The Echoes of Sonic Boom Will Reverberate for a Long Time

The K's

Well, the day finally arrived. We've been plugging this one for weeks because it's not often you get a line-up full of bands you love only a 45-minute train ride away, essentially local. Plus, we know a couple of the bands personally, and we don't often get out much (cue our partners screaming "lies" in the background). After a quick breakfast and a kit check, which included cameras and accessories, I headed down to the station.

First stop was Starbucks for a brief meeting with some of the team. Sam and Liv were on call to cover Sancho Panza and Eyre Llew in the late afternoon and evening, alongside another team member, Esther. Sam and Liv are newbies, so we needed a quick catch-up to go through the plan. Anthony showed up shortly afterward, and we sat in the sun, drinking coffee while waiting for our train.

After a pretty short train ride, with a quick change at Derby into a cramped, sardine-can carriage, we arrived at Burton with 15 minutes to go before the opening act, The Public Eye, kicked off Burton's first town music festival. Burton is an interesting place, renowned for its brewing industry and its plethora of pubs. It’s not a bad shout if you’re looking for a day trip. As we walked towards the town square—though technically labelled a marketplace—Ant kept saying, "It's going to be interesting holding a music festival in a shopping centre." I gave him strange looks until I finally said, "Mate, it’s definitely in a square. Who holds a music festival in a shopping precinct?"

"Carlisle shopping centre hosted its second 'Live & Local' music event the other day," he replied with a smug grin. He wasn’t budging.

As we strolled, we noticed musicians walking in the same direction, guitars slung in cases, maps open on their phones. Along the way, Ant—who apparently has visited Burton many times—started rating the pubs and bars we passed. I made mental notes for later.

As we got closer, we could hear the unmistakable sounds of a PA system and music. We’re getting warmer. Ant spotted a sign for Coopers Square Shopping Centre. "See?" he said, triumphant. I remained unconvinced. We rounded a corner and found ourselves at the Sonic Boom festival, the stage set up in front of St Modwen’s Church—definitely a square, of sorts.

The Public Eye had already started their set. The crowd was modest, but not because of the band; it was clear people were still going about their Saturday morning routines. We scoped out a suitable base camp and found one: right next to the stage, the Royal Oak. What more could we want—a pub literally beside the action? I checked my watch and realised I had time for a quick pint (well, I was in Burton) before I needed to hit the pit to grab some shots of the opening act.

I handed Ant a camera, and he looked bemused. "What’s that for?"
"We’re both working today, mate. Grab some shots."
He examined the Canon PixPro I gave him, looking confused. My operating instructions were simple: "Mess around with it, you’ll figure it out." He pocketed the camera.

After a quick drink, I headed to the viewing pit, which was more of a throughway. I waved my NottsRocks badge and got waved through by security. The Public Eye, a four-piece based in Derby, had more than a few fans singing along in the ever-growing crowd. They were a solid choice to open the festival. With an impressive Spotify following and a growing discography, their catchy hooks and guitar riffs set the tone. Self-proclaimed inspiration from the likes of Fontaines D.C. and Arctic Monkeys was evident, and their latest release, Honey, went down a storm. The band is set to begin their first headline tour of the UK in September, with a stop at Saltbox in Nottingham on the 4th of October. As they closed their set to applause, BBC 6 DJ and host Chris Hawkins came out to give them a send-off and keep the energy flowing. The crowd was steadily growing.

On the way down, Ant and I had a sensible chat about beers. While we were there to review, we also wanted to enjoy the day, so we settled on a "beer per band" strategy. It was time for our second.

Ant had already sorted this, so we sat down, taking in the surroundings. Just two doors down from the Old Royal Oak was 'Favourite Thai,' a crimson-fronted Thai restaurant that didn’t inspire much confidence with its name but seemed like the closest food base for sustenance later in the day. Mental notes were made.

Ant ventured into the crowd with his little camera, taking a few shots. "It could use a strap," he muttered. A quick Google told us there was a camera shop, 'Chris Goodhead Photographic,' just 70 yards away. We made a dash.

Inside, I greeted the guy behind the counter. "It must be Chris?" I asked.
"Actually, it's Martin. Chris sold me the shop 23 years ago, but everyone kept calling me Chris, so I just stuck with it."
Fair enough.

