Saturday at Tramlines began at The Open Arms, where the first few performances offered short and sweet introductions to some emerging artists before another day of running between stages began.
First up for me was Sheffield R&B and soul singer-songwriter Nicole Marie. She had become known for singing on bassline tracks, including Freddo’s ‘Memories’, but she told us that she had recently been working on new songs and moving towards tribal house. Overal a very enjoyable set and a good glimpse into her style.
Also at The Open Arms, I caught Lottie Dawe. She blends R&B with alt-pop and delivers relatable stories over catchy music that got passers-by to stop and listen.
Later, I headed over to The Leadmill for Girl In The Year Above, who were already joking with the audience during their soundcheck. They admitted that they had not brought a setlist and were essentially winging the performance, and that spontaneity really added to the fun. The genuine joy coming from the stage was impossible not to get caught up in. Their theatrical energy gave me flashes of The Last Dinner Party, but the humour and looseness of the performance made it feel entirely their own. Absolutely ones to watch.
I then made my way back to The Open Arms for Miss Lilly. The East London singer-songwriter had drawn on pop, classic soul and R&B, while her earlier experience in dance and musical theatre had formed another part of her creative background. Her releases included ‘Runaway’, ‘Wrong City’ and ‘Margo’, with the latter exploring imposter syndrome and intrusive thoughts.
From there, I headed over to T’Other Stage for Lucy Spraggan, who is an absolute master at making a tent with a huge crowd feel like a local pub of friends singing and dancing. She performed ‘Tea & Toast’, explaining that it was a song which travelled with her to every show. The song had followed her for more than a decade, and the connection between Lucy and the people singing along felt incredibly personal. A BSL interpreter, Gray Signs BSL, performed alongside the set and was absolutely brilliant. The interpretation matched the rhythm, humour and emotion of Lucy’s performance perfectly.
Lucy told us that in three days she would have been seven years sober. She explained that people often asked why she had stopped drinking, so she played them ‘Sober’ to give them the answer. It was an open and honest introduction to a song which had documented her decision to leave alcohol behind. She had always written songs that turned difficult or complicated experiences into something direct and relatable, and that honesty came across throughout the set.
I finished Saturday back at T’Other Stage with Gabrielle. Her set included ‘Rise’ and ‘Dreams’, songs which had carried her unmistakable voice across more than three decades of British pop and soul. There was something very satisfying about ending the day with music that had remained so familiar to so many different generations of listeners.
