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May 28, 2026 By Elliot Graves & Luna Cook Photography by Dan Sillitoe (all except Bloodworm - Damian Lowe) Web Exclusive

Dot To Dot is Nottingham’s finest multi-venue day festival. The annual May Bank Holiday Sunday came around quickly, with a varied storm of artists, showcasing Midlands acts alongside bands from across the world, sometimes feeling like a treasure hunt to be in the right place at the right time.

Bloodworm

Opening Dot To Dot on the Rock City main stage was Nottingham’s own: Bloodworm. The Gothic-three-piece seamlessly blends heavy jangly guitar riffs with post-punk inspirations. Consistently bringing out well-produced material, their whole set holds an attentive, bustling Rock City floor. Bloodworm rose beyond local fame earlier this year, being handpicked by Suede to support them on their sold-out tour, for their biggest shows to date. Their recent Debut EP Blood & Lust has received critical acclaim and has introduced them to a well-deserved larger crowd. They are due to play a string of different summer shows and festivals, recently having announced their biggest ever hometown show at sister venue Rescue Rooms for Halloween this year, it’s sure to be a sell-out!

Their set blends modern Goth inspiration with the Post-Punk sound of bands like The Chameleons and The Sound, always inviting the crowd into an atmosphere that hasn’t been tapped into the local scene in recent years. After their recent UK tour headline show, they sound tighter than ever. Their sound bounced through the atmosphere at Rock City, and the crowd was in awe. Songs like “Bloodlust” and “Back Of A Hand” show their dynamic excellence. Drummer Euan Stevens’ piercingly tight drum fills accentuated the song’s, while Lead Guitarist and Singer George Curtis delivered hauntingly mellow vocals, fusing them with jangling, cohesive guitar riffs. Bassist Chris Walker enlists chugging and driving basslines that pack out the low end. Always moody and atmospheric, the band are on upwards trajectories, not to be missed.

Green Star

As I shuffled through the buzzing city centre to catch the next act of the day, the London-based Trio Green Star at Rough Trade was a noisy and dreamy treat. The band is consistent in mastering their sound of elegantly swirling guitars and dynamically hypnotic soundscapes. Having seen them a couple of times last year, they don’t disappoint with walls of brooding and heavy riffs. Often compared to acts such as LSD and The Search For God and Sonic Youth, the main three-piece has been active since early 2024 and have been a popular act in the UK and London independent gig circuit.

Their set was full of tightly sewn dynamics between the rhythm section and subtly layered harmonised vocals with brooding guitar soundscapes. Ambient sounds of intermission, consisting of intriguing spoken-word quotes between tuning, really help encapsulate the moody, dark atmosphere that the band thrives on. As the set progressed, they smoothed their stoic onstage persona with a hypnotic blend of rough-edged guitar noise-pop.

Drifting deeper into the set, all three core members had differing moments taking over the lead vocal, each executed with a moody coolness. Bassist Lilah Bobak harmonised the most with Guitarists Alberto de Torre and Pedro Soler, complementing their musical landscape with calm but gloomy vocals. Although their touring drummer and studio drummer haven’t been permanent since their inception, the live sound has come together tightly; nevertheless, they seemed comfortable on stage. Their instrumental energy engaged with the packed-out stage floor.

Rocket

LA-based Indie-Grunge band Rocket took to the main stage at Rock City for their debut in Nottingham. The Los Angeles quartet delivered a feedback-induced set full of grungey guitar tones and piercing lead vocals. Consisting of four childhood friends, the band formed in response to the 2021 pandemic lockdowns. In a matter of five years, they have received great acclaim and popularity from their recent studio releases. Their name was inspired by “Rocket”, the third track on the 1993 album Siamese Dream by The Smashing Pumpkins, with whom they toured in 2025.

Hearing the 90s grunge influence in their live sound was refreshing, with the guitarists often turning around to produce grippingly piercing feedback. The crowd were all extremely into each song, bobbing their heads and swaying to the highly passionate live show. Their crowd was a multi-generational mix of older generations for the authentic shoegaze sound and younger Gen-Z for their mix of indie and shoegaze. With a welcoming atmosphere during the whole set, their polished musicianship glistened through on songs such as “Wide Awake” and “Take your aim”. Their ego-free set made a statement that they’re just beginning and definitely going to the top anytime soon.

Little Grandad

On the Rescue Rooms’ main stage, just next door, Little Grandad triumphed with an Alt-Country folk virtuosic performance. Even though they only have one double A-sided debut single, which was released this May, it felt like they had been together for years. Blending chaotically soft live energy with a classic 90s alt-country sound, their tender musicianship shined through their set. They have noteworthy songwriting ideas and an intriguing mixture of inspirations from many diverse genres, from indie pop to early emo-style vocal lines; they’re on the way to becoming a distinguished act. The vocals on their only current release, double A-side “Sleepwalking/Unmasked”, were truly beautiful, blending seamless harmonies hand in hand with thoughtful instrumentation.

They have been generating a lot of recent talk within the industry, selling out grassroots venues wherever they go, packing out rooms at festivals and becoming a favourite by Lamacq on BBC Radio 6. Some criticism tends to come from the fact that they fit too many genres into one set, which makes their sound seem less put-together. I can partially see where some critics might get this idea from, but it was an enjoyable mix of genres that showcased their songwriting excellence. Definitely worth seeing and following for future releases.

Adult DVD

Wow. Adult DVD never fails to pack a punch with their live performances, as they took to the main stage at Rock City, filling the two thousand people capacity of the venue. The crowd was bubbling with excitement; it felt like the whole festival was in the room, itching with anticipation to see this band on the cusp of elevating to the next level. The Rock City stage was full, with different gear all plotted around. As soon as the breathless room heard the first song, everyone broke into an instant party, screaming and hollering.

