‘VARIOUS ARTISTS’ – ‘HOMEGROWN FESTIVAL’, VARIOUS VENUES, BRIGHTON 11.4.26
It’s Saturday, spring is in full swing, but more importantly, ‘Homegrown Festival’ is back in Brighton for its third year! This weekend, on Saturday 11th April, a grand total of 72 acts took over nine Brighton grassroots venues for a one day festival, celebrating the homegrown artistry and talent of the city’s music scene. The venues in question, Green Door Store (7 sets), The Hope & Ruin (11 sets), The Prince Albert (8 sets), The Rossi Bar (10 sets), The Folklore Rooms (9 sets), Alphabet (6 sets), Revenge Club (6 sets), The Pipeline (8 sets) and Daltons (7 sets), played host to a wide range of musicians, songwriters, bands and artists, with the final headlining line-up including acts such as CLT DRP, Ebi Soda, Enola Gay, Jasmine.4.T, The XCERTS and YONAKA (who stepped in last minute filling in for Black Honey).
Across the two month run-up to the festival, the acts were announced in three separate waves as tickets flew out to the punters, with a secret set from local post-punk band Projector announced the morning of the festival. This year proved to be the most colourful range of acts put on a Homegrown roster thus far, with a small percentage of musicians stemming from outside of Brighton, but have helped support our local music scene over the years. Our team of reviewers and photographers ventured out across Brighton to catch and review as many of the Homegrown acts as possible. See below for our journals and accounts of all we saw across the whole festival, given in performance order and rough set lengths:
Green Door Store 15:00 – 15:30
Aku (styled as AKU) are the opening band to play Homegrown Festival, coming in as a late replacement to Chasm who were unable to perform due to injury. Aku are a hardcore punk band. As I’m standing not too far from one of the speakers, I have my earplugs in. Frontman Alessandro Cogolo gives out a warm welcome to the crowd, “Hello fans, happy Homegrown. Thanks for coming down”. They get things going with ‘Aku Stomp’ from their 2025 released ‘Evil Twin’ EP. This is the first of 11 songs in a set that lasts 24 minutes. Four of those songs are from ‘Evil Twin’, five are from their debut 2024 album ‘Numbers Game’ and there are two new ones, ‘Tungsten’ and ‘Fat Kranium’. As expected, it’s an energetic and noisy set with the third song ‘I Know About You’ being the highlight for me. Aku have a few overexuberant fans down the front and unfortunately, mid-set, one of them charged his way along the front of the standing area of the venue, this resulted in a minor injury to a woman that was standing near the wall. Not the sort of thing you want to see happen at a gig! Thankfully the woman was able to walk away from the incident. Although hardcore punk is not my thing, Aku put on a good performance and are clearly good at what they do.
(Ian Holman)
The Hope & Ruin 15:15 – 15:45
Barely surviving the queue to get wristband tickets, my first stop on the good ship Homegrown is none other than harpist and electronics artist Eva Lunny. One of my all-time favourites in the Brighton music scene, I’ve had the good fortune to catch her opening for William Doyle and Explosions in the Sky for past reviews. Walking into the wonderful sounds of her harp, coloured with the fluttering landscapes of cavernous reverbs and delays just puts you at peace… even when remembering her sister is Phoebe Lunny from legendary punk band Lambrini Girls, you couldn’t get any more different levels of volume! Various pieces performed within her 30 minute set explore different vocabularies of harp performance, with an unnamed piece halfway into her set featuring more arrhythmic explorations and scraping of the wood on her harp for extra texture. Her two current major releases, 2023’s ‘Sonics And Meditations’ and last year’s ‘Departure’ are master strokes of ambience and electronica, but it’s through seeing her live performances where you receive the full paintbox of her artistry.
(Christian Le Surf)
The Prince Albert 15:30 – 16:00
Kicking things off at The Prince Albert, All Better return (once again) for what’s billed as a “last ever” show – though by now, that phrase lands with a knowing grin. Still, the early crowd turnout says everything: this is a band people aren’t ready to let go of. They lean fully into bright, shimmering pop-punk, packed with hooks and heart. If Blink-182 is your reference point, you’re right on track – all punchy guitars and infectious choruses delivered with a carefree charm. It’s tight, nostalgic in all the right ways, and judging by the reaction, there’s clearly demand for at least one more “final” farewell. Sharing the bill, H_ngm_n – rising from the ashes of All Better – keep the energy high while pushing into slightly darker territory. There’s a rawness here that gives their set extra weight, but the DNA is unmistakable. Together, it feels like both a send-off and a reset. If anything, today proves there’s unfinished business – and the crowd would absolutely be there for it.
