Three sun-soaked days of excellent music showed exactly why Tramlines is a festival at the top of its game.
The 17th edition of Tramlines Festival opened with a Friday curated by none other than headliners Pulp. The day felt less like a traditional festival and more like a dedicated Pulp gig, thanks largely to the flood of Pulp merch and buzz surrounding their highly anticipated set. That said, it’d be unfair to overlook the acts that came earlier in the day. And funnily enough, all the highlights came from men called John: Shuttleworth, Cooper-Clarke and Grant.
John Shuttleworth and John Cooper-Clarke, legends in their own right in the comedy and poetry scenes, brought their signature working-class verse and dry, deadpan delivery to the T’Other Stage on Friday afternoon. Both drew in huge crowds. Later, John Grant, Michigan-born electronic rock icon, showed some love for Sheffield, calling it “the centre of the universe”, before closing with fan favourite ‘GMF’.
Pulp, playing their first ever open-air gig in their hometown, opened with ‘Spike Island’, lead single from their new album More. The set leaned heavily on new material, their first in 24 years which was, for some festival goers, the only real criticism of the night. But musically? The new tracks held their own. ‘Tina’ and ‘Farmer’s Market’ were tight, polished, and sounded euphoric in the evening air. The live debut of “Last Day of the Miners’ Strike”, featuring Sheffield hero Richard Hawley, and the inevitable singalong of “Common People” were emotional highlights. The entire set was a powerful nod to Sheffield’s culture and Pulp’s deep connection to it.
Saturday: Pure 2000s Nostalgia
Saturday delivered full-blown 2000s nostalgia with a lineup featuring Natasha Bedingfield, Jake Bugg and Franz Ferdinand. Their catchy hooks and massive choruses gave the day a fun, anthemic energy. Natasha’s resurgent track ‘Unwritten’ was a clear crowd favourite, while Franz Ferdinand masterfully blended early hits like ‘The Dark Of The Matinée’ with the slick dance-punk of their new single, ‘Hooked’.
Sunday: CMAT, Football Fever & a Big Finish
Sunday’s performances were standouts across the board. The biggest crowd reaction of the weekend came when CMAT lit up the T’Other Stage with songs from her highly anticipated new album Euro-Country. A rammed tent sang along to ‘Take A Sexy Picture Of Me’ and ‘The Jamie Oliver Petrol Station’, tracks that capture her signature blend of wit and raw emotion. The only letdown? A surprisingly short set, especially given her huge appearances at Primavera and Glasto this year.
The Last Dinner Party took over the Sarah McNulty Stage with soaring crescendos and their euphoric, theatrical baroque-pop energy. Their new single “This Is the Killer Speaking” was a particular standout, and rarely do you see a band look so genuinely thrilled to be on stage.
Before Sunday’s closing act, all eyes turned to the big screens for the Euro 2025 penalty shootout between England and Spain. Chloe Kelly’s perfectly placed winning penalty had the crowd in full voice, setting the tone for Kasabian to shut things down in style. Their career-spanning set, touching on all but one of their eight studio albums was electric. Serge Pizzorno, now fully settled into his role as frontman, had the crowd in the palm of his hand from the first beat.
Tramlines continues to be one of the UK’s most underrated festivals, but don’t expect it to stay that way. With a strong, diverse lineup, impeccable production, and proper love for Sheffield culture, it’s absolutely hitting its stride.
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