‘VARIOUS ARTISTS’ – ‘GIRLS NIGHT OUT’, GREEN DOOR STORE + THE FOLKLORE ROOMS + PINK MOON, BRIGHTON 6.6.26
Since being around Brighton’s music scene for the best part of four years now, I’ve found an appreciation for all-day festivals, something which I’ve never particularly enjoyed – but having experienced the communal strength of the grassroots industry first-hand, there’s so much celebration to be found in the sheer number of artists, singers, songwriters, producers, DJs and instrumentalists responsible for their involvements in the curation of festivals such as Homegrown, Mumsfest, The Great Escape and more.
Something that Brighton is exemplary of is the platform it gives its women and non-binary-led artists through its vast network of gig endeavours, and on Saturday 6th June, I was lucky enough to catch some fantastic artists, both regular favourites and undiscovered gems at the all-new ‘Girls Night Out Fest,’ with 26 bands and performers scattered across Pink Moon (both inside and outside), Green Door Store and The Folklore Rooms, in collaboration with SideQuest Records, Agenda Collective, BUZZ Events, WhattaWally and MoonRock Management.
Alongside a roster of artists that includes some of the biggest and brightest in Brighton’s music scene right now, including Moon Idle, Veronica, Krumpets, and Girl Apocrypha, Pink Moon played host to a series of events in the early afternoon with a talk from Brighton Women’s Centre, a collective that has been providing various supportive services towards self-identifying women for the past 52 years. In addition to this, also featured was a writer’s panel with discussions from writer and artist Bradley Tuck, journalist Elsie Oulton, illustrator Riotbones and an impactful documentary screening curated by Liv-Golya-Kerrigan entitled ‘Causing A Scene’, spotlighting women and non-binary creatives in the Brighton scene. All proceeds from the event go directly to the Brighton Women’s Centre. Here’s our coverage of 21 of the 26 acts present at the ‘Girls Night Out’ festival, as well as details about the 5 acts that we sadly missed.
EVA NAGY – Pink Moon (Outside) 13:30 – 14:00
Thankfully graced with a marquee to protect myself from the increasingly nasty rain, I find solace in the comfort of the glorious Pink Moon for Eva Nagy, a singer-songwriter whose debut EP, ‘Homesick’ dropped this past February. Armed with an acoustic guitarist by the name of Rhys, her performance in the rain sees echoes of contemporary indie icons such as Phoebe Bridgers and Adrianne Lenker, all while displaying a wide depiction of self-reflection underneath sudden splashes of water and bristling winds against the makeshift teepee. In addition to renditions of her EP, we were gifted with the inclusion of a couple new, unreleased cuts; one of which, entitled ‘Naive’ was a strong part of the set for me, showcasing Eva’s powerful, elongated vocal performances. As the opening act of the ‘Girls Night Out’ festival, Eva Nagy had transformed the dull, grey downpours into comforting indie folk bliss with her half-hour set.
(Christian Le Surf)
SEKINUE – Pink Moon (Outside) 14:15 – 14:45
Following a cheeky white chocolate sea salt cookie in Pink Moon, I braved my way back out into the rain to catch Sekinue, who opens the set saying “It’s raining, but I’ve got a harp”… already, I was sold! The newest member of the famed Brighton band Hutch, Sekinue blessed us with a collection of songs between the harp and vocals, creating a deep feeling of serenity against the ever-increasing wind. Sekinue’s language on the harp is extremely melodic, leaning more towards the sound of Emma Gatrill rather than that of Eva Lunny, with their songs touching upon various pieces of their human puzzle. In the case of the song ‘Bindweed’, Sekinue delivers a portrait surrounding the struggles of being autistic, with elements of the background dating back to childhood years. I’d been meaning to catch Sekinue for a good while and despite the fluctuating weather, I was truly blown away by what I saw: I was genuinely moved to tears as I felt welcomed into their vulnerable songwriting and gracious harp performances, delivered in a way that is difficult to match!