(Sara-Louise Bowrey)
The Rossi Bar 15:45 – 16:15
From one ambient act to another, I ventured over to the Rossi Bar to finally catch Songe after several missed attempts in the past year. A British/French duo consisting of Ëlle Croguenneca and Phoebe Bentham, their album ‘Daughters’ made quite a splash in the Brighton ambient scene upon its release last November. There’s a whole spaceship’s worth of equipment on show in the Rossi basement, including several keyboards, synthesizers, and a Moog theremin to the right of the stage. The music that the duo deliver to the Homegrown punters is nothing short of staggering, with passages of bitcrushed synthesizers and Ëlle’s choral vocal deliveries hinting at a blend of sounds not unlike Grouper, Ryuichi Sakamoto and Sora (the Japanese glitch project). Watching Phoebe’s theremin performances made for some of the set’s best moments, watching her put so much delicacy and emotion into her actions. I’m truly spellbound by the duo’s exciting crescendos in synth distortion and electronic cinematics, which, in a venue like the Rossi Bar, is not often experienced. This will not be the last time I experience the wonderful Songe; and certainly not the last time I catch Phoebe – see you at Not Richard & Her Majesty!
(Christian Le Surf)
Alphabet 16:00 – 16:30
Review to follow…
(Peter Greenfield)
Green Door Store 16:00 – 16:30
Weakday are a band I first discovered when they opened at a Hidden Herd-promoted showcase at The Hope & Ruin in February last year. I was that impressed that I saw them again a couple more times the following month at other venues in Brighton and was hoping to see even more of them, so I was happy to catch them on the line-up for this year’s Festival. It’s actually their first gig for around ten months. They are a five-piece indie/alternative band full of atmospheric post-punk sounds. For today’s set, they have a new rhythm guitarist named Tom. He gets a welcome from lead vocalist Henry during their short but very good and well-attended 22-minute six-song set that starts with the 2024 single ‘Vienna’ and is followed by the upcoming single ‘It’s Not A Case’ (release date: 24th April) and closes with their excellent most recent release ‘Go’. Weakday are planning to book some upcoming shows soon. Currently, they have one booked in at The Rossi Bar on 3rd July.
www.instagram.com/weakdayweakday
(Ian Holman)
The Hope & Ruin 16:15 – 16:45
Where do I even begin when talking about Nierra Creek? Not only are they one of my favourite acts in the Brighton scene, but are one of my favourite musical projects in general – their unique blend of electronica and indie folk made such a mark on me upon hearing them at the Folklore Rooms back in the June of 2024 and I’ve remained a devout follower ever since! An array of synthesizers, both digital and analogue are assembled on the stage for Ryan Deag and Sebastian Müller to assimilate themselves around. As a notable Folklore Rooms favourite, I must say it feels bizarre seeing them play at a different venue, but they assume control of the stage with such nostalgic bite. Alongside the recently re-released ‘Burn Out The Fire’, tracks from their debut EP ‘You’ve Got This’ make an appearance in the set, most notably ‘Move Together Now’, whose Bruce Springsteen-esque drive in tempo tsunamis its way through the Hope and Ruin. This show was also my first time hearing their latest single ‘CZ-3000’, a more abstract cut in sound design compared to previous releases, but an infectious main guitar melody that evokes the sounds of Bon Iver and mk.gee. Even after all this time of being a fan, Nierra Creek still continue to blow my mind and wreck my heart all at the same time. You’ll be sure to find me at the Alphabet to catch Ryan play alongside Cowboy Lyf…!
