3L3D3P (USA)‘using a drum machine and a megaphone to create a universe of explosive art’
AKAI SOLO (US) ‘layering thoughtful bars over jazz-soaked beats’
BABY SMITH (AU/DE) ‘songs that radiant a romantic sweet warmth’
BASHT. (IRE) ‘cutthroat rift driven rock’
BIG RED (UK) ‘imagine The Orchestra (For Now) but there were only three of them and it was just guitar, bass, and drums’
BLOED (BE) ‘this how filth and madness should sound’
BODY HORROR (UK) ‘a dark and dirty mixture of pain and unfiltered ecstasy’
BORSCHT (UK)’melancholic songs delivered with a lingering intensity’
BROWN HORSE (UK) ‘the warmest British Americana around’
BRUISE CONTROL (UK) ‘straightforward Manchester punks returning to finish the job’
C’EST QUI (NL) ‘groovy garage punk’
CISTERN (CA) ‘rock music with a gritty, unpolished, and instinct-driven energy’
CLARA MANN (UK) ‘almost folk music’
CLASSIC TRUCKS (UK) ‘beautiful songs from the ugliest man in Bristol’
COILGUNS (CH) ‘a gritty mixture of raw punk and noise-rock madness’
COMMON HOLLY (US/CA) ‘beautiful folk songs with a devastating edge’
COMPUTER (CA) ‘experimental sounds with catchy melodies’
CROÍTHE (IRE) ‘impressively atmospheric and pulsing with angst’
CROWD OF CHAIRS (BE) ‘raw, abrasive, and unapologetically confrontational’
CURSER (UK)‘remarkably fresh alternative rock that’s aggressive and melancholic at the same time’
DELIVERY SERVICE (IRE) ‘a mix of driving bass, rough-edged guitars, and unexpectedly pleasant vocal blends’
DOVE ELLIS (UK) ‘incredibly raw and heartfelt songs’
DBA! (UK) ‘raucous guitar riffs and introspective lyrics’
DUG (IRE/US) ‘authentic Irish Americana’
EAT-GIRLS (FR) ‘cheap drum machines, clumsy synths, and gripping songs’
ETERNA (ES/UK) ‘serene slacker rock with a mesmerizingly backbone of percussion’
FELLATIO (NL) ‘Rotterdam’s very own avant-garde disco punk post-penis krautpop trio’
FOR BREAKFAST (UK) ‘fiercely eclectic and full of wild contradictions’
FOSSICK (UK) ‘compelling no wave’
FRANCES MURRAY (UK) ‘witty, searingly honest indie rock that’s equal parts raucous and introspective’
FUZZ LIGHTYEAR (UK) ‘loud, fast and a boisterous live energy’
GAL GO (AR/UK) ‘immerse yourself in a world of poetry-like, slightly jazzy songs’
GLOIN (CA)‘a danceable explosion of throbbing beats and lacerating riffs’
GREEN GARDENS (UK) ‘slow rock at its finest’
GREEN STAR (UK) ‘a juxtaposition of gloomy textures and bright melodies’
HANK (UK) ‘blending raw noise with tender moments’
HONEST WORK (UK) ‘pure rock anthems’
HONK (UK) ‘gritty country punk that will make you line-dance like there’s no tomorrow’
HUMANE THE MOON (UK) ‘channelling frustration and angst into super catchy songs’
INFINITY KNIVES & BRIAN ENNALS (US) ‘urgent and unpredictable, drowned in vitriol, rage, philosophy and humour’
JUNK DRAWER (IRE) ‘idiosyncratic indie rock anthems’
LAUNDROMAT CHICKS (AUT) ‘a sunburst of jangly pop songs’
LES SAVY FAV (USA) ‘possibly the greatest live band of all time’
LILA TRISTRAM (UK) ‘a rare combination of intimacy and power’
LINTWORM (BE) ‘masterfully grunting their way trough a mix of heavy genres’
LOW ISLAND (UK) ‘the perfect layering of live and electronic sounds for true pop fans’
MADDIE ASHMAN (UK) ‘a glowing surge of wonderfully delicate music’
MADRA SALACH (IRE) ‘an astonishing new take on traditional Irish folk’
MAGDA (UK) ‘uncompromising, raw and chaotic post-punk’
MAKESHIFT ART BAR (IRE) ‘metallic sounds, tension-filled rhythms, razor-edged guitars and arch febrile vocals’
MAMALARKY (US) ‘from grungy grooves to synth pop chaos’
MARSY (UK) ‘combining effortless songwriting with timeless melodies’