(Christian Le Surf)
ALY – Pink Moon (Outside) 15:00 – 15:30
After a quick congratulatory natter with Sekinue, I found myself in the company of ALY, a totally new artist for me. Smiling through the rain, we began to see a rise in energy and dynamics for the festival, with some truly powerful indie pop and rock cuts that could stand toe-to-toe with the likes of PJ Harvey. Originally from Greece and based in Brighton, cut through the damp with acoustic renditions of her three current singles, ‘Crying Over Spilt Milk’, ‘Within A Circle’ and ‘Illogical’, amongst all of which, she champions a remarkably versatile vocal performance, from a strong falsetto that tiptoes across the more quiet sections of the set towards a booming projection that towers over the soundscape. The latest of these singles, ‘Crying Over Spilt Milk’, was easily the biggest highlight of the set, packed with a totally euphoric chorus that continued to stick in my head after the set! Oh, the Paramore cover and the cool time signature changes in ‘Rich Man’ were neat too! Kudos.
(Christian Le Surf)
MEDIUM SIZED DOG – Green Door Store 15:30 – 16:00
Medium Sized Dog opened the night at the Green Door Store in a stripped‑back two‑piece formation, a quieter setup that brought a different kind of intensity to their songs. Seated with acoustic and electric guitars, Lily Day and Lauren Maddison let the set move in sharp emotional turns, from jangling riffs to protest‑song bites to moments of bare, disarming vulnerability. Lily’s vocals swung between soft confession and flashes of anger, giving the performance a restless, protest‑singer edge, while Lauren’s unique guitar style, with understated, ghostly, full of subtle bends and slider textures, shaped the atmosphere around each song. A new track, ‘Disappointment Is A Knife’, debuted with a folkier, moodier pull, its emotional weight deepened by Lauren’s playing. ‘Shoelaces’ became the set’s centrepiece, dedicated to transwomen’s rights and the fight against discrimination, its message landing with quiet conviction.
(Peter Greenfield)
GEORGIE MOON – Pink Moon (Outside) 15:45 – 16:15
With the festival beginning to branch out between The Folklore Rooms and Green Door Store, Georgie Moon brings in a cohort of fellow musicians on guitar, bass and percussion for a sun-kissed set in a rain-beaten garden. Her sound was an extremely refreshing mix of the styles of folk, pop, and some slight salsa elements here and there, topped with some delicate vocals that dance around the instrumentation wonderfully. We were treated to an acoustic rendition of her upcoming EP, from start to finish, set for release on 22nd August, called ‘Lucky You’, the tracks from which saw tight and controlled instrumentals from her bandmates, one of which being Adham Armenti on bass, notable for his work with Call Me Franco, Lily Knott and HEIGHTS among other big Brighton names. As the rain began to clear and the wind started to die down, the elegant comfort of Georgie’s music soothed all those present under the marquee who were either swaying or tapping away to her wonderful songs.
(Christian Le Surf)
ACTRS – The Folklore Rooms 16:00 – 16:30
We were aiming to cover as many ‘Girls Night Out’ fest acts as possible. We proudly managed to cover 21 of the 26 acts, but a handful fell through the net, with ACTRS being one of them. We haven’t as yet reviewed the band under their current ACTRS banner, but we did catch them live a trio of times in 2024, when they were called Friend Of Franky. The lineup being Kit Madge (vocals), Anna Rees (guitar/vocals), Viv Maher (bass) and Phil Shambrook (drums), and they played live at The Hope & Ruin (18th July), Green Door Store (24th July) and Daltons (1st October). Under ACTRS their slogan is “Queer pop-rock for people with lots of feelings who should’ve gone to therapy sooner (it’s us, we’re people)”. Last year they released two singles: ‘Hate You’ and ‘Hear Me Out’.
MÁIDIN – Pink Moon (Outside) 16:30 – 17:00
This next one was possibly the most anticipated set on the line-up for me as I’ve been keeping abreast of Jessica “Jeb” James’ involvement with Agenda Collective, who operate as a platform for women and non-binary artists across the Brighton creative sphere, as well as co-running the Girls Night Out festival! Her current musical project Máidin, taken from the Irish Gaelic word for “good morning”, ventures further into the sounds of indie folk, backed with further acoustic guitar embellishments from her partner Matt Sheeran. One of the things I always thought was striking about Jeb was her extraordinary voice; volumetric and expansive, she is able to stretch her vocal dynamics from one end of the galaxy to the other. Many of her songs journey across various explorative structures, from the calm and delicate to the loud and ferocious, and with Jeb being one of the primary organisers of the festival, her set as Máidin was truly the centrepiece of the festival for me, least of all with a beautiful rendition of ‘Elderberry Wine’ by Wednesday towards the end of her staggering set!