(Christian Le Surf)
The Prince Albert 16:30 – 17:00
Not technically the first band I saw at the Homegrown festival, that band was All Believe, but as it was their final ever show and that guitarist Chris Childs was also in the next band H_ngm_n, I thought I’d concentrate on the current rather than the death of a band, even if I really enjoyed their set. (Blink 182-ish). Two-piece H_ngm_n have been simmering of late with a very erratic schedule of music and hiatus. They’ve been around for about 10 years on/off with last year’s album ‘Paper Street’ under their collective belts. I was anticipating a high standard as they seem to have awoken from the gig cocoon with various shows and festivals planned for this year. With a shockingly packed room, the maelstrom of beats and guitar fills around us at volume 11 of Emo-Rock induced sounds. Opener ‘Spotlight’ features the train-beat drums of James Martin who gets the crowd moving, with guitarist/vocalist Chris Childs gut-wrenching driven vocals that brings home the lyrical rawness. ‘No Place Like Home’ delivers a slow-burning stadium filling sound that makes you hooked to the spot. Ending with ‘Happy Birthday’ a math-rock lyrically heavy tune that perfectly ends a blinding set from this duo.
(Stephen Willcox)
The Folklore Rooms 16:30 – 17:00
At the Folklore Rooms, Thimble make a welcome return to the first floor venue located a stone’s throw away from Brighton Clocktower, where they performed a headline show back on March 23rd, which followed on from their debut at The Rosehill Tavern which reached capacity. The outfit is formed by musicians from various creative projects across Brighton and they continue to build on the early buzz of their debuts from a few weeks ago. This afternoon’s set is as ambitious as it is absorbing. This collective of serious musicians blend jazz, folk and classical influences with streaks of dark, progressive psychedelia, they create something fluid and unpredictable. It’s intricate without feeling indulgent – a set that pulls you in and keeps you guessing, marking them out as a genuinely exciting new prospect.
(Sara-Louise Bowrey)
The Rossi Bar 16:45 – 17:15
Opening with an instrument I’d never seen or heard before, a shruti box, this provided a gentle supporting background drone to the ethereal vocals of Solis, before being joined by the two other musicians on guitar and drums. It was an impressive introduction to a quite magical set by this Irish indie/folk band (formerly The McCauls) now based in Brighton. A packed mixed crowd were greeted to 8 songs, some of which were written whilst living in a van. Solis, classically trained, engaged with the enthusiastic audience, providing the stories behind the songs and held us captivated. There were many standout out songs, none more so than ‘Something About The Rain’ written after shoulder surgery which showcased all three’s talents to the max.
(Tony Mann)
Green Door Store 17:00 – 17:30
I headed swiftly to the Green Door Store for a new experience in the form of Lindow Man, a project born from the ashes of dearly missed post-rock and folk group Van Zon, whom I had the privilege of catching numerous times opening for Goodbye and SANAM, among others. Continuing to feature the marvellous Mina-Mae Alexander (of Big Long Sun fame) on violin and vocals, and Charlie West on guitar and vocals, the music of Lindow Man takes the elegance of its predecessor, chews it up and spits it out into a pit of darkness, with a more avant-garde approach to rhythmic and textural structures via polymeters and dissonance. Knowing Charlie is a massive fan of Richard Dawson makes sense when hearing Lindow Man as the archaic duellings of violins and guitars create an atmosphere akin to records like ‘Peasant’ and ‘The Ruby Cord’. Despite a reduction of on-stage members, Lindow Man carry more musical weight and anguish in this new incarnation, as well as a more realized and voracious construction of tonality. Homegrown 2024 was my first experience of the utopia of Van Zon; it’s only fitting that Homegrown 2026 will be my first experience of the dystopia of Lindow Man.
(Christian Le Surf)
Alphabet 17:00 – 17:30
Review to follow…
(Peter Greenfield)
Daltons 17:00 – 17:30
As soon as I saw the line-up for Homegrown, Tabi Gervis was high on my list of acts I wanted to see, although her musical style is not my normal go-to thing. I had seen Tabi once before, just over a year ago, when she opened for Phoebe Green at Dust and I was impressed. Today, Tabi has a backing band filled with musicians that also perform in other local bands. There’s Sam from Flavours on bass guitar, Ollie from Fever Rouge on drums, and Alex from Divorce Attorney on keys. Tabi and her band perform an excellent eight-song set that clocks in at 32 minutes. From the opening song ‘I’m Not Asking For Much’, I realised straight away why I was so impressed the first time I saw the Kentucky-born vocalist. The vocals are amazing and very soulful. I was totally mesmerised. The other musicians are a great fit, with Ollie’s drumming adding a jazz element to the sound. Although six of the songs from the set have already been released, it was the unreleased ‘Flowers’ that stood out for me. Even if a mix of jazz, soul, and pop is not your thing, I highly recommend you seeing Tabi Gervis if you get the chance.