MAX WINTER (UK) ‘experimental contemporary classical pop compositions’
MÊN AN TOL (UK) ‘So Young Magazine: ‘’the best kept secret on the London live scene’’’
MIDDING (UK) ‘brooding shoegazey psych’
MOCK MEDIA (CA) ‘unpredictable bangers of a Canadian supergroup’
MODERN WOMAN (UK) ‘the tenderness of folk music blend with elements of free-jazz and noise’
MOJA (JP) ‘impressively hectic and loud’
MORN (US) ’tender vocals and searing guitar riffs that lead to beautiful doom’
MUMBLE TIDE (UK) ‘the sounds of bedroom pop perfection’
NAYA MÖ (FR) ‘lush, edgy, and enchanted indie rock’
NO FUN (UK) ‘extremely danceable lad rock to shout along to’
NO JOY (CA) ‘reinventing shoegaze one mesmerising song at the time’
OCTOBER AND THE EYES (NZ/UK) ‘a disturbing collage of goth, glam-rock, wave, and more’
OLIVER WILDE (UK) ‘rightly described by NME as “a Nick Drake for the 21st Century”’
PEBBLEDASH (IRE) ‘drawing from noise rock and dream pop to shape immersive, textured melodies’
PISS (CA) ‘emotionally charged hardcore punk’
POLLYFROMTHEDIRT (UK) ‘raw and uncompromised lo-fi loveliness’
PREWN (US) ‘slow-building, ragged, tormented indie rock’
PUBLIC CIRCUIT (US) ‘slightly melancholic, yet extremely infectious synth pop’
RABBITFOOT (UK) ‘a boundary-pushing mix of pop, rock, alt, jazz, and electronic sounds’
RIP MAGIC (UK)‘genuinely exciting bangers’
ROSCOE ROSCOE (UK) ‘a must-see for neo-psychedelic rock lovers with a laid-back attitude’
RYDER THE EAGLE (FR/MEX) ‘a remarkable crooner with healing songs for the broken-hearted’
SAINT CLAIR (UK) ‘vulnerable, moody, raw and in your face’
SALVIA (UA/BE) ‘an emotional fusion of dream pop and dark wave’
SEARCH RESULTS (IRE) ‘the slightly more grungy cousins of Royal Headache’
SEMIWESTERN (US) ‘charmingly unpolished Texan indie rock’
SERVO (FR) ‘brutal, hypnotic, trance inducing noise’
SHAKING HAND (UK) ‘thrilling post-rock greatness’
SILVER GORE (UK) ‘captivating vocals, mesmerising songs’
SILVERWINGKILLER (UK) – ‘chaos, aggression, and multilingual vocals’
SLAG (UK) ‘the most cheerful math rock you’ll ever hear’
SOAPBOX (GB-SCT) ‘genuine punk – rioting shows (in the best possible way)’
STAR CITY (UK) ‘an infectiously danceable, synth-heavy blend of disco, post punk, techno and acid house’
TEETHIN (UK) ‘a cultural collision makes for ferocious live shows’
TENDERTWIN (TR/UK) ‘mesmerizing folk songs infused with ambient textures and unexpected arrangements’
TH DA FREAK (FR) ‘an electrifying blend of proto-grunge, pop structures and surreal lyrics’
THE EMPTY THREATS (AU) ‘eccentric noisy 5-piece with a commanding stage presence’
THE FAMILY MEN (SE) ‘industrial noise played by young and eager Swedes’
THE NEW CUT (UK) ‘grungy, clunky, twangy and DIY’
THE NONE (UK) ‘according to Far Out Magazine ’’the UK’s most enigmatic act’’’
THE SICK MAN OF EUROPE (UK) ‘hypnotic krautrock-like wave with crisp motorik beats’
THISTLE. (UK) ‘fast-paced, hard-hitting guitars with melancholic vocals’
TOMMY BARLOW (UK) ‘gently unfolding songs filled with ear-tickling sounds’
TORBA (IT) ‘dark industrial and haunting synth wave’
VAN ZON (UK) ‘maybe slightly folk rock, but mostly not part of any pre-existing genre’
VENUS TROPICAUX (NL) ‘our favourite Rotterdam-based mischief causing no wave trio’
VIEIRA AND THE SILVERS (UK) ‘bluesy garage psych with a twang’
Y (UK) ‘hypnotic alt-rave with a touch of Klezmer’
YAANG (UK) ‘a high-energy, sweaty, and raucous live show’
ZACH THOMPSON (UK) ‘a mesmerising folk troubadour’
ZAC LAWRENCE (UK) ‘soulful storytelling to help you make it through the night’
ZONBI (FR/HT) ‘hypnotic performances that feel like defiant rites of sound’
