When: 3rd to 6th January 2025
Where: Butlins Resort, Bognor Regis.
For many musos on the South Coast Rockaway Beach Festival is the best way to kick off the New Year. This indoor Boutique Music Festival features a sparkling core of iconic legends and a handpicked array of cutting-edge, emerging artists. It’s one of the best places to see your next favourite band before they hit the big time. The festival has been a springboard for so many over the years and were the first ever festival to book Self Esteem and Fontaines D.C. as headliners. On their tenth anniversary, headline artists included electronic pioneers Leftfield, shoegaze legends RIDE and gospel space rockers Spiritualized, who performed at the very first festival in 2015 and returned for this landmark birthday. Once again, the line up effortlessly balanced gender and genre without seeming tokenistic.
Rockaway Beach felt like the Woodsie’s stage at Glastonbury if it was the set in a Stranger Things Mall or the Funfair from the Lost Boys. Hanni from the superb power pop duo ARXX summed it up perfectly when she said, “ My mum recently got into the darts. She’d be really proud that I’m playing here at Butlins.” Bring your sense of humour and a toothbrush. It’s quirky with retro arcades and a live mix tape which this year slanted towards New York punk roots that inspired the festival with a CBGB’s silent disco and Brooklyn’s BODEGA doing a kinetic version of the Ramones‘ Rockaway Beach‘ track. It’s a grown-up playground where musos of all generations can kick off the January blues and ring in the new year.
In Ireland, 6th January is Nollaig Na mBan Women’s Xmas and what a night it was for Dublin band Sprints with their fierce and immensely talented lead singer Karla Chubb who had the entire 3000 capacity crowd of new venue Studio 32 in the palm of her hands, ruling the waves like Pirate Queen Gráinne Ní Mháille. Nothing was going to stop them, even the delayed flight and snow at Dublin airport seemed to make them even more determined to play the gig of a lifetime. It was one of the most stratospheric gigs ever, on time and raring to go for the penultimate set of the festival, even sharing some glorious new tracks as a treat which can surely only elevate them further. We all certainly felt like all our Christmases had come at once in the middle of that mosh pit.
It was particularly auspicious as it was exactly a year since the release of their debut album Letter to Self and only a few hours after their explosive Rockaway set, they were announced as double Choice Music Prize Nominees. After 103 gigs this year and support slots for IDLES and Pixies they are on fire right now, reminding me of when Fontaines D.C. headlined Rockaway Beach in 2020 in the only Festival of THAT year. They were almost too big for that stage by then and, yet, Rockway booked them so far in advance that they were ready to soar. This had the same earth-on-its-axis feeling. The gig had everything; it was euphoric, witty, emotive, touching with shades of light and dark, pathos, cathartic roars and political commentary. Stunningly fierce, swelling soundscapes and polite circle pits. Darkly triumphant with velvet introspective gothic depths, and searing warrior cries that come straight from Hecete’s womb, with rich resonant vocals that could raise the dead the set roared with cathartic power and astute introspective reflections about being, “Medicated and they like me better when I’m sedated.” With propulsive percussion dark, cavernous soaring multifaced soundscapes they were professional, slick and stadium-ready.
Ending with a moving speech that had us all in tears Karla Chubb said, “We started this with no notions. The world can be a bit of a scary place if you are a woman, if you are a queer person, if you’re a person of colour, if you’re an immigrant or refugee, unfortunately, and I think it is a privilege for us to have a platform and it’s our moral responsibility for us to do something about it… if there’s one thing that you can take away from this show it’s make a lot of noise but make a lot of noise that FUCKING MATTERS.” as the ‘Saoirse don Phalaistín’ flag hung from the back of the stage.
For the anthemic ‘Literary Mind’ Karla Stood on the barriers to a sea of raised adoring hands before leaping into the crowd mic in hand without missing a note. Crowd surfing and getting back in the mosh pit is an act of vengeance, joy, and triumph when the world can be “such a scary place.” A woman’s place is in the mosh pit, crowd surfing and commanding a circle pit fearlessly with propulsive power and fierce guitar riffs They are stadium ready and surely the next headliners. It was a pivotal set that left many of us in tears of joy. The sky is the limit for Sprints.
After Sprints blew the roof off Studio 36 shoegaze pioneers, RIDE were like transcendental soul balm. I’d never heard shoegaze in HD before. You could hear every polyphonic texture, the kind that can be washed away in some outdoor spaces. Their Q&A with DJ Chris Hawkins earlier in the day gave further insight into their craft as Steve and Loz described how “Andy tells a good story of how his mum used to listen to The Beatles whilst hoovering and he wanted to combine loads of noise but beautiful melodies at the same time… We were different to lots of the bands around at the time because song melody and song structure were very important to us. It wasn’t just going out and making a racket.”
