As the summer festival season closes out and the autumn months begin, us live music fans turn our attentions to the indoor festival season, which over the years has steadily grown. The end of September signals the arrival of one of the first of the season, and certainly one of the best, and that is NWOCR Livefest at KK’s Steel Mill in Wolverhampton.

Having been born out of a reaction to certain festival promoters not paying bands, Livefest is now 4 years old and getting bigger and better with each passing year. This 2025 edition saw the strongest line up yet and this was reflected in the fact there were more people than ever enjoying the music in this most excellent of venues.

Events like this provide the perfect opportunity to catch new music and bands as well as catch up with friends from around the country and of course, make new friends. So, it was with a high level of anticipation that your scribe headed to Wolverhampton for the weekend.

At this point I will offer my usual disclaimer in that I was the sole reviewer of the weekend for ERB. Over the course of the weekend, I did not get to see all the bands due to a need to get a bite to eat!

Over recent years it seems that if you want to find a new band and new music the first place to look is South Wales and again this rule seemed to apply as the weekend started with another band from that area. Yaki Dah bought a fresh-faced energy that was just right as the opening band. With songs that had a punky edge to them, with an occasional veer in stoner territory, they very quickly had the energy levels in the room raised. The band are also very engaging with an unaffected, self-depreciating, air to them, especially when introducing the song about their hometown, 16 Miles To Merthyr. A real stand out track for me, which I don’t think has been released yet, was Sycamore. This track has a superb groove with had mine, and many others, heads nodding in appreciation. This was mission accomplished for the band with many new fans gained and a great start to the weekend.

I have seen Shape Of Water a few times over the past couple of years but always in quite small venues and they had never really clicked with me. This was the set where that all changed. Here in a much bigger venue the bands huge experimental art / alt rock was able to fully expand and be appreciated as it filled the space with their huge soaring melodies and the glorious musicianship of Rox and Luca. Throughout their set, Shape Of Water also used the huge video screen backdrop to superb effect, with stunning visuals which complimented and added a further dimension to their sound. Their set was a mix of older tracks and some from their stunning recently released album Petrichor. Their final track. Silence of The Lambs, left the audience aghast at its quality, and this was one of those definite occasions where the crowd, and myself, would have loved a much longer set.

From the frustrating demise of Twister, Juliet’s Not Dead have risen like a phoenix. The band carry forward the former’s high energy hard rock with that little bit of a sleaze vibe added in. You could sense just how much it meant to Stevie and the band to be back on a stage such as this and they delivered a set full of hook laden songs. Songs like Thrillseeker and Battle Scarred really hit the mark with Fist Fight carrying a real punch. The number of the bands T-shirts that were in evidence after their set illustrated how the NWOCR crowd took to them.

I only caught the last 2 songs of The City Kids but this short engagement was still worthwhile as I thoroughly enjoyed their NYC sleazy punk vibe. Filth is fantastic toe tapping, singalong anthem. I can imagine a whiskey fueled night with these guys on a small stage being an awesome time.

Next up was Austin Gold and all of a sudden, the proportion of ladies down the front dramatically increased. Yes, David James Smith is a very good-looking fella but he, and the rest of the band, can deliver some of the very best modern classic rock. This was an incredibly high-quality set with powerhouse tracks like Hell Or High Water and The Wire Defines’ from last years Ain’t No Saint album hitting the audience with some cracking ‘80s feeling hooks and backing vocal melodies. It really put me in mind of one of the great bands of the era…Dokken. With older tracks like We Are Lightning still sounding fresh and exciting Austin Gold will remain live favourites for a long time to come.

With all the bands so far during the day had really bringing the energy, the NWOCR team gave us chance to catch our breath a bit with Troy Redfern. The kohl eyed, slide guitar maestro, is so wonderfully versatile. Equally at home at a straight up blues festival as he is here, turning it up for a more rock orientated show, you know you are going to be entertained. This was the first time I had seen Troy perform as a two piece, with just a percussionist for accompaniment, but the set lost nothing for that. The 30 or so minutes set was crammed full of hip shaking, dirty, down tuned, grungy blues with Troy’s voice as saw blade edged as his guitar playing, especially on tracks like Waiting For Your Love and Come On.

