Now into its third edition Brighton Psych Fest is really finding its feet as part of the Brighton musical event calendar. Team Source brave the the middle aged moaners complaining about whether things are really psych enough, whilst still obviously enjoying themselves, and dive right in to the good natured crowd to see what delights will tickle our brains.
Gwenno – Corn Exchange
We walked into an already busy, near-dark Corn Exchange as Gwenno stood centre stage playing keys, bookended by a bass player to her left and Epiphone semi-acoustic guitarist to her right. Tir Ha Mor, written after the Brexit referendum, was prefaced with a resigned “that went well!” and sung in a breathy voice, with a whispered delivery underpinned with anger. War was the first of two songs with English lyrics, with the band providing a rumbling, dreamy soundscape, after which she proclaimed “Wales is not for sale!”. A lighter moment came when Gwenno donned a cat mask and encouraged a feline singalong. There were lots of gaps that created a perfect/purrfect opportunity for meowing.
For Eus Keus we were given a Cornish lesson about man’s greatest invention, ‘cheese’. A practice call-and-response worked surprisingly well, pronunciation aside, and was maintained throughout the song. Gwenno was at her most animated on this uptempo song so she’s clearly a keus lover. She talked about her first job, dancing with Michael Flatley in Las Vegas, which was the antithesis of her strict upbringing, before Utopia, in English, about being a teenager. This was a blissful tale of youthful exuberance delivered in an almost Balearic sunrise style.
Dancing On Volcanoes, inspired by seeing Jarvis Cocker, had an early Britpop feel and, like most of the songs performed, was longer than three minutes but never overstayed their welcome. This was a mesmerising, quirkily charismatic performance delivered to a surprisingly quiet and respectful afternoon audience that Gwenno showed genuine affection towards. (SC)
ELLiS-D – Patterns
We arrived mid-set and the venue was an absolutely rammed sweatbox so we couldn’t even see the stage at first, but the band sounded as good as ever. Ellis’s high-pitched vocals were propelled by manic, demonic organ and beefy guitar licks throughout the set, with many songs given space to build and build. His live EP came out today, and from that they ended with Drifting. No punches were pulled on this lengthy, wigged-out groover, including a tempo change to a laidback psychedelic floating trip that reenergised into a glorious noise, with Ellis getting up close and personal on the crash barrier before joining the audience, where he continued soloing. An essential live performer and it’s a real shame we missed the start. (SC)
Lael Neal – Patterns
Lael Neal takes to the stage in a stunning glittery dress, before launching into a mournful autoharp drone that sits beautifully underneath her winsome voice on ‘Sliding Doors & Warm Summer Roses’. The guitarist next to her provides a nice single string Velvet Undergroundy upside down guitar part. As the sound settles down the soft trancey nature of the music really starts to take hold of the bewitched crowd. The staccato drum machine is set to a Gabba rhythm for ‘I am River’ and a simply stunning rendition of the song unfolds. If you are not smiling from ear to ear by now you may as well give up. What’s that? A Mary Chain style guitar riff too? An absolutely perfect gentle start for this writer that finds the musical g-spot and very gently gives it a tickling . (NM)
Automatic- Concorde 2
The LA-based trio played in front of a video kaleidoscope backdrop that projected constantly changing images and animations throughout the show. With lead vocalist Izzy Glaudini on double synth duties, Halle Saxon on bass and Troy Woodhall on drums (with the highest cymbals we’ve ever seen). Venus Hour kicked off with Izzy sliding her tambourine down the synth keys before her bandmates joined, creating a very French-sounding wonky pop sound.
NRG followed with a punk attitude on the vocal delivery; the throbbing bass and vintage synth sound combining to make a sound that wouldn’t have been out of place on the influential 1981 Some Bizarre compilation album. There are shades of early Bangles, Devo and on mq9 Delta 5 (whose Mind Your Own Business was part of their live set a few years ago), but they still have their own distinctive sound.
The three musicians worked perfectly in unison, moving effortlessly between simple, catchy pop, to more bass-heavy darker hues and absolute bangers. This was an extremely danceable band with modern sounds that hark back to the underbelly of 80s indie and a collection of songs that could fill any alternative club night’s dance floor. (SC)
Piss – Volks
After missing their entire TGE late night set at the Green Door Store in queue hell, we take no chances at the Volks, and are amongst the first down the front to the punks from Montreal. After a public service announcement, that includes a warning about the themes that will be covered in the set and then samples of cute children a fierce grungy righteous noise erupts. Hardcore punk that ranges from Slint to Jesus Lizard underneath a phenomenal performance from Taylor Zantingh. It is charged with raw angry feminist power. Intentionally disturbing, it’s not always an easy watch but it is always compelling and incredible. We can certainly understand why a label like Sub Pop would be interested.