The beauty energy and synchronicity of the RIDE was breathtaking at Studio 36. It was shoegaze in HD. Every musician with their own outstanding talent creating complementary polyphonic textures and multifaced riffs, rhythm, and harmony all jigsawing together perfectly in a dreamy wash of sublime transcendental sonics. Each rhythm and harmony was layered over the other to create a swelling and blossoming to a unified whole; it was celestial. There were no egos here. All team players, they elevated the set as a band creating those stunning sonic swirls and intense hazy cascading walls of sound together. The warmth of the festival was echoed when lead singer Mark Gardener explained that he was ill but “Wouldn’t miss Butlin’s for the world.” To the shout of “Hero’” from the crowd. He still sang and it was incredible. He thanked Andy Bell for doing the lion’s share of the vocals, creating a beautiful sense of connection to complement the mellifluous harmonies. The fugue-like instrumental jams echoed Andy Bell’s solo projects like GLOK and more were woven through the set illustrating their expert synchronicity.
This week Andy Bell announced an acoustic solo tour and album, always moving, always evolving and maintaining that passion for music. The love of the craft that they all seem to have. Sublime harmonies had us spellbound with tracks like ‘Vapour Trails, ‘Peace Sign’, ‘Twisterella,’ ‘Leave Them All Behind‘ ending with ‘Chelsea Girl.’ Long live RIDE, pioneers of the genre, sounding more vibrant and youthful and better than ever, inspiring up-and-comers like Whitelands. It was a transcendental set, leaving us floating home. They are world class.
Spiritualized were true artists and the headliners for the opening night after playing the very first festival in 2015. It was a beautifully crafted uncompromising set. Jason Pierce is a muso’s muso and an artist’s artist. That raw fragile emotional lyrical honesty elevated by celestial gospel harmonies sliced with hardcore sonic tsunamis sitting like a maestro surrounded by three angelic gospel singers and his band. The glistening vines of light from the sage reflecting the tears in the whites of the eyes in the crowd who were visibly moved by the raw intensity and majesty of the music. ‘Hey Jane’ blended stylish Velvet Underground-style Americana with soaring and swelling gospel mantras, rising heavenwards. Psychedelic walls of sound mesmerized, ebbing and flowing from light kaleidoscopic mantras to dark smoky outros. The fragile delicacy of ‘Perfect Miracle’ was achingly beautiful, reflective, intense and soul-cleansing, the whole set taking us to another dimension. Pierce pushed the boundaries, submerging us in intense static and frenetic high-frequency vibes, juxtaposed with moments of sublime introspection and beauty with rippling riffs and celestial harmonies. It was stunning.
Leftfield’s headline set was euphoric. A time-hopping, ageless, kinetic masterclass recreated that 90’s Warehouse Vibe in Studio 32 but with 21st Century cutting edge audio visuals. It was the perfect space for this set, a raver’s haven where 3000 people were buzzing and beaming, intoxicated by the immersive sonic sculptures, hands in the air dancing, and cleansed by the music baptised by the beats as the smiley-faced balloons danced over their raised hands, the beams of light slicing through the darkness. With bass-heavy oscillating energy, immense vocals and phat beats it was pure euphoria. I couldn’t get anywhere near the front as it was so packed like an ‘old skool’ rave but the energy was infectious and sound was crystal clear and elevating the sets of all who played there.
Georgia’s set was immersive, healing, powerful, buoyant, driving and and other worldy. She created an stunning intense alternative universe with her ethereal vocals driving percussion and expertly crafted soundscape. Her version of ‘Running up that Hill’ was truly spine-tingling and we’ll book to see her again. There is a warmth to Rockaway Beach and the fact that Georgia opened up for her dad Neil Barnes’ band, Leftfield was beautiful especially as she is such an impressive artist in her own right.
The None kicked off the festival on the first day with their visceral raw egoless experimentation in their raw and awesome set. For a festival that celebrates established talent as well as emerging artist this is where the Venn diagram truly intersects. The None perfectly encapsulates both worlds. Members of this band are lifelong musicians and have already played on huge stages with the likes of Bloc Party, Blue Ruth, Cassels, and Frauds but have joined together choosing to fly under the radar with this enigmatic name and boy do they deliver! It was an earth shattering start to the festival with lead singer Kai packing a punch with her powerful vocals, smart, searing lyrics and innate charisma. It was a raw and uncompromising set with melody at its heart. They were in full control of the breadth and depth of the music Their history and expertise informing this craft. They have a gloriously gritty underground vibe, and the warm gentle banter in between each set reminded me of early Skunk Anasie. Lights slashed the darkness as the bone-shaking bass propelled the explosive soundscape and depth of their sonics from thrash metal to funk. They are pushing boundaries with their boundless vision of noise rock and we were all blown away.
