With seven venues buzzing throughout the day, and the festival running from early afternoon into the evening, and featuring more than 55 artists, it was impossible not to stumble across something new, exciting and refreshingly original at every turn. Unlike larger festivals, Stockton Calling remains firmly rooted in its local identity, championing small venues and the importance of authenticity within the creative scene.
Northern Hospitality kicked things off at The Social Room with a blast of no-frills power punk. Echoes of Green Day’s early 2000s bite could be heard, but the band quickly proved they were far more than revivalists.
In ARC 2, Successpit opened by thanking Middle Management before inviting the audience to buy into their tongue-in-cheek “lifestyle brand”. Their set blended educational, occasionally confrontational post-punk and pop, delivered with sharp wit and relentless energy.
Roller Disco Death Party followed, proving that immense noise can emerge from a laptop, synth and drum kit. Treating their set as a full art form, they layered samples, loops and textures with intricate drumming. Whether rave or something harder to define, the chaos lived up to their name.
Marketplace delivered jangle-pop in its purest, most joyous form. Dual vocals carried lyrics that occasionally leaned weighty, but infectious energy made every moment a delight, with rich harmonies and impeccable drumming standing out.
Amelia Coburn opened the ARC main stage with breezy, country-tinged folk before drifting into more haunting territory. Her mesmerising voice held the room, supported by a tight band that added warmth and intimacy.
Eaves Wilder shone in ARC 2, performing songs from her debut ‘Little Miss Sunshine’, including ‘The Great Plains’. Her sound shifted between delicate softness and Wolf Alice-esque guitar-driven moments, reflecting both vulnerability and strength.
Pit Pony tore through The Georgian Theatre with a packed-out, high-energy set that demanded attention from start to finish.
Eighty Eight Miles delivered melodic, anthemic pop that lifted the crowd, while Lawn Chair brought unrestrained chaos, shifting from lullabies to full-throttle screams over Euro-disco beats and punk-edged synths.
Soapbox closed with ferocious punk intensity, blending grinding guitars and controlled chaos that sparked circle pits and exhilaration in equal measure.
Elsewhere, Smith and Liddle impressed with Fleetwood Mac-style harmonies, while Hard-Fi brought nostalgia and crowd-pleasing anthems to ARC’s headline slot.
The hardest part of Stockton Calling remains choosing where to be next, with tough decisions at every turn. But that is part of its charm: a festival built on discovery, community and the thrill of finding a new favourite band.