(Ian Holman)
The Hope & Ruin 17:15 – 17:45
Also at The Hope & Ruin, My Precious Bunny – a new project from Lily Wolter of Penelope Isles and friends – offer something altogether more dreamy. Now part of the Bella Union roster, there’s already a quiet confidence to what they’re doing. Their sound leans into warm, nostalgic textures, balancing delicacy with depth. With their debut album ‘A Moment In My Eyes’ on the horizon, this feels like an early glimpse of something that’s only going to grow. Definitely one to watch!
(Sara-Louise Bowrey)
Revenge 17:30 – 18:00
Review to follow…
(Peter Greenfield)
The Folklore Rooms 17:30 – 18:00
Sharing the compact Folklore Rooms stage are husband and wife duo Outpost Drive, who deliver one of the weekend’s most quietly stunning moments. Everything about the performance feels in sync – musically and visually – with harmonies so tight they practically glow. Rooted in country and elevated by a distinctly deep southern warmth, their set feels intimate without ever losing impact, taking Americana to a new height. It’s the kind of performance that gently commands attention and leaves a lasting impression. Heartfelt storytelling leaves lasting images across your retina.
(Sara-Louise Bowrey)
The Rossi Bar 17:45 – 18:15
I’ve been looking forward to Krumpets for a long while now having worked with two out of its three members at WaterBear last winter. Those members, guitarist Noah and banjo player George, had really excited me with the material they were putting forward for their songwriting course, where they exercised a blend of folk, with post-rock and brief electronically-bent musings. Oh, and we were all big fans of experimental folk group caroline! Finally seeing the two of them, along with bassist and co-vocalist Lizzy, as Krumpets was a breath of fresh air, with a delicate sense of arrangement, utilising the corners of their limitations in instrumentation via spacious harmonies and electronic drum machines. The song ‘White Rose’, recorded and released via Brighton recording studio Small Pond, was a huge favourite for me, with its trippy polyrhythmic acoustic interplay and strong melodic backdrop. It’s difficult to compare Krumpets to anything due to their inventive assortment of sonic influences, but evocations of Big Thief, Black Country New Road and, of course, caroline make their way out of my subconscious. As someone who’s watched the members of the band blossom in their songcraft outside of the band, I’m so excited by what Krumpets are capable of delivering for the future!
(Christian Le Surf)
Green Door Store 18:00 – 18:30
Billed as the festival’s “secret set”, Projector at Green Door Store was anything but – the word clearly got out, and the packed room proved it. One of Brighton’s most loved bands, expectations were high, but this was a set that didn’t just meet them – it tore straight through them. Hot, sweaty and unrelenting, it was a no-fuss explosion of energy. Dark, raucous and gloriously chaotic, the sound felt visceral – loud, unpolished in all the right ways, and completely absorbing. It’s messy, it’s beautiful, and it’s easily one of the standout moments of the day.
(Sara-Louise Bowrey)
The Pipeline 18:15 – 18:45
M.Woodroe (styled as m.woodroe) have played many gigs in Brighton since early last year and have recently appeared on a few in London as well. Having seen them perform six times previously, it’s no surprise to me that they are fast becoming one of the leading emerging bands from the area and have recently signed a deal with independent label Venn Records. Their debut EP is set to be released in the autumn. They are a four-piece alternative rock band with plenty of range to their grunge-like playing style. Today they played at one of the smallest of the Homegrown venues, The Pipeline, although the pundits are fortunate they are able to play as guitarist Ben and new drummer Sam hadn’t had much sleep having been involved in an accident on the M4 last night. They only got into Brighton at 8:30 this morning. They play a six-song set that starts with ‘What A Shame’, and includes the excellent ‘Carte Blanche’. Although Sam has not been in the band for too long, he seems to have settled in well as M.Woodroe are a tight unit with lead vocalist Maisie giving off a confident stage presence and great range to her vocals, from belting them out to soft and quiet. There’s also some great lead guitar work from Ben and bassist Jeorgie.
