Seventeen years in, Tramlines shows absolutely no signs of slowing down – Ruby Deakin takes us through the iconic homecomings, nostalgic singalongs and a powerful sense of local love at Hillsborough Park.
Tramlines once again stormed Hillsborough Park for a phenomenal weekend of live music. While early forecasts threatened dreaded drizzle and dark clouds, unexpected blue skies made for a sun-soaked spectacle of electric performances, northern pride and a powerful sense of togetherness across every stage.
First and foremost, this year’s event was truly a celebration of local talent. Pulp’s legendary homecoming delivered everything it set out to, with Jarvis promising, “this is a night you will remember for the rest of your lives.” They opened with ‘Spike Island’ – the lead single from their newest album which quickly became a fan favourite – before diving into all the classics from their enormous discography. We were even treated to ‘Sheffield: Sex City’, performed live for the first time since 2012. Jarvis was joined upfront by Sheffield legend Richard Hawley throughout the set, bringing the Friday night to a close with a moving acoustic rendition of ‘A Sunset.’
Elsewhere on Friday, John Grant shone on T’Other stage with an emotionally vulnerable yet powerful set, reminding everyone of his breathtaking musical talents and gorgeous vocals. I Monster were another personal stand-out, an old head on the Sheffield music scene who’ve enjoyed a recent resurgence with their 2005 track ‘Who Is She’ and doing the viral rounds on TikTok.
Local heroes The Everly Pregnant Brothers returned to their usual main-stage slot on Saturday, fronted by new lead Kieran Wardle fresh off his Tramlines debut in 2024. They were joined by the Sheffield Philharmonic Orchestra for a dramatic three-song finale, closing with ‘Breadcake (Not a Roll)’ – a lovingly daft Yorkshire twist on ABBA’s ‘The Winner Takes It All’ – while tossing actual breadcakes into the audience.
Following their set, the K’s pulled a massive turnout early to the main stage, Jake Bugg delivered a heartfelt showcase of indie brilliance and Franz Ferdinand perfectly warmed up the crowd for the headline act. Natasha Bedingfield was another fan favourite whose unmatched vocal energy united the whole park for a spectacular singalong of pop anthem ‘Unwritten.’
The Reytons made history on Saturday night, becoming the first unsigned band to headline Tramlines. They packed their set with passion and community spirit, speaking openly about their rollercoaster journey to topping the bill at South Yorkshire’s biggest festival. The band handled a brief medical emergency with ease and compassion mid-set, even inviting a fan to join them on stage, effortlessly managing to keep the energy high. The audience, full of families, locals and first-timers, came together for a truly memorable headline set.
But my undisputed Saturday champions were pop-rap superstars Rizzle Kicks, celebrating their long-awaited return to performing live in front of a packed-out T’Other stage. The crowd welcomed the pair and their dynamic band with open arms, energised by nostalgic hits and new instant classics.
Sunday afternoon brought my most-anticipated act of the weekend: CMAT. The Irish country-pop sensation walked out to a tent practically bursting at the seams, delivering a performance that was breathtakingly theatrical and unapologetically authentic. It goes without saying that her set was far too short. In half an hour we were treated to just five tracks – including the much-loved ‘Take a Sexy Picture of Me’ – which has amassed over 12 million Spotify streams since its May release. If only the Tramlines organisers could have foreseen just how much of a powerhouse CMAT would become in the two months following their running order announcement. She promised to return with a longer set, and the crowd erupted into thundering applause that rivalled even the biggest audiences in the main field.
By Sunday evening, a quiet tension began to spread through the park as we all anxiously awaited news of the Women’s Euros final. The Last Dinner Party, who delivered one of the weekend’s most captivating performances, briefly became unexpected commentators, with frontwoman Abigail giving a live update of the scores as she swept across the stage. As they moved through theatrical renditions of their most-loved tracks – including brand-new single ‘This Is the Killer Speaking’ – the nerves continued to build, with festivalgoers desperately scrambling to catch a single bar of phone signal.
As the match neared its end, the main stage screens finally cut to the final nail-biting moments. In a surreal moment of pure, unforgettable joy, the whole crowd erupted into a roar of celebration as the Lionesses defended their title following a dramatic penalty shootout.
The electric moment perfectly set up Kasabian’s dynamic set, as the audience’s spirits reignited for an energetic final performance of the weekend. Opening with Call from their latest album before bursting into the classic ‘Club Foot’, they showed the crowd that their set would have something for all their fans, old and new. Though the sound quality did not always do justice to their powerful bass drops and driving drumbeats, frontman Serge still dubbed the experience “the best Sunday night of [his] life.”
Throughout the weekend, artists including The Last Dinner Party, CMAT, Chloe Slater and I Monster voiced support for the people of Palestine, encouraging donations and proving that festivals are so much more than entertainment. From mind-blowing live performances to mutual cheer for the Lionesses and crucial support for important causes, solidarity was truly at the heart of this weekend – a sentiment that the wonderful city of Sheffield has always been famous for.
And long may it continue.
Tramlines 2026 tickets are on sale from 1 August at tramlines.org.uk. Follow
@tramlines for updates.
