Edinburgh Psych Fest 2025 review - eclectic and experimental

Now in its third year, Edinburgh Psych Fest returned to multiple venues in the old town and the city’s southside for 2025; namely Summerhall, Queen’s Hall, The Mash House and Sneaky Pete’s. Offering a day long feast of psych-tinged sounds, Manchester-based promoters Now Wave brought a mix of bigger names and lesser-known bands to these various stages.

Opening with a set from English experimental rockers The Moonlandingz, the band brought an irreverent humour to their set, with lead singer Lias Saoudi (who also fronts alt-rock group Fat White Family) joked that they had the "worst slot of the day". Given it was the only slot with zero clashes, one could argue the opposite, though the lunchtime crowd were a little more subdued than audiences for gigs later in the evening.

South London based Indie rock trio Honeyglaze were next up on the Queen’s Hall stage. Fronted by singer and guitarist Anouska Sokolow (pictured right), her deft guitar playing and ethereal, yet commanding vocals were captivating. Their latest single, Turn Out Right – a nostalgia tinted lilting ballad – was sung with warmth and sincerity, in what was one of the standout performances from the festival.

From the sublime to the ridiculous, Bristol Duo Getdown Services brought an unwavering dose of unrepented daftness to their Queen’s Hall set. Best friends for over 20 years, Josh Law and Ben Sadler have somehow managed to create a band out of their own private jokes, and while their oeuvre may not the most musically sophisticated it’s undeniably fun. With lyrics such as "God Bless M&S", and "everyone’s dressed like Doctor F***ing Who in Here" (both from tracks from their debut album Crisps) their relatable references to aspects of Brit culture clearly resonate with audiences as a reminder to find joy in the often-mundane realities of day-to-day life.

Across the road in Summerhall, the rapidly rising Swiss-born Berlin-based Indie songstress Anna Erhard gave a playful performance in the Dissection room of this former veterinary college, her quirky vocal musings perfectly pleasant, if not quite setting the stage alight. Onstage in the main hall, Horse Jumper of Love were given the headline slot, though sadly their live performance was a tad underwhelming compared to the Boston band’s recorded music.

Elsewhere, Edinburgh based post-punk outfit Bikini Body (pictured above) gave an electric performance at the Mash House, with lead singer Vicky Kavanagh bringing a magnetic stage presence. A band that’s quickly gaining a strong following, they packed out the small gig venue in the Mash House, and could definitely have filled a bigger space in what was for them a home-town gig. Bikini Body’s music is raw and punchy, channelling an angry and anarchic punk spirit. But it’s also tremendously well executed with tight rhythmic synchronicity, interesting harmonies and controlled, well delivered vocals.  Expect big things from this group – and try to catch them in small venues while you still can.

Location wise, it’s surprising that there aren’t more events in Edinburgh that straddle Summerhall and the Queen’s Hall given their proximity. Switching between the two is easy, allowing audiences to maximise times at bands they want to see. The other venues are just that wee bit farther away though that travelling to and fro while time is tight is a little awkward. Perhaps this just highlights the oft-bemoaned lack of small gig spaces in Edinburgh – though it was curious that for a larger venue, more of Summerhall’s spaces weren’t used.

The festival’s highlight was, unsurprisingly, headliner Nadine Shah (pictured above left). With her haunting, gravelly vocals, unique cross-genre blend and effortless cool, she’s a musician whose performances are routinely delivered with raw honesty and conviction, and which always sound fresh. Singing with a galvanising passion, this was an invigorating finish to this eclectic, experimental festival.

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