and fiercely feminist.

Sound City 2025 was everything a city festival should be—intimate, electric, and brimming with discovery. From smoky basements to grand halls, every venue pulsed with energy and raw talent, showcasing artists who’ll no doubt be headlining stages in years to come. The sense of community—between crowd and performer, city and sound—was unmistakable. It was a weekend of spine-tingling vocals, sweat-soaked riffs, and shared moments that reminded me why live music matters. I’ll absolutely be back next year, ready to chase that same thrill all over again.

Sound City took place in Liverpool city centre on 3 and 4 May 2025.