Sunday dawns and it’s always a bitter-sweet day; the promise of more great bands to come, but the last day of Rebellion for another year.
We start for the second day in a row at the Almost Acoustic stage, where Los Fastidios are doing a stripped-down set of their proudly anti-fascist Oi-ska! I missed their main set yesterday due to a clash with Diaz Brothers, so it’s a perfect start to today’s proceedings, as their music always leaves me feeling hopeful and positive.
Down in the Empress, Rat Hole are bringing their ’77-punk meets Bottom-style humour to the big stage. I’ve never heard them, and confess to being a bit bemused by it all.
We pop in to the Pavilion, which has again been handed over to non-profit promoter Loud Women for a day of female-fronted bands. I catch a few songs by Gaydar, a queer punk trio from Newcastle, who are OK, but I figure I can catch them nearer home sometime.
Time for something different, so it’s time for a sit down in the Opera House to watch Eastfield, whose jaunty urban rail-punk slips down nicely.
All too soon it’s time to press my increasingly-weary legs back into action, as we head down into the Arena to catch Convict Class. They’re an Australian oi! band who I first heard when they made their Rebellion debut two years ago, and I liked them a lot.
They recently released their second album, Not The Enemy (reviewed here), and it makes up the lion’s share of their 10-song set here. Highlights include Anger Management and Maximum Impact, and first album songs Wank Sock and Convict Class.
The number of Convict Class T-shirts I’ve seen this weekend suggests they’re a band very much on the rise, and the good news is I get to see them finish a short UK tour next weekend at a local venue.
Back to the Ballroom, where there’s been a change of plan. I was looking forward to seeing rising Boston hardcore outfit Haywire, who are making their Rebellion debut, but they’ve missed their flights, so a bit of rescheduling has taken place which sees them swap slots with Shanghai Treason.
The banjo-punk outfit from Sheffield can hardly believe their luck after being promoted to the main stage, and they give it everything they’ve got for their 45-minute slot, and probably win a few new fans who wandered in expecting to see Haywire.
Down in the Arena, Midlands band MC16 are on good form as they slam through a set of politically-charged ’77-style punk with a contemporary twist. I never get tired of seeing them, and it’s clear why when they got songs as good as Sleeping On Cardboard and United States of Generica. they’ve got a new album on the way too, and its lead single Standard Class, which has just been released, gets an airing here.
Back to the Ballroom, NYC hardcore legends Cro-Mags have pulled a big crowd. I’ve never seen them before, so am keen to stay, but they sound dreadful from my vantage point on the upstairs balcony, so after a few songs I give up. The sound in the Empress seems really variable this year, even when it’s full, but I’m not going to slag anyone off, as it must be a difficult job getting a good sound for so many different styles of band, especially when there’s only a 20-minute handover and little time to soundcheck properly.
Down in the Casbah the sound’s not much better for reformed ’80s Wigan band The Insane, but I do recognise El Salvador, one of the songs I wanted to hear, so it’s not all bad.
Staying in the Casbah, it’s time for Haywire to fill their scheduled slot, so we stay put, as we’re keen to see a band I only know from their recent split album with Dropkick Murphys.
They hit the stage like a hurricane, seemingly anxious to make up for lost time, and tear through a set largely taken from their only full-length album to date, 2024’s Conditioned For Demolition.
Songs like Poser Disposer and Boston Boot Boys (which becomes Blackpool Boot Boys) go down a storm with those in the wide moshpit which forms in front of the stage, and vocalist Austin (ex-The Chisel and Conservative Military Image) spends most of the set at the barrier sharing his mic with the crowd.
Haywire are one of the finds of the weekend so far, and go up even more in my estimation when they cover Razors In the Night by ’80s UK punks Blitz. Their energy is hugely impressive, and I hope they are invited back next year, as they were excellent.
How to follow that? Back to the Arena for Iconoclasts, a reformed ’80s band from Merseyside who I saw for the first time at Rebellion in 2023. Originally an all-female band, the five-piece now include one bloke, and they sound just as good as they did first time I saw them. Sadly, they still don’t seem to have any music to buy, which is a real shame.
The night is getting on, and it’s time to park ourselves back in the Empress for the last two big-hitters of the weekend. First up are The Dickies, who are one of those who have never gone away. Formed in 1977 in California, they were one of the first punk bands who caught my attention (with 1979 single Banana Splits, what else?) and their first two albums should be in any self-respecting punk fan’s collection.
The line-up still includes two original members, vocalist Leonard Graves Phillips and guitarist Stan Lee, and they power through an hour-long set of bubblegum punk which includes classics like You Drive Me Ape (You Big Gorilla), Gigantor, Paranoid and Eve Of Destruction. They celebrate their 50th anniversary next year, so what are the odds on them being back again in 2027?
It’s time for the last band of the night, and in cruel fashion the scheduling throws up the worst clash I’ve had in all my years of coming to Rebellion. Ruts DC are doing their full electric set in the Opera House, while Dirt Box Disco are headlining the Casbah, and they’re both bands I’d normally make a point of seeing.
Sadly, they’re up against Stiff Little Fingers, who’ve been my favourite band since I was 13, so it’s no contest really. We stay in the Ballroom and ditch plans to go down the front, as my back is knacking. We find a spot on the fence around the sound-desk, and I’m pleased to report that Fingers sound superb, but then they always do. Perhaps they’ve brought their own soundman, who knows how to work the acoustics of this room.
Whatever the case, the boys are on fire. They always bring their A-game to Rebellion, and tonight’s no different as they start with Tin Soldiers and Nobody’s Hero, and wheel out a greatest hits set. There are welcome returns for Walkin’ Dynamite and Back To Front (which sounds a little slow) and a new song, Raise Your Voice, which inspires their huge backdrop.
Their 70-minute set passes all too quickly, and before you know it we’re at the end with an exultant Alternative Ulster, with every word sang back at them by 3,000 people.
It’s a superb end to a wonderful 30th Rebellion festival, and a celebration of the 50th anniversary of punk. I’ve seen 13 bands today – four of them for the first time – giving me a weekend total of 68.
I know, that’s ridiculous, but it’s what I came here for, not to moan about the drinks prices, how hot it is, or even the sound in some rooms. I’ve made new friends, spent time with old ones, drank a few beers, and discovered lots of great new music, as well as enjoying some of my favourite bands. My ticket is already bought for 2027. Where else would I be on the first weekend in August?
Sunday’s 6 of the best (in no particular order): Los Fastidios acoustic + Convict Class + MC16 + Haywire + Iconoclasts + Stiff Little Fingers.
Rebellion Punk Music Festival 2026: Day One review – READ HERE
Rebellion Punk Music Festival 2026: Day Two review – READ HERE.
Rebellion Punk Music Festival 2026: Day Three review – READ HERE.