South London five-piece Man/Woman/Chainsaw are fierce, hypnotic, and fresh and perfectly placed to step into Black Country New Road’s shoes with their superb bed of jagged, frenetic riffs, space age electro beats, heavy driving bass and oscillating energy giving Riot Grrl via Ian Curtis vibes on the dual-lead vocals. The stagecraft is supreme. The sylish fiddle flourishes, elevates, ornaments, and slices through the smoky riffs. Dark hook-laden emotionally open sleek keys twinkle through the gothic soundscapes as the driving percussion and guitars swell leaning into the peaks and troughs of the soundscape. The hazy, heavy bass gives early Sonic Youth energy and we are all transfixed. We all sing “Happy Birthday” to band member Charlie and whoop for more. New Music is clearly rude health and Man/Woman/Chainsaw are here to prove it.
Hamish Hawk was the star of Friday evening for many. Last time he was at Rockaway Beach he played a day slot at Reds and now here he is on the Main Studio 32 stage playing to a full house of 3000 like a cross between Nick Cave, Leonard Cohen, Divine Comedy, and Dean Martin only witty and poetic and so charming, bowing to the crowd, emoting every word with riotous passion The crowd were transfixed; he created poetic chamber pop worlds within worlds in ‘Juliet as Epithet’ and widescreen cinematic universes in ‘The Mauritian Badminton Doubles Champions.’ With its anthemic chorus ‘Isn’t this living?’ 3000 voices sang along with him, which he wasn’t expecting either. His lush resonant vocals and stage presence were enthralling. It was like watching a butterfly hatch from its cocoon seeing him unfurl fully formed, wings spreading onto this huge stage where he belongs The same charming talent that seamlessly translates to the main stage. It was pure theatre. Poetic and elevated, literate, warm witty and sophisticated. This could be one of those days when we said that “We were there” as he fully deserves huge stages like this from now on.
Arab Strap were OUTSTANDING, juxtaposing fierce grit with pure delicate intricate poetry saying “This is a song about shagging” and then proceeding to perform the most breathtaking intricate songs over an exquisite bed of indie riffs and electro loops merging “hostility and fragility” with commanding ease. The entire set carrying the two in tandem. Like the indie Robbie Burns, Moffat delivered intense pen portraits of moments of intimacy, grit and beauty even if lots of songs were “about shagging” they traverse every warm and uncomfortable edge of the human condition. It was sublime. Tracks like ‘Turning Of Our Bones’ juxtaposed the visceral squeezing “maggots from our flesh” with the celestial “We’re all just carbon, water, starlight oxygen and dreams!” It was everything. The sound in the venue was so clear that every poetic syllable was audible. It was pure magic. Monologues were dancing over the most stunning of indie riffs before ending with a wall of reverb that would give Kevin Shields a nosebleed. It was perfection.
Each day started with a bang, like a shot of espresso with a Berocca Chaser. Day 2 began with Scottish punk SOAPBOX who were like a Scots’ IDLES, taking to the stage wearing nothing but a pair of shorts and trainers and sunglasses for some songs. They whipped the crowd into a frenzy like a speeding whirligig with songs like ‘The Fear ‘about hangovers or social commentaries like ‘Fascist Bob.’ ‘Disgrace‘ had lyrics like “Only gets dearer can’t afford the beer.” The witty lyrics were reminiscent of The Fall, too. The crowd loved them. It’s punk in the purest sense. With the raw, visceral, and kinetic riffs.
So far the Celts seem to be winning the weekend….but I would say that!
Isle of Wight punk duo The Pill served punky satire and stage craft with tracks like ‘Salt Father‘ (the opposite of Sugar Daddy), ‘Bale of Hay‘ and ‘Women Driver.’ With phrases like “Why am I such a woman driver?” they channel their inner Penelope Pitstop. It may not be immediately obvious but it’s cleverly questioning gendered stereotypes even if it is done with knowing bubble gum giggles; it’s a searing social commentary. They are technically astute guitarists, fresh witty lyricists and have so much fun on stage. It’s compelling. With Breeders like basslines, they are lyrically cute but with fierce guitar skills like Shonen Knife with a British sense of humour. Their songs are freewheeling and hook-laden and they have the potential to be huge.
