THE FRONT ROW

Sunday Send-Offs, Sheffield Heroes and a Crowd Still Nursing Saturday’s Hangover

Let’s be real, Sunday was always going to have a mountain to climb.

After the euphoric chaos of Saturday’s Reytons homecoming, topped with a headline slot that turned Hillsborough Park into a sea of green, white and purple, the bar had been set sky-high. The crowd had been rowdy, emotional, and deeply proud. For many, Saturday was the weekend. So when Sunday rolled around with heavy limbs, slightly fuzzier heads and that familiar post-gig fatigue, it was going to take something special to revive the energy.

Luckily, Day Three had a few surprises, a few heroes, and a few unforgettable sets of its own, even if the crowd felt like they needed a bit more convincing to get there.

The Sunday Service Begins: Scouting for Girls Hit Nostalgia Gold

We kicked off the day bright and early, or, at least, we dragged ourselves out of bed bright and early, to find a sizeable crowd already gathered at the main stage for a bit of indie-pop nostalgia from Scouting For Girls.

Now, let’s get one thing straight, they’re not exactly cool in the way many of Tramlines’ indie darlings are. But they’re self-aware, they’ve got hits by the bucketload, and they know how to play to a festival crowd. In what was billed as a “special guest” slot, they ran through an anniversary set celebrating 15 years of Everybody Wants To Be On TV, blending in earlier bangers with the usual charm and mischief they’re known for.

Famous, Posh Girls and This Ain’t A Love Song hit all the right notes for the early risers, and by the time they closed with She’s So Lovely, it felt like half the park was on its feet singing. It wasn’t particularly groundbreaking, but it didn’t need to be. It was a warm, cheeky, low-stakes way to ease everyone back into the day.

And look, we’ll admit it, even if it’s not exactly our taste, there’s no denying it got the day started with a bang.

Mackenzie: One to Watch

With the main stage ticked off, we headed straight over to the Leadmill Stage to catch Mackenzie, who we’ll confess we hadn’t seen live before.

What a find.

Rattling through a sharp, confident set of indie-pop with bite, Mackenzie made a serious impression. Her voice, gritty but melodic, cut through the early afternoon haze, and there was a tangible buzz from those in the tent who clearly knew something special was unfolding. There were shades of Olivia Rodrigo, hints of Avril Lavigne, but also something distinctly her own.

She’s not just got the songs, but the stage presence too. It’s rare to find an act so early in their career that already feels so in control of their sound, but Mackenzie delivered with poise and punch. File her under the “future headliner” column. We’re calling it now.

The Sherlocks: A Sheffield Band in Need of a Reboot?

Back to the main stage next for The Sherlocks, one of Sheffield’s own and a band who, in theory, should’ve lit the place up. But… something was missing.

Now, let’s caveat this. The performance was tight. The songs are still there. We were singing along. But the crowd? Oddly flat. Even just a few rows back from the barrier, there was a sense of disengagement that felt almost jarring compared to what The Sherlocks are used to in their hometown.

Maybe it was the Sunday lull. Maybe it’s the fact they’ve been releasing music so frequently over the past few years that it’s hard for the average fan to keep pace. Or maybe there’s something broader going on, a shift in the Sheffield scene where newer names like Chesterfield’s The Rosadocs and even solo acts like Doncaster’s Freddie Halkon are capturing the city’s attention more dynamically right now.

Still, they powered through a greatest-hits-style set with Live for the Moment, NYC (Sing It Loud), and Don’t Let It All Out all getting solid reactions. But it wasn’t until they dropped Chasing Shadows, their debut single, that the crowd finally erupted. There’s a message in there somewhere.

The Sherlocks are a tight, talented band, but maybe it’s time to take a breath, regroup, and work out what their next evolution looks like.

The Lathums: Sunshine, Singalongs, and a Needed Lift

Thankfully, The Lathums were on hand next to lift the energy.

In what turned out to be one of the best vibes of the day, the Wigan lads pulled in a huge crowd to the main stage and delivered 45 minutes of sun-drenched optimism. After two days of unpredictable Sheffield skies, the sun came out almost on cue as Fight On, Sad Face Baby, and the always-emotional The Great Escape rang out.