3L3D3P (USA)‘using a drum machine and a megaphone to create a universe of explosive art’
AKAI SOLO (US) 'layering thoughtful bars over jazz-soaked beats'
BABY SMITH (AU/DE) ‘songs that radiant a romantic sweet warmth’
BASHT. (IRE) ‘cutthroat rift driven rock’
BIG RED (UK) ‘imagine The Orchestra (For Now) but there were only three of them and it was just guitar, bass, and drums’
BLOED (BE) ‘this how filth and madness should sound’
BODY HORROR (UK) ‘a dark and dirty mixture of pain and unfiltered ecstasy’
BORSCHT (UK)'melancholic songs delivered with a lingering intensity'
BROWN HORSE (UK) ‘the warmest British Americana around’
BRUISE CONTROL (UK) ‘straightforward Manchester punks returning to finish the job’
C'EST QUI (NL) 'groovy garage punk'
CISTERN (CA) 'rock music with a gritty, unpolished, and instinct-driven energy'
CLARA MANN (UK) ‘almost folk music’
CLASSIC TRUCKS (UK) ‘beautiful songs from the ugliest man in Bristol’
COILGUNS (CH) ‘a gritty mixture of raw punk and noise-rock madness’
COMMON HOLLY (US/CA) ‘beautiful folk songs with a devastating edge’
COMPUTER (CA) 'experimental sounds with catchy melodies'
CROÍTHE (IRE) ‘impressively atmospheric and pulsing with angst’
CROWD OF CHAIRS (BE) ‘raw, abrasive, and unapologetically confrontational’
CURSER (UK)‘remarkably fresh alternative rock that’s aggressive and melancholic at the same time’
DELIVERY SERVICE (IRE) ‘a mix of driving bass, rough-edged guitars, and unexpectedly pleasant vocal blends’
DOVE ELLIS (UK) ‘incredibly raw and heartfelt songs’
DBA! (UK) ‘raucous guitar riffs and introspective lyrics’
DUG (IRE/US) ‘authentic Irish Americana’
EAT-GIRLS (FR) ‘cheap drum machines, clumsy synths, and gripping songs’
ETERNA (ES/UK) ‘serene slacker rock with a mesmerizingly backbone of percussion’
FELLATIO (NL) ‘Rotterdam’s very own avant-garde disco punk post-penis krautpop trio’
FOR BREAKFAST (UK) ‘fiercely eclectic and full of wild contradictions’
FOSSICK (UK) ‘compelling no wave’
FRANCES MURRAY (UK) ‘witty, searingly honest indie rock that’s equal parts raucous and introspective’
FUZZ LIGHTYEAR (UK) ‘loud, fast and a boisterous live energy’
GAL GO (AR/UK) ‘immerse yourself in a world of poetry-like, slightly jazzy songs’
GLOIN (CA)‘a danceable explosion of throbbing beats and lacerating riffs’
GREEN GARDENS (UK) ‘slow rock at its finest’
GREEN STAR (UK) ‘a juxtaposition of gloomy textures and bright melodies’
HANK (UK) ‘blending raw noise with tender moments’
HONEST WORK (UK) ‘pure rock anthems’
HONK (UK) ‘gritty country punk that will make you line-dance like there’s no tomorrow’
HUMANE THE MOON (UK) ‘channelling frustration and angst into super catchy songs’
INFINITY KNIVES & BRIAN ENNALS (US) 'urgent and unpredictable, drowned in vitriol, rage, philosophy and humour'
JUNK DRAWER (IRE) ‘idiosyncratic indie rock anthems’
LAUNDROMAT CHICKS (AUT) ‘a sunburst of jangly pop songs’
LES SAVY FAV (USA) ‘possibly the greatest live band of all time’
LILA TRISTRAM (UK) ‘a rare combination of intimacy and power’
LINTWORM (BE) ‘masterfully grunting their way trough a mix of heavy genres’
LOW ISLAND (UK) ‘the perfect layering of live and electronic sounds for true pop fans’
MADDIE ASHMAN (UK) ‘a glowing surge of wonderfully delicate music’
MADRA SALACH (IRE) 'an astonishing new take on traditional Irish folk'
MAGDA (UK) ‘uncompromising, raw and chaotic post-punk’
MAKESHIFT ART BAR (IRE) ‘metallic sounds, tension-filled rhythms, razor-edged guitars and arch febrile vocals’
MAMALARKY (US) 'from grungy grooves to synth pop chaos'
MARSY (UK) ‘combining effortless songwriting with timeless melodies’