Three piece Electro punk renegades CLT DRP were on another level, giving non-stop raw energy with their their buzzsaw riffs, fierce high-octane and intense hooks, with thrash metal tinges. The lead singer Annie has an outstanding range, propelled by intense percussion and elements of pop. They are the real deal, lacing slabs of electro-reverb with dark swirling soundscapes. Going from sultry to explosive they are utterly compelling. With a staccato bounce and Rage Against the Machine-like righteous lyrics are whip-smart, witty and self-aware with titles like ‘Nothing Clever, Just Feelings’ and “ I don’t want to go to the gym.’ They are fierce and wise and we want to see more. I hope they tour with the Lambrini Girls.
Irish punk Meryl Streek is raw visceral and urgent like a badly needed kick in the solar plexus. Like being waterboarded with words, he shines a raw screaming mirror into the injustices of society. It’s fierce and utterly compelling. Like the balladeers and troubadours of old giving a voice to the voiceless and sharing their stories. Like Franke Hearte said, “Those in power write the history, those who suffer write the songs.” Bob Dylan told the story of the miscarriage of jusice of ‘Hurricane‘ while Streek sings of the horrendous case of Terence who was arrested for a crime he didn’t commit and found dead in his cell as his family still campaigns for justice. Tracks like ‘Death to the Landlord‘ have the crowd singing along with righteous anger and recognition as well as with a raw heartfelt song to his Uncle Paddy, who “Will always be missed and always be loved.”
We might not want to look into the face of darkness and see the suffering but we need to and Streek makes us. It’s the only way that change will happen. Pacing the stage like a lion he jumps into the crowd with buoyant synth dancing behind him, and news clips echoing his fierce lyrics. Blasting with righteous fury, it’s utterly compelling and you can’t help but be won over as he spins the single flashing torch on the stage literally shining light into the darkness and showing up what lurks in the shadows. He gained a whole venue full of fans that day.
Queer power pop duo ARXX were many people’s highlight of the festival. Warm, witty, charming and unbelievably talented they laced buoyant pop-laden hooks of anthemic tracks like ‘Good Boy’ complete with inflatable dalmations that were danced through the crowd. We loved them especially when lead singer Hannie likened the room to a darts hall and said how proud her mum would be that she was playing at Butlin’s. Stunning, soulful, melismatic vocals danced over driving percussion and buoyant electric guitar hooks. The chorus of tracks like ‘Crying in the Car Wash‘ were anthemic widescreen and hook-laden. We couldn’t help but sing along. It’s mindblowing that two people can create such stadium filling soundscapes. We can’t wait to see them again. As soon as they started playing their charmingly awkward banter was replaced by sheer professional musical confidence and peerless world-class anthemic pop-punk classics. We loved them.
You could see why Lime Garden were such worthy winners of the Resident’s Album of the Year 2024. They have a record full of utterly compelling hits we couldn’t help but sing along to from ‘Love Song‘ to ‘I Want to Be You’ to ‘Pop Star.’ They played banger after banger with witty introspective, jagged, soaring, shades of light and dark their brand of ‘Wonk Pop’ had the crowd transfixed and most of us making the most of the sprung floor. As well as being exceptional musicians the lush vibrato and vocal control of the lead singer is stunning, expressive and so catchy with tracks like ‘Clockwork’ slanting into buoyant gothic, spellbinding crescendos and indie sleeze avenues. They possess one of the sounds of 2024 as dark harmonies weave into soaring indie swirls of pure gold, laced with polyphonic electronic motifs and a bed of interlocking bass that stylishly burrows its way into your subconscious in smoky staccato style. Their quirky soundscapes are velvet joy as each expressive note is emoted by the artists on stage. There’s no one else like them and that’s why we love them
New York’s BODEGA burst onto the stage like a stylish colourful kinetic art-punk explosion playing the Ramones‘ ‘Rockaway Beach‘ followed by back-to-back bangers, bringing slick slanted, staccato sunshine and cool vibes to the South coast of England with their, witty whip-smart Our Brand Could Be Yr Life tracks. The 360-degree show was warm and fierce peppered with knowing consumer-skewering wit echoed in both the lyrics and banter as faux money was thrown into the crowd to a sea of raised moshing hands, quite literally money grabbing. We were whipped up into a euphoric Bodega shaped frenzy, intoxicated by the slick pitch-perfect harmonies, anthemic choruses driving duel percussion and sleek guitar outros. What a band and what an elevated sonic trip from our blustery Kiss Me Kwik surroundings. With music like that, we were almost transported to the real Rockaway Beach in New York, but music is quicker than Concorde. What an ecstatic musical trip.
