It is that time of the year again when local independent venues in Steel Street, Liverpool, open their doors to No Play Festival. This year, around 39 artists stacked the lineup with a dominating mix of the hardcore scene alongside a slight taste of shoegaze, with bands like Love is Noise on the bill. A few changes were made to this year’s festival, one of which included the expansion to five venues: the Arts Club, Rough Trade, EBGBs, Kazimier Stockroom and Jacaranda Club.
Kicking off the festival was demeanour at the Arts Club. They brought with them sluggish breakdowns and flashing lights that cut through the screaming chaos. Vocalist Izabel Lavin gave a passionate speech about how hardcore music is political at its core, reminding the crowd of the important idea that trans rights are human rights. Throughout the set, people two-stepped furiously as the band led with heavy breakdowns and drum-dominated songs. At one point, someone even got on another person’s shoulders, throwing their hands in the air. It was the last chance to embrace the chaos, and the band delivered.
Next up was Canadian hardcore band Rust, who brought dynamic drumming and heavy, weighted instrumentals. Their sound shifted between fast and slow breakdowns, with guitar-dominant riffs creating a crushing energy that filled the room.
It did not stop there for Izabel Lavin, as they returned to the stage with Rozemary at EBGBs. Compared to last year when they played the smaller stage at the Jacaranda, this grungy setting, bathed in red backlighting, felt far more intimate. Having first seen them at No Play Festival in 2023, it was great to catch them again.
The local alt-rock/metalcore band built atmospheric soundscapes paired with punchy drumbeats and sharp guitar riffs. As soon as the breakdown hit, people began to thrash. Lavin stood out once more, switching between harsh, gritty vocals and clean, angelic tones. Their cover of Killswitch Engage’s My Curse became a standout moment, pulling two-steppers to the front and uniting the crowd in a passionate sing-along of “Will you wait for me? Will you be there?”
Back at the Arts Club, xpothecaryx, a vegan straight-edge metallic hardcore band, took over. Vocalist Jordan dedicated their set to the people of Gaza, explaining that their songs reflect the state of the world. Their performance was filled with classic hardcore sounds, rugged electric guitar tones, and lighting that matched their brutal energy. At one point, Jordan demanded the crowd move forward and declared, “If there is one thing I hate more than a Zionist, it is a meat-eater,” before launching into a song about veganism, showing how hardcore bands use their platform to voice their passions.
Then came Forager at Rough Trade, marking their first time playing a music event at the venue. Returning to No Play Festival this year, they delivered a nu-metal punch with rap-inspired vocals. Vocalist Oliver Lindop immediately filled the stage with high energy, setting a chaotic pace. Every song was dedicated to the festival itself, and the set featured a guitar and drum solo complete with pounding kick pedals. One track about struggling with identity hit particularly heavy, blending rap-style delivery with an explosive breakdown.
The punk/hardcore band Going Off also made a return after last year’s last-minute replacement slot, which turned out to be a breakthrough. This time, they came prepared. Vocalist Jake Huxley hit the crowd like a punch to the face with guttural screams over pounding drums and fast-paced guitar riffs. Their songs tackled themes of PTSD and self-love, while the band pushed the audience into movement, creating a sense of unrest and intensity.
Following suit was False Reality, a hardcore band from London. Having seen them open for Heriot earlier this year, expectations were high, and they delivered. From the opening drum intro leading into dominant bass, their sound was crushing. Despite vocalist Rachel Rigby suffering from a cold, her performance was as mighty and precise as ever. With distorted sounds, thrash-tinged riffs, and gnarly beats, their set became a festival highlight, marking them as a band to watch out for.
At the Arts Club, Pintglass brought their infamous geezercore chaos. Dressed in high-vis outfits, their infectious energy was matched by a crowd eager to respond to their call-and-response chants of “Geezer!”. Vocalists Ben Mason and Barney Warner commanded the stage, igniting mosh pits with aggressive breakdowns and undeniable charisma.
Later at EBGBs, Love is Noise offered a change of pace with their post-hardcore/shoegaze blend. Dripping in influences from Loathe and Deftones, they brought atmospheric depth to the lineup. Vocalist Cameron Humphrey balanced emotional weight and raw screams, stepping into the crowd to heighten intimacy. Even though the turnout was smaller, songs like Jawbreaker made their performance one of the day’s more memorable shifts in tone.
Back at the Arts Club, God Complex unleashed sheer deathcore brutality. From the moment they stepped on stage, their heavy-hitting screams and drilling soundscapes created one of the heaviest sets of the festival. It became a cathartic release for the crowd, thrashing and moshing relentlessly. The band also took time to use their platform to speak out about Palestine, highlighting how political messages cut through the chaos of hardcore.
Anticipation reached its peak with Manchester’s Guilt Trip, who were, without question, the most awaited band of the night. The Arts Club was packed, with fans eager despite the delay. As soon as the first notes rang out, mosh pits exploded, and the night’s first crowd surfer went up. It had been 8–9 years since Guilt Trip had last played Liverpool, and their return was nothing short of triumphant.
Vocalist Jay Valentine threw himself into the set, two-stepping and immersing in the energy, pushing the crowd to give more. Tracks like Eyes Wide Shut became instant crowd favourites, with circle pits forming around thunderous drums. Drawing inspiration from bands like Machine Head, Guilt Trip showed their ability to craft music rooted in raw emotion and transformation. Mid-set, they treated fans to a new track, Burn, which landed with crushing impact. The set climaxed in total chaos, mosh pits, crowd surfers, and even an inflatable crocodile flying through the pit, ending in absolute annihilation.
Furthermore, what makes No Play Festival so special is its commitment to shining a light on new and local bands. Supporting grassroots music is vital; going to gigs, buying merch, and spreading the word keep the scene alive. The hard work and dedication behind this festival do not go unnoticed. What truly stands out is the community that sustains it, making it feel less like a festival and more like a family.
Overall, this year’s No Play Festival was an action-packed, chaotic, and cathartic celebration of hardcore and beyond. Here’s to looking forward to the madness again next year.
