The inaugural So Long, Good Friday Festival lands in the Baltic Triangle with real purpose, bringing a surge of energy back to an area that, over the last few years, has been missing it.
With Liverpool Sound City and Threshold Festival no longer holding court here, there’s been a noticeable gap and this feels like a direct response. The crowds are out early, the venues are busy, and there’s a genuine sense people want this to work. On first impressions, it already does.
Kicking things off at Camp and Furnace, East Exchange set the tone with a blast of 90s-inspired alt-rock. Drawing from the grit of Pearl Jam and Nirvana, their sound is loud, direct, and unapologetic. The frontman channels a clear Eddie Vedder energy, and for such an early slot, the turnout is strong. No easing into the day here, it starts at full volume.
Staying in the same space, Silverwingkiller flip the mood completely. Fast, industrial and slightly chaotic, their set leans into high-tempo intensity and a darker, more experimental edge. Fronted by Ni Yushang, whose striking, almost anime-like aesthetic contrasts sharply with the sound, they fully embrace being an acquired taste. It’s not built for everyone, but that’s exactly why it works.
Over at District Liverpool, Credits bring a different kind of warmth. Their layered harmonies and acoustic textures nod to the golden age of West Coast rock, with echoes of Crosby, Stills, Nash & Young and The Byrds, but with enough modern edge to keep it from drifting into nostalgia.
Back at Camp and Furnace, Monks deliver one of the standout moments of the day. The room is packed, the energy is relentless, and what unfolds is closer to a rave than a standard gig.
With a sound sitting somewhere between modern alt-electronic and underground club culture, and a visual style that feels like a collision between Sparks and Kraftwerk, it’s an absolutely astounding set. The crowd are going wild, fully immersed, and it’s obvious this is a band with a serious following.
Then come GANS, who take things to another level entirely. Already building a reputation for explosive live shows, they deliver a set that’s intense, unpredictable and impossible to ignore.
Their sound blends pounding electronics with raw, punk-driven energy, creating something that feels both chaotic and tightly controlled.
They bring moshing and crowd surfing back with a vengeance, turning the room into a surge of movement and noise. From start to finish, it’s a tour de force. Every moment lands, every shift hits, and the crowd are completely in their hands. It’s rare to see that level of control paired with that much chaos. One of the most exciting bands on the circuit right now, no question.
More than anything, though, this festival feels like a reset point. The Baltic Triangle is buzzing again, people are showing up for new music, and there’s a sense of something being rebuilt in real time. If this first outing is anything to go by, So Long, Good Friday Festival isn’t just a one-off, it’s the start of something that deserves to stick around.