As the summer’s headline set at Maid of Stone showed, Empyre have grown into a band that look utterly at home on larger stages such as this. Here again, they delivered a masterful set drawing on the brilliance of the Relentless and Self Aware albums. There is no other band that can take your emotions through such a rollercoaster as you join in at the top of your lungs to Waking Light. You follow the band to the crescendo that is Homegrown and absorb the pained strains ofRelentless. The depth of the band’s playing and Henrik’s vocals elevate the songs to a higher plain but the bands light hearted interactions with the crowd provide the light to the shade. There was an unexpected interlude to the set for, of all things, a marriage proposal. NWOCR’s own Peter Rattray, decided that “with his favourite band playing and in front of 400 or so friends”, this was the perfect time to propose to his partner Chris. Now, Chris made Peter wait, but to huge cheers she agreed. I’m not sure what Peter will have to do wedding wise to top this but that’s a problem for another day. Empyre returned to the stage to kill any feelings of good will as only they can. They closed out with the new untitled track Phoney and the imperious New Republic, deserving of every single one of the “boooooo’s” that rang out around the venue.

A Saturday night in the company of These Wicked Rivers is always going to be the best of times and again this was no exception. Such is the band’s popularity, especially here at KK’s, they were greeted like returning heroes. With John commanding centre stage and Aaron high kicking they launched into Force Of Nature, which is what this band have now become. They are a band whose sum is genuinely greater than its individual parts as they complement each other so well. The sing-along Black Gold had everybody moving and Evergreen made sure every person in the room was moving in time. When The War Is Won followed and is my own personal favorite and a song I will never tire of. After each song the magnitude of the response and love from the crowd seemed to genuinely take the band by surprise, lifting them to another level as the stunning sounds of classics like Riverboat Man, Testify and Shine On filled the room. The day came to an all to soon close as Aaron pulled on his truly exquisite double necked guitar and John howled out Don’t Pray For Me. These Wicked Rivers delivered exactly the kind of set that you want at the end of a long day of drinks and music, and everybody headed to their beds, or The Giffard Arms, in the highest of spirits.

So a sunny Sunday dawned to a multitude of hangovers and people in need of something to pick them up. NWOCR deliver exactly that is the form of White Tyger. I had seen the band a couple of times previously as the after-hours party covers band at FireVolt Festival and it was great to see them have the chance to play their own set of songs. This a band that hit you right between the eyes with their sleazy, ‘80s glam rock inspired vibe with bassist Michael having his guitar slung lower than a politician’s morals. With songs like Drown and Vanilla Circus and the raucous closer of No F**ks Given they had everybody wide awake.

I had had the pleasure of seeing Leadfeather earlier in the year at Maid of Stone so I was very much looking forward to seeing them again. It is impossible to believe that the band have played so few shows together when you see just how tight they are. Vocalist Apostolos L had a few technical difficulties to start but these were soon overcome and his huge voice was soon soaring over tracks including Silver Train and Higher. Their early ‘70s classic rock feel continued guitarist Simon exuding echoes of Stevie Ray Vaughan and even introducing a theremin into the sound. Always a plus in my book. The new track Shoot For The Stars elicited the quote of the weekend from a friend who stated that “it would go straight into their ‘shagging in the back of the car’ playlist”. Make of that what you will. Finishing off with blistering renditions of Roll The Dice and Troubled Man the band earned the accolade of passing the T-shirt test. With new material in the process of being recorded for release next year, 2026 will be a fine time for Leadfeather and their growing band of fans.

Unfortunately, Gone Savage were the band that I missed due to needing to refuel so it was as Ashley Sherlock took to the stage that I returned. Ashley and his band were suffering badly with flu so it was a real credit to them that they produced such a fine performance. Ashley has carved out a name for himself as an exceptional blues guitarist and his touch and feel were very much in evidence as the band eased through delights such as Trouble, Time and Alive. Such is his musical prowess it can be very easily overlooked just how good Ashley’s voice is, even when he’s not 100%. The set closed out with a mellowed down version of the Neil Young classic Like A Hurricane which had those assembled showing their appreciation.