We step outside the Volks into an eerie sunset while a beatboxer delivers an out of key trippy as hell busked soundtrack that is both awesome and yet truly awful at the same time. Brighton delivers a perfect slightly disturbed yet beautiful backdrop to the event. (NM)
The Belair Lip Bombs – Patterns
The Melbourne 4-piece came on to a nicely filled-up venue and with no introduction went straight in their first song Again and Again – a super catchy slice of indie with great harmonies between singer and rhythm guitarist Maisie Everett and bass player Jimmy Droughton. With a clean sound mix, Everett’s vocals sounded clear and clean over the guitars, bass and drums and Mike Bradvica worked hard with constant soloing on an excellent Back Of My Hand.
The set was full of catchy new wave energy with a slight change on Look The Part as Everett’s intentionally monotone vocal worked well over a pop goth sound with walking bass and slashing guitars. For ‘Gimme Gimme’, with its “be my baby” refrain, the guitarists joined on backing vocals as Everett snarled over beefy drums and guitars that rocked out to an instrumental close. By now, there was a small group of committed dancers who were rewarded with the joyfully up-tempo Say My Name.
They ended with a slice of country-flavoured rock with Bradvica’s guitar stepping up to lead the way to an all-guns-blazing finale. This was forty-five minutes of irresistibly catchy, fast-paced, guitar-based fun, where every song sounded like it should be a single. (SC)
Dharma Chain – Volks
Straight from soundcheck via a quick ‘Hello Eveybody’ into the warmth of the set. The wah pedal finds instant use and the dreamy yearning chords pull us in. One of the guitars is a touch to loud and the vocals to quiet but the songs shine through, even if the guitarists aren’t quite happy with the sound. The excellent rhythm section do a nice line in sleazy baggy undertow as the guitars cascade and wail above. By the end of the set: the Volks is rammed. Totally rammed. It is clear that some fans in the room, who clearly have seen them before, are sad that the sound stopped the Australians taking flight and soring quite like they normally do. (NM)
Night Tapes – Komedia
Again, navigating between venues plus finding time to eat meant we only caught twenty minutes of the London-based trio. Their Estonian vocalist, IIris Vesik’s ethereal voice floated over squelchy synths and pounding, almost tribal drums yet when singing in a lower range, her voice gained a swagger and more of an edge. When returning to a higher register, her voice is undeniably similar to Kate Bush and this is aided by her swaying dance moves.
Things go a bit Stevie Nicks on a floaty number with Vesik playing tambourine and letting out little shrieks. Normal service was resumed with a crowd-pleasing, bass and synth-heavy dance number that was a highlight the crowd couldn’t help but dance to. This was an absolute joy that probably should have closed the set. However, a ‘hands in the air’ swayer followed, which allowed Vesik’s voice to unleash some power, and they closed with another bouncy dancer, this time with more of a Eurobeat feel that the crowd lapped up. (SC)
Martial Arts – Alphabet
Faced with a wall of guitars this wide one could be fooled into thinking we’re at show sponsored by Fender. Martial Arts bristle with axes and there’s always a risk that when there are this many guitars on a stage, it could end up sounding like the now sadly lost GAK on a Saturday afternoon. But not a bit of it. The band fire up with everything they’ve got and Alphabet is instantly surfing on a mighty wall of Sonic Youth inspired waves of sound. There’s an infusion of swagger and polished pop sensibility to songs like Before The Fire and Martial Arts are rightly being seen as rising stars. They have a sound that could fill stadiums and for sure, they are Ones To Watch. (JW)
White Denim – Concorde 2
There is some debate as to how psychedelic the Psychedelic Festival actually is and White Denim arrive to offer up an answer. On this occasion; pretty darned psychedelic. Only 20 year veterans can put on a show this accomplished and the band are cooking from the get-go. All the psych rock tropes are there and lead singer James Petralli is clearly having a blast, as is the heaving Concorde Crowd. Quite literally the perfect booking for a psychedelic festival. (JW)
Stereolab – The Corn Exchange
Into the corn exchange for the extremely competent delights of the lab. Barely feels like three seconds since we were last here watching them play, but the guitars are set to a surprisingly fuzzy sound which adds a nice dynamic to ‘Percolator’ and quickly we are enjoying one of our favourite bands.
Every day is a school day and today thanks to Laetitia Sadier’s amicable pre-amble we learn we have been mistakenly been singing that the ‘Economy is Not Working Anymore’, when the lyrics of ‘Aerial Troubles’, taken from last year’s ‘Instant Holograms on Metal Film’ are really about the Numbing.
The bands harmonies really are working though, and they really take bring the Psych Rock aspect of their sound to the fore in this set. Lovely stuff. Great to see the Corn Exchange being used as a main stage in this kind of event too. Perhaps we could have the mighty Goat at the Dome next year? (NM)
Sex Mask – Volks
Yep the name largely complements if the measure is sleaze. But wait, this band is so much more, so don’t be tricked by the tongue-in-something name. Melbourne band Sex Mask have some huge tunes and have been turning many a head with a level of punk pop posturing that the Igster would undoubtedly enjoy. They’ve been hitting the radio playlists hard in recent weeks too, so get Ann Summers on speed dial and lock them in for 2027. (JW)
Mandy Indiana – Komedia
The sweet-looking singer in shorts and a t-shirt and a pre-show band hug was no indication of the aural onslaught of a Mandy, Indiana show. However, when the t-shirt, worn by vocalist Valentine Caulfield, is emblazoned with ‘Fuck The Police’ in Arabic, this is an indication of what to expect.