(Ian Holman)
The Prince Albert 18:30 – 19:00
Also at The Prince Albert is Alex Geleklidou who hails from Drama in Greece and is now based in Brighton and goes under the musical banner of ALY, which is stylized in capitals. The tea time ALY and her band deliver a set that’s as endearing as it is infectious. There’s a sweetness at the core of their sound, but it never tips into overly polished – instead, it’s balanced with a playful, slightly scrappy edge. It’s pop-punk with personality: engaging, energetic, and built for a live setting. The connection with the crowd comes easily, and by the end, it’s clear ALY has won over plenty of new fans.
(Sara-Louise Bowrey)
Revenge 18:30 – 19:00
Review to follow…
(Peter Greenfield)
Green Door Store 19:00 – 19:30
Hailing from Belfast, Enola Gay are a 4-piece noise/punk band who are one of a flurry of emerging Irish bands, though, having formed in 2019 these guys have been around longer than most. The Green Door Store venue was packed and bathed in green light as Enola Gay entered the stage and hit the awaiting crowd with attack driven guitars, drums and vocals. By the second song, the moshpit was in full flurry and during the third track, singer Fionn Reilly orchestrated the parting of the audience, and then he jumped into the energetic crowd and delivered a repetitive vocal assault. The onslaught of sound was spectacularly maintained throughout their impressive set. They said they liked Brighton and clearly Brighton liked them!
(Tony Mann)
Alphabet 19:00 – 19:30
A pure wild card in my Homegrown journey, Cowboy Lyf took the Alphabet stage at 7pm, where I encountered Nierra Creek vocalist Ryan Deag engaged in a similar tabletop arrangement of electronics, this time with Humphrey Luck taking the reins at his side. When speaking to Ryan before the set, I asked “what do Cowboy Lyf sound like?”…he seemed unsure. As the first song struck the audience, I too was unsure on how to describe the sounds that came to me; a mixture of electronic arrangements, hard-tuned vocals and a gospel-like energy seemed to only scream Cowboy Lyf to me. A brief technical difficulty occurred as Humphrey’s laptop almost went flying, but it wasn’t long before he and Ryan resumed with a frantic exercise in four-to-the-floor electro-folk. Part of me feels uneasy watching Ryan perform without Sebastian at his side as Nierra Creek, but here with Cowboy Lyf, there’s a different energy taking form, thanks to Humphrey’s strong presence as a frontman. Both Humphrey and Ryan explore unique vocal and guitar manipulations, giving each song its own flavour and aura. This may have been my first exposure to Cowboy Lyf, but I want more. And lots of it.
(Christian Le Surf)
The Hope & Ruin 19:15 – 19:45
At The Hope & Ruin, The Subways prove why they’ve held that status for so long. Even without Charlotte Cooper – away running a marathon – the stripped-back lineup only adds to the occasion. The venue is packed, the atmosphere electric. Mixing well-loved tracks with a few deeper cuts, the set feels both celebratory and intimate. It’s commanding yet conversational, with real connection between band and crowd – the kind of gig that reminds you why smaller venues matter.
(Sara-Louise Bowrey)
The Prince Albert 19:30 – 20:00
It’s lovely to see a fresh new band come out the embers of two distinctly different outfits and genres – Fur & Wife Swap USA. Right Right Right have only been together for eight months and Wife Swap USA frontman Harry joined last month and is found on bass and vocal duties. So it goes without saying that I was looking forward to seeing what this monster baby would deliver. With a full capacity, The Prince Albert’s first floor performance room was rammed with eager ears waiting to see what this relatively new 4-piece band have to deliver. Starting with ‘Every Corner’ vocalist Harry (Fur) Zwaig’s delivery is almost nonchalantly sung with a hint of spoken word with a steady backbeat and repeating catchy guitar riffs. I’d describe the sound as a throwback to the 60s Surf guitar, no frills percussion with a commanding bass-line. The set was very melodic, tuneful throughout and as it wasn’t what I was expecting it threw me, but in a good way! The highlight song of the gig for me was ‘Human Display’, it just seemed to have more energy with the vocal delivery and a faster tune overall. Considering that this was their debut gig, you could tell by the crowds nodding heads and excited chatter after the show that these guys are here to stay. Catch them on the 28th April at The Rossi Bar supporting Studio 20.