Ruts DC were pitch perfect. You don’t need me to tell you that they are the Godfathers. The OGs I hardly feel fit to touch the hem of their pork pie hats. They had it all vim, verve energy, stagecraft. ‘Babylon’s Burning,’ ‘Staring at the Rude Boys’ and ‘In A Rut’ were electric and dedicated to their late lead singer Malcolm Owen as they threw a kiss to the sky. They are the inspiration and blueprint for so many bands that play at Rockaway every year and they were utterly compelling, having boundless energy and verve. The skill, the showmanship, the vocals the mellifluous riffs and the energy to jog ska-like on stage. They were sharp tight and ageless. They did a masterclass in ska- punk and it was utterly compelling. It didn’t feel retro, it felt fresh and so full of boundless energy.
Jaws the Shark – superb band; a grunge-fused trio burst into Sunday midday to a full house in Centre Stage shouting “Wakey Wakey we’re here to ruin your hangover.” Slashing though the pounding bass with glorious buzzsaw riffs and anthemic soaring choruses, I felt like I was in the heart of the grunge scene in 90’s Seattle. They have a glorious garage punk aesthetic with hook-laden songs that are more than ready for the world stage like Neck Deep fused with Nirvana’s Bleach. The vocals in ‘Destroy the World’ ‘ and ‘Silver Sun‘ had the lush, hook-laden radio ready vibes of Ash or Green Day. While the slanting vocador vocals and jagged riffs of ‘Demon Dream‘ echoed 90’s Beck with heavy cathartic outros. The summery sliding harmonies of ‘California’ took us to sunnier climes and proves that Jaws the Shark are ready for the world stage.
BLOODWORM, the Nottingham goth-punk trio blew the crowd a away with their full-blooded atmospheric, and darkly euphoric set. Their glorious, multi-faceted, smoky, jagged soundscape echoed the likes of The Cure or Killing Joke whilst fizzing with dark, fresh and boundary-pushing energy. The dark driving bassline echoed the resonant soaring vocals, elevated by high-energy jangling riffs that the likes of Johnny Marr would be proud of. It’s the juxtaposition of dark velvet textures and intricate glistening riffs that elevate this band, with tracks like ‘Depths‘, echoing a darker Gothic The Smiths. Emotive, introspective lyrics and swelling cavernous basslines, make these a band not to be missed. Their stagecraft is tight, confident and powerful. They would be the perfect band to support The Cure and are probably your favourite new band.
Katy J Pearson’s set was elevated and sublime; a warm honeyed slice of summer in the cold. Her rich evocative Kate Bush-toned vocals danced over the lush indie riffs and buoyant hooks. She had the huge crowd transfixed with her 360-degree talent. She is the real deal like a CMAT, and deserves equal plaudits for her original superlative performance. Tracks like the folk-laced ‘Beautiful Soul’ and the twinkling electro vibes of ‘Save Me’ reflect the futuristic timeless beauty of her art, guitar in hand with her band. She is a charismatic presence that we can’t wait to see again.
The Johnny Halifax Invocation were such a trip. Anyone with an open and curious musical mind should go and see them. I felt like I was in the Mighty Boosh and had gone into the desert to find a new sound and ended up in Butlin’s, opening the doors of perception and ending up here. Avant-swamp blues and kosmic-free jazz ruled this psychedelic apocalyptic soundscape. Ponchos, cowboy hats, maracas, sax, lap slide guitars, harmonicas, and bluesy vocals washed over the crowds who once they got acclimatised to their sonic world were filled with awe and joy. It was the weirdest part of the weekend, but just like Picasso’s earlier work was more conventional. It was only because he was an expert that he was able to break the rules and create something original. Every one of the musicians here was an expert in their field and they were clearly breaking out of the box and doing the same.
Throughout the festival we were taken on a sonic trip from Dublin to New York, Brighton to Bristol, Edinburgh to the Isle of Wight, and everywhere in between, traversing, punk, folk acid jazz, space rock, shoegaze, indie, dance, rock, and so much more Gen X and Gen Z uniting under a musical banner. This festival pushes boundaries and educates the musical palette in the best way possible highlighting the best in emerging and legendary talent. Like sonic soothsayers they predict the year ahead like a musical Magic 8 Ball, so bring on Rockaway Beach 2026!
