The beauty of multi-venue, all-day festivals lies in the freedom to wander and see where the day takes you. You never quite know what you’ll stumble upon or where your ears will lead – and, with any luck, you might just discover your new favourite sound (more on that later). Gathering Sounds captures that spirit, giving both local and national artists a platform and shaping a day that feels alive with possibility.
My opener was Loren Heat, a dance-pop songbird with an edge that cuts through in her belting vocals. She commands attention, and the swelling crowd responded immediately. Her band wove each track together with pulsing synths, rich textures, and tight percussion. ‘2009’, which she called “one of her babies from last year,” was my sweet spot of the set, but it was her closer, ‘Belladonna’, with its smouldering dancefloor energy, that the audience devoured.
O’Phantom’s frontman cut an ominous, Ian Curtis–esque figure as the band unleashed a fully immersive wall of sound. Ghostly distortion and whispering, along with intricate guitars drenched in creaking reverb, gave their set a nostalgic edge – channelling late ‘80s/early ‘90s alternative indie pop with gothic flourishes in the keys, which I particularly enjoyed. Minimal, conversational vocals tangled with harmonies like a chorus of tormented voices. ‘Cold Call’ was especially memorable, lingering and surprisingly sweet.
The highlight of the day went to Vincent’s Last Summer, a band “stuck in 2008” who built their entire aesthetic around the financial crash. Their set was packed with skits, wild facial expressions, and full-on entertainment. But the sound? No gimmick. This was indie-disco with added crunch, somewhere between The Music and Nine Inch Nails. It was utterly delightful. New single ‘Soapbox’ delivered lush loops, blinding dual vocals, and a hypnotic, dancefloor-ready bassline – but honestly, every track radiated that same irresistible energy.
Wiltshire’s Carsick absolutely battered the stage with raucous energy. A mix of slick bar-spitting and shouty yet melodic vocals played out like poetic chaos on a runway. It was tight, fast, and perfectly in sync. The crowd loved it – and when they asked for a moshpit, they got one.
My first headliner was Grandma’s House. And even in front of an intimate crowd, these powerhouse women gave everything. This was full-throttle punk, bass-heavy riffs, and impeccable three-way harmonies delivered with riot grrrl spirit.
Closing out the night were Brogeal. This was folk-punk brilliance, layered with accordion, banjo, and Irish bouzouki. ‘Girl from NYC’ was my standout. Just fabulous.