They’re a curious band in some ways, not always the most hyped in the press, not always the most visible on lineups, but live, they’re magnetic. There’s a humble charm to the way they play, no bravado, no gimmicks, just well-crafted indie tunes that connect.

And on a Sunday afternoon, when the crowd needs a bit of hope and a bit of lightness? That’s exactly what they delivered.

Set of the Day: The Clause Go Off

Then came the absolute stormer of the day.

The Clause on the Leadmill Stage weren’t just good. They were filthy good. From the second they stepped onstage, it was clear this wasn’t going to be one of those polite afternoon sets. This was going to go off, and it did.

Leaning heavily into material from their upcoming debut album Victim of a Casual Thing, they set the tone early with razor-sharp guitars, gritty vocals, and some of the best energy we’ve seen in a tent all weekend. Older tracks like Fake, Electric and Pop Culture landed hard, but it was the newer stuff that really stuck.

The closing track, In My Element, was carnage in the best way. The middle section of the tent erupted into a full-blown pit, hot, heaving and euphoric. For a band still waiting on their debut LP to drop, this was a major statement. And if there was any doubt they’re ready to step up a level, this set erased it completely.

Birmingham’s finest? They might just be festival’s next breakout.

Red Rum Club: A Tentful of Trumpets and Bangers

One sprint (and a very ungraceful jog through the park) later, and we made it to T’other Stage just in time for Red Rum Club.

Say what you want about trumpet-infused indie, these lads know exactly what they’re doing. Six-piece swagger, hooks for days, and a crowd that was ready to go again.

Their set was a whopping 16 songs, but it never dragged. From fan favourites like Eleanor and Would You Rather Be Lonely to new material off their upcoming album Buck, the Liverpudlian outfit rattled through a show that felt like a mini headline slot. The tent was overflowing, literally, people were spilling out of the sides, craning to get a view, and the atmosphere inside was electric.

They’re one of those bands who are always consistent, but this was a step up. If the rest of Buck sounds as good as the previews we got here, we could be seeing Red Rum Club get serious 2026 festival billing.

Kasabian: Big Tunes, Mixed Crowd

And then, just like that, it was time for the final headliner of the weekend: Kasabian.

On paper, it was a big booking. Their catalogue is bursting with hits, Serge has fully stepped into his role as frontman, and with the Women’s Euro match win playing out on the big screens just before they began, the stage was set for a triumphant finish. But it didn’t quite land.

Let’s be clear, Kasabian themselves were great. The band sounded tight, the setlist was loaded with classics (from Underdog to Shoot the Runner, Club Foot to Fire) and Serge did his absolute best to hype the crowd.

But the crowd? Not quite there.

Maybe it was the youth of the audience, many looked too young to remember Kasabian’s peak in the 2000s. Maybe it was just Sunday tiredness. Maybe the sound levels were a factor (and they were, to be fair, much quieter than earlier in the day). But it felt like only the front centre pockets were really in it. The wings were disengaged. The singalongs weren’t widespread. And by the time we got to the final few tracks, people were already starting to leave.

It’s a shame, because Kasabian put in a headline-worthy performance. But for whatever reason, the park didn’t give back what they put in.

Still, it’s a set that’ll stick with those who were close enough to feel the bass and the nostalgia in full force. And a reminder: these lads aren’t done yet.

Final Thoughts: A Weekend to Remember

Three days. Dozens of acts. Thousands of steps. And a rollercoaster of local pride, new discoveries, and indie bedlam.

Tramlines 2025 delivered, Saturday will go down in history for that Reytons set, but Sunday held its own. From Mackenzie and The Clause lighting up the Leadmill stage to The Lathums and Red Rum Club bringing the sunshine and the smiles, there was plenty to shout about.

Sure, not every act landed. And yeah, the crowd needed a few extra coffees to keep up the pace. But for a final day, this was a proper send-off.

Bring on Tramlines 2026. We’ll be front row again. Probably sunburnt. Probably shouting.

And definitely still chasing shadows.