The Leeds six-piece had the crowd enticed in dance from start to finish, with lead singer Harry Hanson commanding the crowd to start moving. The usual moshpit forming near the front, jumping nonstop and dancing along. Even the people leaning on the upstairs balcony were bouncing and bobbing from note to note. A roar of whistling and clapping accompanied every song; the natural enjoyability was through the roof. Drummer Jonathan Newell directed everyone to start clapping along, and the room began instantly with the simple directive of percussion.

Songs such as “Do Something” and “Real Tree Lee” were highlights of the set. You could just make out small amounts of people chanting ”Do Something” during the chorus. I predict that by next year, everyone in the room will be singing along. The mixed-age demographic was nicely disparate, from teenagers to adults in their fifties; the whole crowd was in a state of pure harmonious bliss.

Mouth Ulcers

London-based Post-Punk Goth band Mouth Ulcers showcased a spectrally Gothic atmosphere with a dark vampiric sound at the Metronome. Often being said to channel goth bands Clan Of Xymox and Twin Tribes with a modern twist, this modern-age Goth sound Mouth Ulcers have crafted, shows that the Goth genre can be developed further forty years on. Resonating lead and rhythm guitars, tribal percussion, moping basslines and vampiric baritone vocals. The gothic instrumentation complements their overall dark aesthetic beautifully. All of the members look like they’ve stepped out of the eighties goth scene, some with black messy eyeliner, some shaggy hair, mostly wearing dark black silhouetted clothes, very aesthetically fitting to not only their music but to each other as well.

The quartet revelled in the darkness of the low-lit venue, their instrumentation felt immediate and alive, with the drummer, David Zbirka, standing out, polishing and pulsating driving drum beats throughout the set. Complementing their music, their onstage presence was strong and almost intimidating; the slow and steady crowd swayed along in a trance. Everyone in the room was transfixed on the members. Almost to break the moody onstage persona, the lead singer, Zak Watson, suddenly jumped offstage into the crowd, singing with a fierce intensity as the song naturally started to build and build. Thanking the crowd for a roar of applause throughout the set, they stepped offstage with an introverted aura.

Dura Mater

Previously formed in Nottingham but now based in South London, they have always produced a chaotically genre-bending live show. Their set at the Angel upstairs was a wild showcase of their provocative sound. They have a powerful onstage presence, creating quite a maximalist edge to their presence. The crowd interactions were ongoing with the band, a cowbell and other acoustic percussion being handed amongst the chaotic community in the crowd. Dura Mater has always had a reputation for being a wildly unpredictable genre-fluid collective, and this set showcased it perfectly. Blending jazz basslines, saxophones, an avant-garde riffing violin, synth layering and drums driving the backbone. Always avoiding traditional rock instrumentation, they turn it into something new. Frontman and Bassist Benjamin Preston has a sassy demeanour whilst performing, the whole band getting more and more passionately into the music. Preston sang spoken word with an aggressive undertone, then boom the synth fell off the stand, which didn’t seem out of place for their eclectic onstage nature. The whole crowd applauded and stayed completely enamoured. Theatre at its best!

Fcukers

New York dance-punk duo Fcukers expressed a pulse-pounding live set at The Palais, delivering a sweaty, enthralling live experience. Although Fcukers are officially a duo at their core, consisting of Lead Vocalist Shanny Wise, Jackson Walker Lewis on Bass/Synths and production. Their live lineup also consists of Rhythm Luna on Drums and Luka Mrvic on DJ/Scratch Maestro. Globally touring their debut album Ö, released in late March, they have gained worldwide attention, surpassing millions of streams on their new release. In recent times, they’ve been lumped in with the whole Indie Sleaze revival and the electroclash interest in the current musical sphere.

The two thousand five hundred capacity venue was fully packed out, shoulder to shoulder with people cramming together in every corner of the club. The Palais celebrated its one-hundredth birthday last year and has a rich history, being the cornerstone of the city’s nightlife, a perfect atmosphere for the 2am club aesthetic the band thrives in.

Standout songs such as “if you wanna party, come over to my house” and “i like it like that” had the whole crowd moving along with their hands up in the air, screaming the lyrics in unison. I could literally feel the floor moving from the amount of jumping and dancing!

Live acoustic drummer Rhythm Luna drove the electronic instrumentation, which added a fullness to the groove of the set. The electronic basslines and synthesisers blended artfully together, giving an organic wallop of depth that’s hard to master. Frontwoman Shanny Wise’s vocals whispered nonchalantly into the mix, cruising over the drums. It was hard to make out how live the smoothed vocal actually was, but nevertheless, the room loved every song, Wise strutting around the stage, feeding off the crowd’s spirit.

Bleech 9:3

As Dot To Dot came to a close, Irish rockers Bleech 9:3 at Rescue Rooms supplied a well-deserved send off. Pronounced as one of the most poignant acts from Ireland’s booming alternative scene, on the cusp of stardom, the chaotically emotional and gripping set showed their raw live aura. As I arrived ten minutes before the start of the set, the room was wall-to-wall, reeking with anticipation. Songs like “Jacky” and “Cannonball” flaunted their use of crushing guitars and flailing energy. Dynamic songwriting stirred each song, giving a sense of momentum that fired up the room as the songs developed. The stage revealed a heavy strobed light show for “Lowboy”, a pinkish backdrop to the sombre stage. Barry “Baz” Quinlan’s lead vocals were subtly reminiscent of Morphine’s Mark Sandman, full of a nostalgic sensitivity that gave an emotional energy to the song’s roaring guitars. What a way to end the day, Dot To Dot is on its own wavelength.