Bracing ourselves for the penultimate day, Friday unfolded from glittery seafront sets into industrial electronica, shifting shades of alt-rock and hypnotic progressive psych.

Marking the beginning of our day down by the beach, we headed to Daltons to catch well-loved Brighton-based quintet SLAG, a true hallmark of the city’s grassroots music scene. Taking to the stage head-to-toe in sparkling silver sequins, the band opened their set with ‘Heaven’, one of their standout early releases. One of SLAG’s most striking qualities as a live band is their ability to balance heavy math-rock riffs and sparkly pop melodies alongside vulnerability and confidence, creating a performance that feels both intimate and commanding. Beyond frontwoman Amelie Gibson’s faultless vocals, she carries a shy yet deeply endearing stage presence, entrancing the crowd with maintained eye contact throughout. There’s a rare authenticity to her performance and any nerves totally disappear the moment she begins to sing. (IW)

After braving the ice-cold winds and intermittent rain, we made our way to The Oak in Kemptown to catch a secret set from SILVERWINGKILLER, an electronic punk and industrial duo hailing from Manchester, formed by Yushang and James Bacaduo. There are few ways to describe a performance quite as unique as SILVERWINGKILLER’s; somehow managing to bring warehouse-rave intensity to a 4pm pub set. Their sound fused distorted electronics, industrial beats and punk energy into something completely transcendent. It was impossible to take our eyes off frontwoman Yushang as she danced and launched herself around the stage without any apprehension, transforming the set into something that felt more like immersive performance art than a conventional gig. Maintaining an energy unlike anything else across the weekend, the duo constantly bounced off one another, feeding into the chaos and intensity of the set. (IW)

We stayed at The Oak for Brighton’s Francis Pig. Frontwoman Alana Paradise has become an increasingly magnetic performer, spending much of the set clambering through the audience and across the bartop in towering red patent thigh-high stiletto boots whilst the band behind her remained completely unfazed, driving the set forward through spacious percussion, rolling no-wave basslines and attacking guitars. New material leaned further into rock’n’roll influences without losing the sexy, strange and distinctly 'piggie' atmosphere they’ve cultivated over the past few years. There’s nobody else in Brighton making music like this. (MS)

A blue haze filled One Church as Compost Compost Compost’s huge bass frequencies reverberated through the floorboards beneath delicate vocals and slow-burning acoustic-electronic arrangements. There was no between-song chatter or interruptions, just a steady descent into their world. Traces of Radiohead and Jeff Buckley surfaced without feeling derivative. Instead, the band seemed to be carving out their own strain of atmospheric indie rock: emotionally raw yet meticulously constructed, with delay-drenched vocals and towering low-end textures leaving the audience suspended somewhere between trance and release. (MS)

Over at The World’s End unofficial showcase, Windhover (formerly Shady Baby) leaned fully into the more mature and expansive direction hinted at since the name change. Their newer material pushes further into alternative rock territory; bigger, sharper and more direct without losing the melodic instinct that defined their earlier work. A reworked version of debut single ‘Come To Life’ introduced a more anthemic, Britpop-leaning edge, whilst closer ‘A Simple Life’ saw Sam Leaver’s vocals soar into a near-shout above driving guitars and crashing cymbals, cutting through the pub’s Saturday afternoon drinkers in a snarling crescendo. (MS)

Forming as one of the first electronic acts to gain recognition in the recent Brixton circuit, PVA played to a full room at an official Great Escape show in Quarters on the seafront on Friday night. A trio concentrating on rhythmic sounds, with no guitar present for most of their set, a relentless heartbeat continues throughout drawing on a robotic yet emotive sound. Ella Harris’ lead vocals are understated and spoken with a purpose. Large amounts of space are left within the music for the audience to find the groove, and Harris’ vocals provided the finishing thematic touches. A shimmering and calculated approach to industrial music, atmosphere during the set is placed above all else, marking an uplifted and radiant show to those in attendance. (DC)

After being energised by PVA’s buoyant set, we made our way to the Water Bear Music Venue, to see Call Me Franco’s official show. More akin to a bunker than a music venue, Call Me Franco had a packed set on an intimate stage. Entirely instrumental and only saying a select few words during their sets, Call Me Franco soar as Brighton’s premier progressive psychedelic rock act, with influences spanning Krautrock and Jazz. Frantic chords clash and are looped in order to make a trance of dance-like music. Another three-piece including guitar, bass, drums (and an occasional flute), the audience reacted particularly well to their time signature changes and woven set. Leaving their gig felt like a release of pent-up energy, their swopping and somewhat tense sound building to their crescendo. (DC)

More coming soon.