THE Reytons Headline Tramlines Day 2

★★★★☆ (4/5)

THE REYTONS HEADLINING SATURDAY AT TRAMLINES FESTIVAL 2025 AT SHEFFIELD’S HILLSBOROUGH PARK
PHOTOCREDIT: JOHN HAYHURST

After a euphoric and at times chaotic Day 1 at Tramlines—curated and closed out by Sheffield’s own Pulp—it would have been fair to wonder how Day 2 could hold its own. But Tramlines has always thrived on contrast.

If Friday was a celebration of the city’s musical legacy and outsider cool, Saturday delivered a sprawling, high-energy mix of nostalgia, fresh discovery, and indie anthemics that proved once again why this festival remains one of the UK’s most characterful and diverse.

We thoroughly enjoyed the comedy headlined by Lucy Beaumont but the day began for us proper on the Leadmill Stage with She’s in Parties, a rising quartet channelling the dreamier side of shoegaze and post-punk with icy precision. Their name—a nod to Bauhaus—hints at their influences, but there’s something more celestial in their sound. Tracks like “Summer Haze” and “Cherish” rippled with layers of chiming guitar and airy vocals, building a kind of soft intensity that washed over the crowd. Though it was an early slot, they held the space with quiet command, offering a welcome moment of serenity before the day’s more raucous acts took over. Latest single “Same old Story” sounded pitch perfect for the day.

By contrast, The K’s brought pure energy to the Sarah Nulty Main Stage not long after. If there was a band built for broad daylight festival slots and bouncing crowds, it’s them. Hailing from Earlestown and proudly flying the flag for working-class indie, they tore into their set with the swagger of a band who know their moment is coming. “Glass Towns” was an early highlight, all sharp guitars and lad-rock urgency, while “Sarajevo” had the kind of stadium-sized chorus that made the field erupt with a couple of flares for good measure. They’ve often been compared to early Courteeners or The Enemy, but live they have a touch more polish and a lot more punch than many of their peers and expect their star to rise even more next year.

As the afternoon moved on, nostalgia kicked into high gear with Natasha Bedingfield on the main stage. It’s easy to forget just how many hits she’s had, but the crowd was quickly reminded as she launched into “These Words” and “Unwritten,” both of which turned into massive singalongs. Her voice was as strong as ever, and there was a joyful looseness to her set that made it feel more like a celebration than a throwback. Even the deeper cuts had energy, and by the close it was clear she’d re-earned a place in a lot of hearts.

Over at t’other stage, Heather Small brought even more soulful power. Her voice—still commanding, still unmistakable—filled the space with ease. From her time with M People to her solo work, Heather has always radiated positivity and resilience. “Search for the Hero” drew a huge reaction, but it was “Proud” that truly hit home, a reminder of how music can stir not just memories but a kind of collective uplift. There was something deeply affirming about watching her perform that track live on a warm Sheffield evening.

The Leadmill Stage turned punchier again with The Futureheads, who delivered a high-octane, tightly wound set full of angular riffs and post-punk harmonies. “Decent Days and Nights” still sounds like an indie club classic, and their cover of “Hounds of Love” remains one of the most joyful reinterpretations of a pop song in recent memory. Their energy was relentless, and the crowd responded with one of the liveliest atmospheres on that stage all day. It’s no surprise they’ve endured—they’ve always known how to make sharp, smart music feel visceral.

Then came Franz Ferdinand, stepping onto the main stage like seasoned pros with nothing to prove but everything to celebrate. From the opening notes of “No You Girls,” it was clear they hadn’t lost their knack for taut, infectious rock. Alex Kapranos remains a dynamic frontman—his voice still arch and charismatic, his movements angular and unpredictable. “Do You Want To” had the crowd in a frenzy, while “Take Me Out” was, unsurprisingly, one of the defining moments of the day. It’s rare to see a band sound both tight and playful after two decades, but Franz managed it with style.

T’other stage closed with a surprise highlight: Rizzle Kicks. Their return felt less like a nostalgia trip and more like a reminder of how fun and clever pop-rap can be. “Down with the Trumpets” had people dancing across generations, while “Mama Do the Hump” felt tailor-made for festival fields. Jordan and Harley still have an infectious chemistry and effortless crowd rapport, and their energy gave the late evening a massive boost before the night’s big finale.

And that finale belonged to The Reytons, who closed out the main stage with a performance that felt like a coronation. Hailing from just up the road in Rotherham, the band drew a crowd that sang every word back with chest-thumping pride. “Kids Off the Estate” was the kind of anthem that feels born from lived experience, raw and real, while “Red Smoke” and “Slice of Lime” carried the kind of hooks that prove The Reytons are more than local heroes—they’re genuine festival headliners now. The emotional weight of a hometown band headlining Tramlines can’t be overstated, and their set was the perfect mix of grit, defiance, and elation. It wasn’t just a performance—it was a statement.

As the last notes rang out and people filtered through the food stalls and tram stops, Day 2 felt like a reaffirmation of Tramlines’ unique identity: part pop carnival, part indie pilgrimage, always rooted in the people and places that make Sheffield tick. And with Day 3 promising performances from the likes of Kasabian and Sigrid, it’s clear the festival still has plenty of surprises—and singalongs—left in store.