(Christian Le Surf)
SNM – Green Door Store 16:30 – 17:00
SNM hit the Green Door Store with no preamble, launching straight into a three‑piece barrage that fused post‑punk tension with an industrial‑leaning atmosphere. Mimi’s vocals powerfully cut cleanly through the noise. One of the set’s standout moments came when they stripped back to a lone guitar and softer vocal, letting the song bloom slowly before crashing into full‑tilt rock, a reminder of how much emotional range sits beneath their stark exterior. As the set grew heavier and more layered, the crowd began to move with it, pulled along by the band’s tightly wound momentum. With a new EP on the horizon, SNM sounded sharper and more urgent than ever, closing with a fast, thundering finale that shifted between loud‑quiet dynamics and near-spoken‑word intensity.
(Peter Greenfield)
LUAN LUAN – The Folklore Rooms 17:00 – 17:30
Another act that we sadly missed at ‘Girls Night Out’ fest was Luan Luan, who originally hails from Madrid but now is based in Brighton. This according to their website “is an artist who breaks free of genre-boxed, crafting colourful, emotionally compelling soundscapes framed by a synaesthetic view of the world. With a multi-genre sound that blends indie, funk, pop, soul and R&B, their music is a kaleidoscopic reflection of internal worlds made audible. Each musical moment they create feels like a sensory map; colourful, layered and highly personal, with dynamic saxophone solos and anchored by fingerstyle guitar playing that pulses with rhythmic bounce and melodic flair”. The debut Luan Luan 5-track ‘Iridescent’ EP dropped this year and collected together 4 previous single releases.
KRUMPETS – Pink Moon (Outside) 17:15 – 17:45
Ah, Krumpets! I don’t think it’s an exaggeration to say that these guys are my favourite Brighton band at the moment; the trio of Lizzy, George and Noah (who I continue to be mistaken for in public for some reason) pool together a heartbreaking combination of alternative country and indie folk the likes of Big Thief would be envious of. In numerous circumstances, I’ve had the privilege of hearing a number of their songs unfold creatively from demos to masters. Songs like ‘Nails’, ‘White Rose’ and ‘Running’ carry so much emotional weight, it’s almost impossible to find another Brighton act that’s so beloved, yet so understated at the same time. All three of Krumpets’ members share lead vocal duties: Lizzy’s holding a very rustic and homespun charm, Noah’s feeling very breezy, yet rounded in tone, and George’s being more gritty, but emotionally impactful nonetheless. The inclusion of a drum machine to George’s right adds scant but substantial textures that give their sound a nudge towards bands like Tapir! and Mount Eerie. Despite a few technical issues here and there, that didn’t stop my enjoyment of Krumpets not one iota, with possibly the best performance I’ve seen of ‘Nails’ in particular!
(Christian Le Surf)
BATMILK – Green Door Store 17:30 – 18:00
Batmilk leaned fully into their shoegaze instincts, opening with a long, immersive instrumental passage that set the room drifting in blurred guitars and half‑submerged vocals. The momentum wavered after an extended retune, but they found their footing again with a track built around a mandolin‑like shimmer, adding a punchier edge without disturbing the dream‑state haze. Their dual vocals worked beautifully. A gentle solo moment with minimal accompaniment showed how soft their sound can fall without losing presence. Between songs, the band filled the space with recorded clips about bats from nature documentaries, including David Attenborough, turning the pauses into something oddly charming. Another retuning interlude preceded a Slowdive‑leaning closer, a wash of guitars and drifting melody that pulled the room back into focus and reminded everyone why their sound is so easy to disappear into.
(Peter Greenfield)
PONCEAU – The Folklore Rooms 18:00 – 18:30
At the intimate Folklore Rooms, Brighton DIY favourites Ponceau somehow managed to squeeze all six members onto the venue’s tiny stage. Their infectious blend of alt-funk and indie-pop is built on rich vocals and tightly interwoven layers of sound, resulting in a warm, charming performance that quickly draws the audience in. Even on a cold, windswept afternoon, their set proved irresistibly foot-tapping.