www.instagram.com/rightrightrighttt
(Stephen Willcox)
The Rossi Bar 19:45 – 20:15
Last time I caught Charlie Keen’s Silver Birch was when he opened for Liverpool-based experimental rock group Ex-Easter Island Head, where he completely blew my mind with his performance. Armed with a trombone, synthesizer and Shruti box, Charlie continued to deliver a one-of-a-kind set downstairs at the Rossi Bar. Across his set, the soundscapes are predominantly improvisational, pooling from an appreciation of experimental music – the obvious New York artist Peter Zummo comparison comes to mind. After two years of my last exposure to his performances, Charlie has clearly honed in his craft with both his trombone playing, and his sense of improvisation. The opening section of the set, in particular, sees an extravagant interpolation of his Korg synthesizer, with Charlie’s trombone depicting a fuzzy winter atmosphere. Across the set, he’s able to create dense choirs of horns through his loop pedal, before engaging in frenzied fits of melodic humanity through his trombone. He even takes the vocal reins towards the end of the set, singing atop an arpeggiated bed of synths with a warm baritone presence. It’s been a while, but Charlie Keen’s Silver Birch continues to be one of my favourite acts to see around town – I cannot stress my love of this man enough!
www.instagram.com/charliekeen.silverbirch
(Christian Le Surf)
Green Door Store 20:00 – 20:30
Review to follow…
(Peter Greenfield)
Revenge Club 20:30 – 21:00
Over at Revenge, Ġenn deliver a performance that feels like a statement of intent. Long overdue for a catch up on my watchlist, they arrive sharper, tighter and more assured than ever. Their Maltese roots subtly inform the sound, with flashes of Breed 77-style rhythmic intensity, but it’s the sheer force of the performance that stands out. Leona’s vocals are immense – powerful, expressive and completely commanding – backed by a band operating with pinpoint precision. It’s extravagant, immersive and unrelenting; dark, hypnotic and euphoric all at once.
(Sara-Louise Bowrey)
The Prince Albert 20:30 – 21:00
Emia Demir, bassist for Carne, the sorely missed Faeser (aka Rottweiler), and now the mastermind behind Girl Apocrypha. Taking the forefront of her pure artistic vision, Girl Apocrypha sees Emia explore a pop-glazed take on alternative rock, infused with distinctive social and introspective commentary and encrusted with diamonds. This was my second time experiencing her majesty in a live setting, having caught her at a Revolt only a few shows ago! Her live band shares Willow and Nathan, former members of Faeser; naturally, they, along with new bassist Molly, provide extra, grunge-laden grit to the sonic proceedings. Her two current singles were deployed with both barrels at the Prince Albert: ‘Dealer’, complete with its autotuned choir and alternative rock propulsion, and my favourite, ‘Madonna’, a song about killing the titular popstar in cold blood. Oh yeah, and a song called ‘Kids’, which she totally wrote, not MGMT, okay? Don’t go saying otherwise. What excites me the most about Girl Apocrypha is how good she sounds currently; it begs the question, what’s in store for her in the future?
(Christian Le Surf)
Green Door Store 21:00 – 21:45
Review to follow…
(Peter Greenfield)
Alphabet 21:00 – 21:45
As one of the headliners for the festival it was no surprise that 20 minutes before the set was due to start, it was already a one out/one in scenario to get to see the final act performing at Alphabet. The anticipating crowd waited as a flickering CLT DRP graphic was projected above the stage. Formed in 2017 in Brighton, CLT DRP (the 2 missing vowels are the letter ‘I’) are the uncompromising Annie on vocals, Scott on guitar and Daphne on drums. They did not disappoint and were clearly enjoying themselves as much as their audience were. They gave us a frenetic, high octane set with the new track ‘Bruiser’ getting the crowd jumping from the front to the back. During the penultimate song, Annie got the crowd to deliver a high decibel cathartic scream, before she checked the time with the audience and finished the night with ‘I Don’t Want To Go To The Gym’ from their debut 2020 album to raucous applause.
(Tony Mann)
The Pipeline 21:15 – 21:45
The Pipeline is rammed with people also on the side chairs as this 50 capacity venue is stacked like a house of cards inside but somehow we all make it work. Nil By Habit are a real dance till you drop type band, not scared of making a spectacle of themselves or the crowd. Launching into ‘Plastic X’ with its crescendo inspired keys that ramps up till the crashing of slamming of Sam’s guitars while delivering main vocals definitely gets the party started. ‘Formidable Machine’ gets the crowd moving, holding each other whilst dancing in circles and this starts to heat the place up, so much in fact that both vocalists take their tops off and rip into the song. Last tune ‘Squeamish At The Sight Of Love’ has keyboardist Josh walking with cow-bells being hit calypso style into the tight room, with all of us jumping up and dancing to its hypnotic beats around him, whilst Stan jumps on the seating thrashing guitars and Ronan drags a stand up drum into the centre and ends the set with a crashing of drums. Superb!
