THE FRONT ROW

The Fulford Arms doesn’t mess about when it comes to booking artists on the brink of a breakthrough, and Friday night was another reminder of how magical a grassroots gig can be when everything clicks.

Opening the night was Frankie Dobson, a Bishop Auckland lad with serious pedigree and presence. Though still early in his solo career, Frankie is no stranger to the game. Having racked up years as a session musician and co-writer for the likes of Andrew Cushin, as well as touring with names like Billy Sullivan, Shambolics, The Clause, Trampolene and The View, Dobson knows exactly how to work a stage, and a crowd.

From the moment he strode on with his full band behind him, there was a buzz in the room. Frankie’s sound sits somewhere between gritty northern indie and swaggering rock ‘n’ roll, with lashings of melody and a vocal that carries both heart and weight. New track Move to LA felt like a real moment, a crowd already familiar with the lyrics, singing them back like they’d been out for months. It followed Candy, his debut single released earlier this year, and together they mark the start of a seriously promising chapter.

With a headline show at this very venue already booked for November, this felt less like an opener and more like a teaser trailer. And judging by the reaction from the Fulford faithful, Dobson will be walking into a sold-out room when he returns.

Next up, the main event. Finn Forster, fresh off a European run supporting Stereophonics. Opening with Long Nights from his new EP Embers, Finn set the tone from the off: cinematic, emotive, and vocally untouchable. That track alone, which we proudly crowned our Song of the Year So Far at The Front Row, had the room totally locked in, and from there, it just built and built.

With four EPs to his name and a steadily growing fanbase, Finn’s set was a showcase of just how far he’s come, and how much is still to come. The setlist spanned fan favourites from Songs From Haddon St, Grey Skies and Lockdown B-sides, while giving room to the new material, which was met with the kind of reception usually reserved for back-catalogue classics.

But the night’s true magic came mid-set. Stepping off the stage, Finn cut the music entirely and moved into the heart of the crowd, delivering a stripped-back version of an unreleased track. No mic, no effects, just his voice, raw and unfiltered, ringing out through a silent room. That kind of pin-drop moment doesn’t come often, and when it does, it reminds you exactly why we keep turning up to shows like this.

There’s something deeply human about Finn Forster’s songwriting. His lyrics hit the gut, his melodies stick, and live, there’s a presence that’s undeniable. Whether it’s a full-band anthem or a solo ballad in the middle of a crowd, he knows how to make you feel something real, and that’s rare.

With 90 tickets sold, the Fulford Arms was packed, but not bursting. That said, it’s unlikely we’ll ever see him in a venue this intimate again. The trajectory is clear: these songs, and this voice, were made for bigger stages.

We say it often, but it bears repeating: get on these artists now. Frankie Dobson is warming up for something big, and Finn Forster is already halfway there.