(Sara-Louise Bowrey)
SARAH GOWER – Pink Moon (Outside) 18:00 – 18:30
To top off my journey in the cold and wet for the day, I finished off the outside sets at Pink Moon for Sarah Gower, a fairly new up-and-coming singer-songwriter who explores the realms of indie pop. Through what I was able to catch of her set, she brought forward a nostalgic warmth in her open-tuned Gretsch and a prominent vibrato vocal that reminded me of James Blake. There’s a strong 90s/2000s singer-songwriter vibe about her, with various voices all appearing in my head distilling into a unique presence that soothed me in the cold air. Her guitar playing was quite entrancing; I’m a sucker for open guitar tunings, so watching Sarah dance her melodies between her voice and the guitar was serene to say the least. I unfortunately wasn’t able to catch much of her set as I started to journey between the other venues in play, but what I saw of Sarah Gower was truly mesmerising, and I wanna see and hear more of her in the future!
(Christian Le Surf)
MILER – Green Door Store 18:30 – 19:00
Miler’s set felt like a band stepping fully into themselves, that gave Calista Morgan’s confessional dream‑pop writing a new sense of weight and confidence. Their songs moved between folk‑tinged indie brightness and grungier, shoegaze‑brushed textures, each one snapping into place with crisp guitars and hooks that carried more emotional bite than their breezy surfaces first suggested. Calista’s vocals were understated but quietly commanding, especially in the moments where she began a song with only the barest accompaniment, letting the room settle around her before the band lifted everything into motion. There was a sense of assurance throughout. They closed on a track with a new‑wave starkness and a hint of alt‑country warmth, a beautiful, slightly unexpected turn that suited them perfectly.
(Peter Greenfield)
WATCHING ALICE – The Folklore Rooms 19:00 – 19:30
I only caught part of Watching Alice’s set, but what I saw was sharp, expressive and instantly engaging. They brought a crisp alt‑rock clarity, driven by tight rhythms, clean guitar lines and a standout saxophone that cut through the room with real character. The singer Alice delivered with emotional precision, never needing volume to land a line. ‘Demons Got Your Back’ was fast and fun, while another song opened in a soft hush before the full band slid in seamlessly. They signed‑off saying “I’m Alice, you’ve been watching Alice” and I knew I’d happily watch them again.
(Peter Greenfield)
HIGHDRIVE – Green Door Store 19:30 – 20:00
Over at Green Door Store, Highdrive sent the intensity levels soaring. With effects pedals packed tightly across the stage and deployed to maximum effect, the five-piece comprising Lucas Leitch (lead vocals, guitar), Eva Jaksi (bass, vocals), Bella Palanques (guitar), Felix Cleeve (guitar) and Billy Houghton (drums), delivered a towering wall of guitar-driven noise, drawing heavily from ’90s grunge and shoegaze influences. The sheer volume and sonic force were matched by the dynamic vocal performance of Lucas Leith, making for one of the day’s most visceral sets. Thus far they have dropped a trio of singles, these being ‘Cherry’ (2025), ‘Something I Said’ (2026) and ‘Passing By’ (2026).
(Sara-Louise Bowrey)
RHIANNON RUTHVEN – Pink Moon (Inside) 19:45 – 20:15
I had yet to see Rhiannon Ruthven live, but had built up a lot of anticipation to do so, having worked on a song of hers during some of WaterBear’s house band sessions this past spring. Right from the get-go in the upstairs room of Pink Moon, she provided a stellar performance of songs that take the shape of various shades of post-rock and indie folk, armed with an all-star cast of musicians of the Brighton scene, including Fire Escape’s Tyler Nathaniel and Narrow Light’s Nikolai Sanders. Across her set, Rhiannon brought a dark sonic cloud through some slick chord changes and frequent shifts in tempo, particularly in the track ‘The Mess’, where Tyler brings in some eerie yet serene passages on his DeepMind 12 synthesizer. Subsequent moments in the set portray Rhiannon’s music as both ghostly and sublime, with transitions between the two atmospheres akin to drifting peacefully into a night terror. Watching Rhiannon drive her music into fruition for a live setting was incredible to witness – I wanna see where the absent saxophonist would come into play, however…!