(Stephen Willcox)
Revenge Club 21:30 – 22:15
Stepping in at the last minute, Yonaka don’t just fill a gap – they redefine the night. Headlining the Revenge stage, they take control instantly and never let up. Frontwoman Theresa Jarvis is a force to be reckoned with – raw, emotional and utterly commanding. The set surges with heavy bass, dark intensity and flashes of pop sensibility, creating something that feels both powerful and accessible. Fierce, passionate and deeply engaging, it’s a performance that reinforces exactly why Yonaka remain such a firm favourite.
(Sara-Louise Bowrey)
The Hope & Ruin 22:15 – 22:45
Human Interest are the last band I’m reviewing and are a great way to end my festival. They played at The Hope & Ruin, a venue that they performed at in January on a Hidden Herd promoted show. They also supported Brighton band Congratulations at Moth Club in London last month. I first became aware of them when I saw them at Revenge during the Great Escape Festival in 2023. They are a melodic alternative indie-rock four-piece with lead vocals shared between front duo Harry Harrison and Tyler Damara Kelly. They have Tyler Evann on guitar and keys with Joe Michelson on drums. Although they were formed in East London, Harry points out during the set that they regard Brighton as their second home, having recorded a record here. There appears to be an uplifting confidence around their live performances, with all band members working well together as a unit. This was clearly on show tonight during their seven-song set that included released tracks ‘Shapeshifting’, ‘Step On’ and set closer ‘Nuclear War’.
human-interest.supertape.site/info
(Ian Holman)
This is the second time I’ve seen Not Richard & His Majesty, but this time I’m at a venue that’s not bigger than my double bedroom, which makes it feel claustrophobic, but equally exciting as it’s totally rammed in here. This Glam-Punk Queer Doo Wop band is causing quite a stir on the circuit, so it’s great to see them at Homegrown Fest. Not Richard is dressed in a delightful purple woolly dress with fishnets and a mean cheeky grin on his face, as they launch into ‘Something Savoury’ a 70’s surf and blues number with a dramatic theatrical bent. I notice that ‘Projectors’ bassist Lucy Sheehan is taking the helm in the percussion dept, deftly creating tension throughout. ‘Everything Explodes’ is an upbeat dance number with synth diva Phoebe Bentham kicking her heels up 20s style whilst performing keys duty in her bra and knickers. Latest single ‘Stress Is A Killer’ gets played with the steady drums of Isaac Viper in sync with guitarist Richie Monroe’s scratchy fret noises, alongside Richard’s scathing bitchy vocals. Lead vocalist Not Richard (Rich Fownes) has a knack for hooking into intimate desires with his lyrics and exposing these foibles to the masses. The crowd are totally onboard tonight and are as much the spectacle as the band, and during the last song ‘Beautiful’, Rich grabs his own mike-stand and starts swinging it around while singing, missing the press photographer at the very front by millimetres! Phoebe dashes off into the dancing mosh while Not Richard climbs the drums and ends the set on a high (literally). Definitely a highlight of the Homegrown festival for me, so catch them at the Hotel Pelirocco on 15th May for Alt Escape for free.
(Stephen Willcox)
The Rossi Bar 22:45 – 23:15
Over at The Rossi Bar, Lana Death Ray bring a burst of high-energy chaos in the best possible way. The five-piece channel classic ‘70s prog and psychedelic rock, but with a modern, slightly off-kilter edge. There are shades of Stone Temple Pilots in their swagger, albeit heavier and more expansive, softened by swirling keys that add texture to the punch. It’s fun, loud, and deeply engaging – the kind of set that grabs you quickly and doesn’t let go.