MAX WINTER (UK) ‘experimental contemporary classical pop compositions’
MÊN AN TOL (UK) ‘So Young Magazine: ‘’the best kept secret on the London live scene’’’
MIDDING (UK) ‘brooding shoegazey psych’
MOCK MEDIA (CA) ‘unpredictable bangers of a Canadian supergroup’
MODERN WOMAN (UK) ‘the tenderness of folk music blend with elements of free-jazz and noise’
MOJA (JP) ‘impressively hectic and loud’
MORN (US) 'tender vocals and searing guitar riffs that lead to beautiful doom'
MUMBLE TIDE (UK) ‘the sounds of bedroom pop perfection’
NAYA MÖ (FR) ‘lush, edgy, and enchanted indie rock’
NO FUN (UK) ‘extremely danceable lad rock to shout along to’
NO JOY (CA) ‘reinventing shoegaze one mesmerising song at the time’
OCTOBER AND THE EYES (NZ/UK) ‘a disturbing collage of goth, glam-rock, wave, and more’
OLIVER WILDE (UK) ‘rightly described by NME as "a Nick Drake for the 21st Century"’
PEBBLEDASH (IRE) 'drawing from noise rock and dream pop to shape immersive, textured melodies'
PISS (CA) 'emotionally charged hardcore punk'
POLLYFROMTHEDIRT (UK) 'raw and uncompromised lo-fi loveliness'
PREWN (US) 'slow-building, ragged, tormented indie rock'
PUBLIC CIRCUIT (US) ‘slightly melancholic, yet extremely infectious synth pop’
RABBITFOOT (UK) ‘a boundary-pushing mix of pop, rock, alt, jazz, and electronic sounds’
RIP MAGIC (UK)‘genuinely exciting bangers’
ROSCOE ROSCOE (UK) ‘a must-see for neo-psychedelic rock lovers with a laid-back attitude’
RYDER THE EAGLE (FR/MEX) ‘a remarkable crooner with healing songs for the broken-hearted’
SAINT CLAIR (UK) ‘vulnerable, moody, raw and in your face’
SALVIA (UA/BE) ‘an emotional fusion of dream pop and dark wave’
SEARCH RESULTS (IRE) ‘the slightly more grungy cousins of Royal Headache’
SEMIWESTERN (US) ‘charmingly unpolished Texan indie rock’
SERVO (FR) ‘brutal, hypnotic, trance inducing noise’
SHAKING HAND (UK) ‘thrilling post-rock greatness’
SILVER GORE (UK) ‘captivating vocals, mesmerising songs’
SILVERWINGKILLER (UK) – ‘chaos, aggression, and multilingual vocals’
SLAG (UK) ‘the most cheerful math rock you’ll ever hear’
SOAPBOX (GB-SCT) ‘genuine punk - rioting shows (in the best possible way)’
STAR CITY (UK) ‘an infectiously danceable, synth-heavy blend of disco, post punk, techno and acid house’
TEETHIN (UK) ‘a cultural collision makes for ferocious live shows’
TENDERTWIN (TR/UK) ‘mesmerizing folk songs infused with ambient textures and unexpected arrangements’
TH DA FREAK (FR) 'an electrifying blend of proto-grunge, pop structures and surreal lyrics'
THE EMPTY THREATS (AU) ‘eccentric noisy 5-piece with a commanding stage presence’
THE FAMILY MEN (SE) ‘industrial noise played by young and eager Swedes’
THE NEW CUT (UK) ‘grungy, clunky, twangy and DIY’
THE NONE (UK) ‘according to Far Out Magazine ’’the UK’s most enigmatic act’’’
THE SICK MAN OF EUROPE (UK) ‘hypnotic krautrock-like wave with crisp motorik beats’
THISTLE. (UK) ‘fast-paced, hard-hitting guitars with melancholic vocals’
TOMMY BARLOW (UK) ‘gently unfolding songs filled with ear-tickling sounds’
TORBA (IT) ‘dark industrial and haunting synth wave’
VAN ZON (UK) ‘maybe slightly folk rock, but mostly not part of any pre-existing genre’
VENUS TROPICAUX (NL) ‘our favourite Rotterdam-based mischief causing no wave trio’
VIEIRA AND THE SILVERS (UK) ‘bluesy garage psych with a twang’
Y (UK) ‘hypnotic alt-rave with a touch of Klezmer’
YAANG (UK) 'a high-energy, sweaty, and raucous live show'
ZACH THOMPSON (UK) 'a mesmerising folk troubadour'
ZAC LAWRENCE (UK) ‘soulful storytelling to help you make it through the night’
ZONBI (FR/HT) ‘hypnotic performances that feel like defiant rites of sound’