(Christian Le Surf)
PLEASANCE – The Folklore Rooms 20:00 – 20:30
Pleasance delivered a striking set, balancing beauty, strangeness and sheer dynamic force. Soph’s vocals anchored everything, shifting from whisper‑soft openings to sudden eruptions of noise that felt both liberating and unsettling. The second song snapped the room fully awake, its rock‑leaning surge setting a new temperature for the set, while the quieter passages let the synths cast a mysterious, almost spectral glow. Several tracks began in near‑isolation with just Soph and guitar, before the band crashed in with frenzied precision. By the time the heavier moments hit, the crowd was moving with them, giving Pleasance one of the strongest and most instinctive reactions of the day.
(Peter Greenfield)
QUAKING ASPENS – Green Door Store 20:30 – 21:00
Quaking Aspens, who we last caught live at Alphabet on 11th April as part of the ‘Homegrown Festival’, have already firmly established themselves as one of Brighton’s most popular local acts. Then have thus far released a handful of singles, these being ‘Disappear’ (2023), ‘What You Need’ (2024), ‘Passages’ (2024), ‘Dragon’ (2025) and ‘Where You Go’, and today they delivered a dreamy and immersive set during Green Door Store’s penultimate performance of the day. Their distinctive mix of pop and shoegaze saw folk-tinged vocals successfully delivered by Carla and Sam and these weave through layers of jangling electric guitars and swirling textures. Engaging and evocative throughout, they demonstrated exactly why they continue to attract such a devoted following on the local scene.
(Sara-Louise Bowrey)
SARAH CREAN – Pink Moon (Inside) 20:45 – 21:15
Although we did miss Sarah Crean at ‘Girls Night Out’ fest, we did in fact catch her in action last month, when she played at The Bootlegger on Saturday 16th May. Our reviewer, Ian Holman’s account read as thus: “Talented Dublin-born singer-songwriter Sarah Crean performed a six-song set at The Bootlegger as part of the official Alternative Escape. Sarah is currently based in Brighton and has previously released indie-pop songs that show raw emotion with layered, melodic arrangements. Her newer material appears to have a bit more bite to it and is mainly guitar-driven. With Sarah for this evening’s show are four additional band members. Valentina plays keys, shaker, and adds backing vocals, Lilly is on bass and also adds backing vocals, while the drummer and additional guitarist also plays with Canned Pineapple. Sarah provides a cool, confident melodic delivery to her vocals. The first three unreleased songs are ‘IW2BSH’, ‘Calypso’, and ‘Grown Ups’. The only released song of the set is ‘22 Angel’. It’s a fuzzy slow-burner and, as per the other songs in the set, is also catchy. The set closes with two upcoming singles. The first of these is ‘Baby (I’ll Always Be The Lead)’, for which Sarah encourages the crowd to sing along. This is set for release on 28th May. ‘Dreamer’ will get a release later during the summer”.
GIRL APOCRYPHA – The Folklore Rooms 21:00 – 21:30
Girl Apocrypha is the prime example of an individual in the Brighton music scene who’s just totally driven to forming a voice and sound that’s 100% theirs. The relatively new brainchild of Emia Demir, notable for her involvement with Brighton bands Carne and (formerly) Faeser, Girl Apocrypha distils the worlds of grunge and indie rock with the infectious displays of Y2K pop aesthetics. Already finding relative success with her three current singles ‘Dealer’, ‘Madonna’, and ‘Thank God!’, Emia channels her image through a fabulously star-studded Epiphone and a regalia of pyjamas among the hazy fog of the Folklore Rooms. While keeping up to date with the latest in the Girl Apocrypha world on her social media, Emia had been teasing something which she revealed during the set. A new single? No. EP? Nope. It was a poem about how all birds are technically dinosaurs…! And then came the fattest grunge riff you ever heard in your life. Anyways, Girl Apocrypha continues to be one of my favourite artists in the Brighton scene currently, and I urge anyone missing out on the loop to join in and see her for yourself!