Martin (from Chris Goodhead Photographic) swiftly sorted us out with a camera strap and some lens cleaner, and we were back to base camp just in time for Eighty Eight Miles. A five-piece from the Midlands, named after the iconic number from Back To The Future, they’ve played the Isle of Wight Festival, The Great Escape, Y Not, and more, with plenty of BBC radio play. Burton’s very own Ellie Grice, lead singer and guitarist, led the band through catchy, guitar-laden tunes like Sophie, Diana, and Cardigan. They don’t shy away from their love of Fleetwood Mac—something they confirmed before diving into a cover of The Chain. They closed their set with Sexy Song, a strong contender for performance of the day.

It was still early, but the vibe was right, and the day was shaping up to be a long, enjoyable one.

With about 30 minutes between sets, we had some time to chat with the locals. Like many towns, the residents expressed frustration with the lack of investment and the number of boarded-up shops, but they were all in agreement: Sonic Boom was a brilliant event for Burton. It was attracting attention to their town, and they hoped it would boost the local economy, both now and in the future. The crowd was noticeably bigger by this point.

Next up was Girlband, a three-piece from Nottingham that I know personally. I’ve followed Georgie’s career for years, and Katie and I have shared more than a few beers in the pubs of Nottingham. They’re smashing through the layers of the indie scene, with a reputation for energetic performances and thoughtful lyrics. Tracks like 21st Century Suffragette, Not Like The Rest, and Hometown had the crowd singing along. Their Spotify following is impressive, and Chris Hawkins even admitted they were one of his favourite bands, adding a touch of bias. But bias or not, Girlband were definite crowd-pleasers.

By this point, I had my routine nailed down. I’m not one to stay in the pit the whole set; I prefer to get the shots I need and then join the crowd to fully appreciate the music. Ant, meanwhile, was at the bar, dutifully ordering our next round of drinks. We still had four bands to go.

As we stood there arguing about our notes and which songs had been played, we got a tap on the shoulder. The Baines party had arrived—Laura Baines and a group of friends from Nottingham, down to celebrate Laura’s birthday, who just so happens to live in Burton. We’d been expecting them; in fact, I’d tried to rope Ben from Dusty 4 Track into covering a gig that evening, but he mentioned he was coming to Sonic Boom instead. Sure enough, the group were dancing away to the bangers Chris Hawkins was spinning as the festival DJ. Will Jeffrey from Dusty 4 Track was there too, along with Jinx, Rich, and Kat. The Nottingham lot were clearly having a blast.

Then Tiger walked out for the soundcheck, signalling that Divorce was about to take the stage. I sighed—I was starting to flag. If anyone could re-energise me, it was Divorce, one of my favourite bands. They’re about to kick off a UK tour, including four sold-out nights at the Bodega in Nottingham. They roared through tracks like Service and Gears, with the crowd showing appreciation. I paused in the pit to take it all in, head bobbing to the beat. A group of fans gave me a thumbs-up, clearly vibing with my enjoyment. They ended with Checking Out, an amazing country-inspired closer.

Next up was Deco, the synth-pop revivalists we’d recently written about on NottsRocks. This band got their start with viral hits, putting an ’80s twist on ’90s and ’00s classics like Bitter Sweet Symphony by The Verve, which has racked up over a million plays on Spotify. They delighted the crowd with their originals like Everybody Wants to Be Somebody Else and Rain, the audience bouncing along to every synth wave and catchy lyric. By this time, the marketplace (sorry, square) was packed, and the atmosphere was electric.

Ant had given up on the PixPro and switched to his actual camera, and our note-taking was becoming a little erratic. We’d been at it for hours, but we’re troopers, so we powered through. Our beer-per-band strategy, however, had been derailed by the Nottingham group, who kept buying us drinks. I was starting to feel the effects.

The penultimate act was Nubian Twist, a genre-defying group blending Afrobeat, jazz, funk, and reggae. They’ve been around for over a decade and played as tightly as any band I’ve heard. The crowd loved it—hips shaking and salsa steps everywhere. Any of the bands could have headlined and sent everyone home happy. After dancing in the pit taking pictures I returned to the crowd.

The chants for the headliners were growing louder. The Nottingham crew had splintered off a bit—Kat and Will made a beeline for 'Favourite Thai', while Ant and I eyed it hungrily. The roadies for The K’s were buzzing around like bees, and it was obvious who they were, thanks to their branded T-shirts. Chris Hawkins was hyping the crowd, though it wasn’t really needed; the anticipation was palpable. I was getting excited too. It’s not often I get obsessed with a band, but The K’s had me hooked for months with their new album I Wonder If The World Knows. One of the tracks, Hoping Maybe, has become my new Walls by Kings of Leon—constantly on repeat in my head.

