Review: Tramlines Festival, Sheffield - Day Three

Sunday’s finale at Tramlines proved that the best parties are saved for last. As Hillsborough Park basked in another great day of sunshine-albeit with a slight shower, the festival’s closing chapter delivered everything needed to cap off a remarkable weekend-hometown heroes, breakthrough stars, and one of Britain’s most electrifying live acts bringing the curtain down in spectacular fashion.

Kasabian’s headline performance was nothing short of volcanic. Sergio Pizzorno’s Leicester rockers transformed the Sarah Nulty Main Stage into a cauldron of controlled chaos, their catalogue of festival anthems proving why they top the bill at festivals throughout the UK.

Club Foot sent shockwaves through the packed field, while Fire lived up to its name, igniting the crowd into a frenzy that could be felt miles away. The band’s newer material from Happenings slotted seamlessly alongside classics like LSF and Empire, proving their creative fire burns as bright as ever. When the final pyrotechnics lit up the Sheffield sky, it felt like a fitting end to three days of musical euphoria.

Earlier, The Last Dinner Party delivered a performance that bristled with theatrical energy and undeniable star power. The London quintet’s art-rock dramatics found perfect expression on the main stage, their elaborate costumes and synchronized choreography creating a visual feast to match their sonic ambitions.

Nothing Matters became an unexpected singalong moment, while The Feminine Urge showcased their ability to blend indie sensibilities with grandiose pop theatrics. Their set felt like watching a band destined for arena headlines, every gesture and harmony precision-crafted for maximum impact.

The Lathums brought their Wigan warmth to proceedings with a set that radiated pure joy. Alex Moore’s distinctive vocals soared across tracks like How Beautiful Life Can Be and I See Your Ghost, the band’s earnest indie-pop finding instant connection with the Sheffield crowd. Their performance had the feeling of a victory lap, celebrating how far they’ve travelled from small venue beginnings to main stage triumph.

Local heroes The Sherlocks proved once again why Sheffield claims them as its own. The quartet’s anthemic indie rock felt perfectly at home on the main stage, with Will You Be There? and Live for the Moment creating those spine-tingling communal moments that only hometown shows can provide. Their set was a celebration of local pride, the crowd’s response confirming that The Sherlocks remain Sheffield’s indie rock royalty.

Over at the T’Other stage, CMAT brought her unique brand of country-pop charisma to an adoring audience. The Dublin songwriter’s witty between-song banter and infectious melodies created an intimate atmosphere despite the festival setting, her performance feeling like a secret shared between friends.

As the weekend wound down and the last revellers made their way out of Hillsborough Park, Tramlines 2025 had delivered on every promise. Sunday’s line-up perfectly encapsulated what makes this festival special – the perfect blend of established excellence and emerging brilliance, all wrapped up in that uniquely Sheffield spirit of celebration and community.