(Christian Le Surf)
MOON IDLE – Green Door Store 21:30 – 22:15
We have reviewed Brighton based Moon Idle quite a few times over the past two years and Quilla Robinson (vocals, keyboards and guitar), Jasper Fergus (guitar), Felix Burton (drums) and Felix Essex (bass), have always kept us entertained with their trademark brand of loveliness. Their journey began with the releasing of their ‘Moments’ tune in March 2023, which led to them dropping their 5-track ‘Kindly’ EP five months later. Two months later they were on the case again when their ‘Godzilla’ single was let loose. Their most recent release is their ‘Delay’ tune which came out in April. Our last encounter with Moon Idle was for the opening date of their debut headline tour. This happened at The Hope & Ruin on 25th April this year. Reviewer Peter Greenfield concluded his observations that night by stating that “Moon Idle’s set showed a band evolving in real time: adding layers, testing boundaries, and revealing new sides of themselves without ever losing the hypnotic, dream‑soaked pulse at their core. Their first tour may have only just begun, but on this evidence, they’re already moving into something richer, deeper and unmistakably their own”.
HITMAN SHEELA – Pink Moon (Inside) 21:45 – 22:15
For my final jaunt at Pink Moon, I managed to catch the beautiful Hitman Sheela, a new project masterminded by Katie Prescott. From the introductory swells and washes of accordion, glockenspiel and muted drums, the sound of Hitman Sheela is hard to describe, but a joy to take in; there’s a strong post-rock quality to the music, with the quartet (which features members from fellow Brighton bands SNM and Fire Escape) engaging in steady linear song structures and ominous melodic choices. Further tracks into the set engage in a more post-punk approach akin to that of Sonic Youth as Katie switches from her accordion to her Squire for the remainder of the set. One of the strongest elements in the Hitman Sheela arsenal is a remarkable odyssey of tension-building, particularly in the closing songs of the set, which turn repeating chord progressions into fluctuations of volume, angst and distortion. This was my first time seeing Hitman Sheela, and I do sincerely hope it isn’t the last; I’m excited to see where Katie and company take it from here!
(Christian Le Surf)
GRIMRITE – The Folklore Rooms 22:00 – 22:30
The final act that slipped through our ‘Girls Night Out’ fest net is Grimrite, who offers up “moody art rock”. As far as I can recall, I don’t believe that we have had the pleasure of catching Grimrite in action yet, although we can see that there are a couple of forthcoming live performances on offer that might just rectify this situation. The first of which is at The French Horn pub at 82 Dyke Road, Brighton on Sunday 21st June, where Permalink will be headlining, and the other date is a week later, back here at The Folklore Rooms as part of the Folklore Fresh Finds night. Thus far Grimrite has released a couple of EP’s (‘Roots’ in 2021 and ‘Tempered Shell’ in 2024), as well as a handful of singles, with the most recent of these being ‘Keep Everything’, which dropped last year.
VERONICA – Pink Moon (Inside) 22:30 – 23:00
Veronica brought a dark‑pop theatricality that felt both commanding and strangely intimate. The three‑piece lineup built songs around brooding synths, moody basslines and strong drums above which vocals rose from a low shimmer into something almost operatic. There was a mystical twinkle to Veronica’s voice, with her crystal-like tone cutting through the haze even when the effects occasionally tipped the balance too far. A secret new track, ‘Only Way To Kill A Butterfly’, unfolded like a cinematic confession about falling out of love. They closed with ‘God’s Favourite’, its Latin‑leaning pulse adding a surprising brightness to the set’s shadowy edges. Even despite the sound mix shortcomings, it was mesmerising, atmospheric, and beautifully set.
(Peter Greenfield)
FRANCES MISTRY – The Folklore Rooms 23:00 – 23:30
I believe, out of all the acts on today’s line-up, Frances Mistry is possibly the artist I’ve heard the most about but never given the chance to listen to or hear live. At 11pm, essentially headlining the festival, I make my way down to the Folklore Rooms to finally see what all the buzz is about…! I was totally entranced with the soundscapes delivered by Frances and her cohorts (one of which being Fever Rouge’s Ollie on guitar); a cascade of indie folk and mystic pop fusions flooded through the room to the enjoyment and thrill of Girls’ Night Out festival-goers swaying in sync. The track ‘Something Has to Give’ was a particular favourite for me, written as a premature threnody to the current state of politics. Sonically, there’s a deep, cavernous quality to the song that echoes the vast network of creatives that Frances is often associated with, such as Hutch and Paris Paloma. The vital thing for me about Frances Mistry is that, despite musical resemblances, she has a unique and deeply profound voice which explores life-stories of such specificity, yet you find yourself perceiving the resultant songs as both a mirror and window to look into.
(Christian Le Surf)