Heavy beats kick off the first song with Caulfield rapping in French, with visceral noises coming from the guitar, courtesy of a pedalboard. On Drag [Crashed], synth player Simon Catling switched to percussion to double the volume of the beats. Added to this was a rumble similar to ‘White Lines’, but the sound was so much louder.
‘I’ll Ask Her’ was written about predatory males and sexual assaults, focusing on the horrific ‘online rape academy’. It was the only new song in English and similar in sound and delivery to Lambrini Girls’ Boys In The Band, with beats and drums pounding, guitarist Scott Fair on his knees creating a fittingly painful, chaotic sound. Truly powerful stuff.
A few technical issues were soon resolved and a disco drum beat is overwhelmed by brutal noises from the guitar before Alex Macdougall’s bass drum and cowbell come to the fore. The battle is relentless but percussion won through sheer power. There’s a slower pace for ist halt so, but there’s no let-up in the attack on the senses, despite a (slightly) gentler guitar sound. Bottle Episode was written at the start of the genocide in Gaza, with Caulfield declaring, “Our governments won’t help, so we have to help ourselves“. The stage was brightly lit to highlight the importance of the issue of ethnic cleansing, while rapid drums seemed to emulate automatic gunfire and Caulfield appeared exhausted by the effort of the performance and exasperation at governments’ compliance and complacency. She’s a fearless, fierce and righteous front person who lightened the mood by jumping into the crowd to create her own mosh pit on the next song, dancing to the industrial rhythms.
They finished with a dance rhythm on hi-hat that became pounding double drums, which subsided as Caulfield rapped over scratchy guitar, feedback and emergency alarm effects from Catling’s box of tricks, all of which combined into a beautiful chaos. Brutal, unrelenting and essential, a personal highlight of the day. (SC)
Formal Speedwear – Hope and Ruin
In the age of the algorithm, SOURCE has long been searching for formulas to help write reviews and this one is a doozy. David Byrne x Les Claypool = Beck Clewlew. Who is Beck Clewlew? We’ll field this one: Probably the best bass player in the country right now. And not only that, he can sing whilst he’s doing it. A phenomenal performance of angular art-pop from the Stoke-on-Trent three piece who have just dropped their debut LP “Punch Card”. It’s pretty simple really. Go and see this band! (JW)
Maquina – Komedia
It’s official. This band are the perfect liquid distillation of everything Source wants from live music. Filth. Throbbing noise. Dancing. Punk. Metal. Bass. Pounding Drums. Show business. They got the lot. We love them. We really really love them.
And so it would appear do the rest of the crowd, which has largely gone nowhere since Many, Indiana. As one everyone engages in a rapturous orgy of sweaty tribal dancing. The drummer stands on his kit his face awash in a cheeky grin, the crowd cheer and the two guitarists set the pedals to total destruction as the prowl the stage.
Their set at the Fiddlers Elbow in May was unquestionably one of the best moments of this year’s Great Escape, and this set even tops that. The darker environs of the Komedia cellar giving the proceedings a clubbier edge that the music thrives on. It is hard to quite put into words the collective joy that has overtaken the room as a result of this set; the experience of dancing together in joy and abandon. In a 40 minute set, this band have captured and distilled the combined experience of punk and dancing all night to squelchy techno in a dark club in the 1990s leaving an audience who want to hug each other in delight as they peel themselves off the floor. As a band, they are a friendly bunch to. We are not the only people to have been at the Fiddlers show and all who were, are greeted like long lost buddies by our dripping heroes as the music fades. (NM)
Lemonsuckr – Komedia
A tough act to follow yet the home team come out swinging and fair play; they go for it. The clubby vibe continues in an excellent bit of three band venue programming. If anything, the quality of the preceding bands pushes them to be possibly the best we have seen them. Sleazy bangers like Dead Disco draw a vigorous response from the noticeably now younger crowd as members of the band leap in and out of the audience and crowd surf away. It’s a spirited show, that cements their status as rock stars in the making. While it is easy to deride them as Brit Pop (and this writer truly thought Blur v Oasis was one of the dullest of the dull things ever to be foisted on the public by lazy music journalism), Lemonsuckr take elements of that sound and push it to somewhere exhilarating and fun. (NM)
Brighton Psych Fest 2026
Various Venues – September 4th
Words: Jason Warner, Nick McAllister, Steve Clements
Pictures: Jason Warner, Stan O’Shea, Steve Clements
Brighton Psych Fest 2027 Tickets available here