(Sara-Louise Bowrey)
The Hope & Ruin 23:15 – 23:45
In just a few short years, Hutch have catapulted to new heights as one of Brighton’s most quintessential live acts, and it’s not difficult to see why. The now-sextet have spent their tenure re-inventing the sounds of jangle pop and psychedelia for the modern era without it sounding contrived in the process. This is the first time I’ve seen them for a while, so the excitement of catching them now with a harp player and the legendary Guy Jones on flute and keys was very potent. The upstairs room at the Hope and Ruin was the most packed I think I’ve ever witnessed it, with over 150 patrons bearing witness to one of the most beloved bands down south. One of the most remarkable aspects of Hutch’s set for me was how explorative their performances were; so many pockets of dynamic beauty were uncovered for the group to play around in, and yet they remained totally in control and omnipresent! I must say, the inclusion of harp and flute really do add to Hutch’s live sound, further evoking the vintage feelings of long-forgotten pop. I think it’s so thrilling and refreshing for a band of Hutch’s sound and style to enrapture a music scene that’s always changing and shifting; they’ve grown so much, but are not going anywhere anytime soon.
(Christian Le Surf)
The Rossi Bar 23:45 – 00:15
Anyone who knows me will be aware of my ever-present love of Telecom; I’ve had the privilege of watching the majority of its members in various projects over the years since the Northbrook College days before blossoming as their current collective. Along the Rossi Bar stage, they continued to bring an energy unlike any other Brighton band I’ve seen, coupling their love of 60s garage rock with a rockabilly sensitivity that connects the appreciation of music fans of all stripes! The arrangements, particularly with the vocal duties of guitarists Chris and David, and drummer Nathan, are mastered expertly through songs such as ‘Appletree’ and ‘She’s Neither Here Nor There’. Seeing the music through into the early hours, the Telecom boys sent the audience into overdrive for their rowdier cuts and into blissful nostalgia for the more bittersweet numbers, in a soundscape that can go toe-to-toe with some of the biggest and brightest bands to come out of the 1960s pop playbook like the Kinks, the Zombies and the Rolling Stones. As long as Telecom continues to breathe new life into the Brighton consciousness, life is worth living.
(Christian Le Surf)
The Hope & Ruin 00:15 – 00:45
Later in the evening, Super Dupes keep the energy alive with a set that feels tailor-made for the festival’s closing stretch. Born out of lockdown but now fully realised, they play like a band completely in their element. Fusing psychedelic jazz-funk with Afrobeat rhythms, they deliver groove-heavy, technically sharp performances that never lose their sense of fun. It’s exactly what’s needed at this point in the night – uplifting, infectious, and impossible not to move to.
www.instagram.com/superdupesmusic
(Sara-Louise Bowrey)
The Rossi Bar 00:45 – 01:15
There are few bands with more drive and passion in the Brighton music scene than Fever Rouge. The first time we crossed paths was last February when we both opened for PleasureInc., and since then they’ve always been on my radar as a growing force to be reckoned with. In the same manner that Telecom and Hutch rejuvenate the sounds of 60s psych, Fever Rouge take the dense grooves of 00s indie post-punk and bend them to their will. There are obvious comparisons to bands like Bloc Party and Radiohead to be made, but the personality that lead singer Ollie Hughes delivers in songs like ‘Feed The Villain’ and the freshly-released ‘Boys Will Be Boys’ gives Fever Rouge the space to stand out with energetic grace. The band engage in a number of call and responses with the crowd across a distinctive array of rhythmically exciting cuts; cue the calls of “who’s that prodigal son?”. I’m thrilled to bits that the Fever Rouge lads are on the up and up, they deserve the world and all that it offers for them!
(Christian Le Surf)
THE WRONG TROUSERS The Hope & Ruin 01:15 – 01:45
Now I’ve been reviewing since 3:15pm, so at this point, I’m hanging by a thread, but I managed to survive long enough to see the night to the end with The Wrong Trousers ending the night at the Hope & Ruin. These guys are a true tour de force for the Brighton scene, bringing forward a staggering blend of math rock and art punk that most bands are afraid of even scratching the surface of. Right from the off, the audience are on overdrive, moshing and calling back the lyrics to the quartet, while I stand at the metal barrier to the side, clinging on for dear life. The Wrong Trousers have a near unclassifiable sound, with explosive moments of free punk and post-rock clambering around infectious football chant-like melodies that could wipe out an entire stadium. Even the more patient and slow-moving moments in the set were full of gravitas and thrill. Honestly, I wouldn’t be surprised if these guys were to headline a 234 Fest or Green Door birthday show in the near future…! Long live The Wrong Trousers!
(Christian Le Surf)