At this point of a Sunday, you need something of a pick me up and the German / Aussie thermo-nuclear explosion of energy that is Sweet Electric delivered that much needed shock to the system. Over the course of the next 30 minutes or so the band covered every inch of the stage as they delivered their own brand of AC/DC-esque party anthems. Frontman Brad Marr, resplendent in a gold sequined jacket, constantly bounded about the stage like demented jack rabbit swilling a pint. I think over the course of the weekend there were more people dancing to Sweet Electric than at any other time. Latest single A Feel Good Love Song had everybody singing along to the final parts and Party Rock Anthem, with the Rocket Queen dancers on stage, was a glorious feel good slice of disco-rock kitsch. Sweet Electric left us breathless and wanting more as they finished with the cowbell driven Hard Times and the promise of coming back next year and every year thereafter.

I think I can say, without fear of contradiction, that the most original band on the scene at the moment is Ward XVI. The band have recently released their new album ID3NTITY, which is the stunning conclusion to the tale of Psychoberrie. For me this was the performance of the weekend I really wanted to see. The stage and props were set on stage and gave clues to the madness to follow. Into The Wilderness is as dark and brooding song as you will encounter and Macaberet’s musical magnificence is heightened to an unbelievable level by the visuals and theatrics. I really don’t want to put too many spoilers out there as you should go and see the full show during Ward XVI’s 14 date October tour but suffice to say it is visually compelling, disturbing and strangely erotic in places too. The villians of this tale 10 years in the telling get their comeuppance and the sight of the weekend was Psychoberrie stood astride the stage holding up Nurse Betty severed head as a trophy. Whilst all this is going on it could be all too easy to overlook just how amazing the songs are in themselves. This a group of incredibly talented musicians. The Doktor’s guitar playing is a complex as it is understated and Psychoberrie has a voice that can leave you weeping just easily as it can flay you. I for one cannot wait to step into the madness again later this month.

With the previous two bands having scorched the stage The Karma Effect really needed to be on top form and, as with any other time I have seen them, that is exactly what they were. This was the first time seeing the band since the significant lineup changes. The fact the band are back sounding stronger than ever, after changing 3 out of 5 members, is a real credit to them and the hard work that must have gone on in the rehearsal rooms. New bassist Nate Keevil provides a further visual focus to the band, which has enhanced the performance. As always it is the twin guitars of Henry and Robbie that draw the focus as favorites like All Night Long, Doubt She’s Coming Back and The River were lapped up by the crowd. In the relatively short time of the band’s existence Henry’s voice has become recognised as being stand out and it is on Testify where this is never more evident. The Karma Effect were another band that indicated that there would be new material released in 2026 so we can expect to see many more high caliber festival performances in the future.

Closing out an event like this is always a tough ask as many people may have had to head home and those still in attendance are by now jaded. That said, Cats In Space, made a tremendously enjoyable 90 minutes fly by. The band are a time machine that will transport you back to the golden era of the 1970s and early 1980s with grandiose keyboards, multi layered backing vocals and virtuoso guitar playing. All the members of Cats In Space have clocked up years of stagecraft and experience and seeing them live is like watching six master craftsmen create a perfect timepiece. Songs like My Father’s Eyes and Jupiter Calling are timeless and Greatest Story Never Told is arena rock in the top echelon. Those of us that stayed right to the end were most definitely rewarded for our endurance.

The closing words must go to Peter Rattray, Richard Brindley and the other members of the NWOCR team for curating such an amazing weekend of music. We fans must remember that these guys do this for the love of the music, not for profit, and for this they must be commended. Without such people we music fans would lead much more boring lives. Further big ‘Thank Yous’ must go to Nigel Poole and his incredibly hard working volunteer stage team who had everything running so smoothly and Rich Tice and all at KK’s Steel Mill for providing us with the very best sound, visuals and pyro throughout the weekend along with a safe and welcoming environment. You guys set the template for how a venue should be organised and run.

From the stage, Richard Brindley, confirmed there will be a Livefest 5 on the 26^th-27^th September 2026. Early bird tickets are on sale now for the incredible value of £45 for the weekend. Having now read just how good a weekend it is, why on earth would you want to risk that much FOMO!