The sun was setting, the crowd chanting, beers spilling—mine included. Lesson learned: don’t put your pint on the ground in a packed crowd. With everyone closing in, the excitement was at fever pitch as The K’s were about to take the stage.

One of the group nudged me. "Aren’t you supposed to be covering this?"
"Oh, fuck," I muttered, realising I’d been swept up in the moment. I fast-tracked it to the pit.

It’s easy to get lost in the crowd. I barely made it to the pit when Ryan walked out with his guitar. The place erupted. Jamie swaggered on, one foot propped up on the monitor, surveying the scene with a wide grin. The K’s had arrived, and it was nothing short of glorious.

The sun was dipping below the horizon, and the festival’s lighting team had done a brilliant job of creating a spectacle that matched the band's anthemic bangers. It was like the stage had transformed into the musical equivalent of a beacon, drawing everyone in. I was burning through film, swapping between my Canon 750D and Pixel Pro 8 like Manchester United swaps managers. A voice in my head whispered, Sit down and listen.

I found a seat on the barrier and closed my eyes, letting the moment wash over me. The vibrations, the music, the crowd—it all sank into my bones. The lads were on top form, bantering with the audience and smashing out tracks like Chancer and Icarus. It felt like I was witnessing a band truly ascending to their rightful place in the indie-rock pantheon. Kings of indie rock? Maybe. At the very least, they’re potential heirs to that title.

Eventually, I battled my way through the crowd and found Ant. We were both eying up Favourite Thai next to the stage. Energy levels were dipping fast, and beer—while great—wasn’t exactly a sustainable fuel. Ant raised an eyebrow. "What about the band?"
"We can still hear them from in there," I replied, delirious from hunger.

We pushed through the doors, and the place was rammed, The K’s music still booming through the walls. Will and Kat had commandeered a table right in front of the window, which they graciously handed over. From our spot, I could still see the stage. Menus arrived quickly, and I scanned them, opting for See Krong Moo (pork ribs), Tom Yum Goong (spicy prawn soup), and Pad Talay (mixed seafood with basil leaves). Ant ordered something different, but I was too hungry to care. We did agree on a bottle of Pinot Noir, though I can’t remember the name—it was good, though.

As The K’s launched into another banger, I darted back outside with my camera for a few more shots before racing back to the table just as the ribs arrived. They disappeared in record time, and the other dishes soon followed. The food was amazing—seriously good, enough to warrant a separate review on NottsRocks. It was served quickly too; the chefs clearly knew their stuff.

The wine flowed, and with full stomachs, the tiredness began to set in. By this point, The K’s were rounding off their set with Hometown and then returning for an encore with Sarajevo. I ran out once more to capture the crowd’s wild energy. Everyone was euphoric, singing along to the chorus "Sarajevo, Sarajevo..." It was a magical moment.

As I returned to the table, head in hands, all I could say was, "Wow." I looked up, beaming. Grabbing my wine glass, I caught the server’s eye. I needed more. More of everything. But as much as I wanted to keep going, soaking in every last note, the day had already taken its toll.

As the main event wound down, the Sonic Boom vibes continued to ripple across Burton with plenty of afterparties and additional performances around town. For those lucky enough to have an invite, the VIP Aftershock at Harmless Market featured Jemma Johnson and Charlotte Bettson, with a surprise all-vinyl DJ set. Over at St Paul’s Church, Robert Vincent took the stage, supported by Craig Gould, while Burton’s Tower Brewery hosted Andy Crowe & The Eisen Family, The Ritz, and Electric Pets.

If you were looking for something a little different, Bar XV put on Burton Bass Live—a drum & bass and jungle night, and the Calm Yoga Studio saw the return of the Pick n Mix Silent Disco. Meanwhile, Burton Caribbean Association kept the party going with The Sakatella Band and DJ Chaka Finchos, bringing reggae, soca, and ska to the mix.

For some more intimate settings, the Olde Royal Oak had live performances from Tealdeer, Honor, and Slumclub , while Leopard Inn featured multi-instrumentalist Scrump doing what he does best. Lastly, Brews of the World offered acoustic sets from Maxwell Avenue, Emzae, and Myopia—an ideal way to round off the night for those still wanting more. All of these acts, along with the main stage artists, can be found on our curated Sonic Boom playlist.

We’re sorry we couldn’t make it to any of the above—we wanted to, believe me—but by then, we were genuinely spent. The music of Sonic Boom, and The K’s especially, will be echoing in my mind for a long, long time. Roll on next year.