In the city centre of Amsterdam the second edition of Pretty Pissed Festival kicked off quietly at Café MILK with Tra Fasi, a looped video documentary by Charity Charly. Though the sound was off, the powerful imagery spoke volumes, showing the pulse of Suriname’s underground punk culture. The accompanying photos on the wall enriched the narrative, spotlighting the blend, full of skaters, DIY shows, and raw energy, in Paramaribo’s punk scene. Charly, a self-taught filmmaker, captures both the resilience and raw spirit of a movement born in the margins, making her work a heartfelt ode to unfiltered expression.
After an hour the venue filled up considerably and things got moving in the UP room with REDD., an Australian act mixing punk, hip-hop, and emo pop. At first, the crowd stood back, perhaps a little intimidated by the close proximity between the artist and crowd, but once the Australian artist asked people to move forward, the vibe began to shift. By the third song, the audience was moving, bobbing, swaying and even jumping. REDD. made sure to interact, pointing and singing directly to the hyped-up crowd. During ‘Bad Days’ and ‘Messy’ things got rowdier as everyone was clapping along to the bridges of the songs. REDD. is currently on a mini European tour, and it’s clear that their raw sound and engaging stage presence are winning over fans fast.
Then came GANS, a thunderous two-piece from Birmingham made up of drummer Euan Woodman and bassist/guitarist Tom Rhodes. From the start of the show the crowd felt larger as solo visitors seemed to be bonding and chatting while groups buzzed with anticipation. During their second song, Tom threw himself straight into the crowd to tease a mosh pit, and from there, the energy erupted. With their heavy, bone-rattling sound and lyrics rooted in themes of love, hate, and existential struggle, GANS proved how much power two people can generate and the crowd responded with heavy movement.
The night hit a frenzy when Heavy Lungs took the stage. The room was so packed that security had to let people in on a one-out-one-in basis. The mosh pits were non-stop, and the energy never dipped. Formed in Bristol in 2017 by bassist James Minchall and vocalist Danny Nedelko (yes from the song by IDLES), Heavy Lungs brought a full-blast noise rock set with support from guitarist Oliver Southgate and drummer George Garratt. With the release of their debut album All Gas No Brakes in 2023 and their follow-up Caviar just out in April 2025, the band showed they are in peak form, tight, thunderous, and unapologetically loud.
In the room downstairs, Bilk, a trio from Chelmsford, Essex consisting of lead vocalist and guitarist Sol Abrahams, bassist Luke Hare, and drummer Harry Gray, delivered a high-octane set to a seemingly younger, equally fired-up crowd. Every song had the mosh pit moving, and during ‘Spikes’, a girl even jumped off the stage to crowd surf. Probably earning Sol’s approval, as pre-show he clearly remembered a quieter gig the night before in The Hague, making it clear he didn’t want a repeat of that. Alas the high energy these guys evoked was completely tolerated at Melkweg.Funnily, the band got banned from all Rough Trade venues for the same energy during a magazine signing session last year at Rough Trades West. Their sound is a fusion of indie rock, rap, and punk – with an “we don’t care what you think of us” attitude. After their self-titled debut in 2023, they dropped Essex, Drugs And Rock And Roll earlier this year, and show they are unfazed by the chaos they bring to Pretty Pissed.
KEG brought a different flavor. A seven-member band with a focus on musicianship and complexity, their style leans more rock than punk. The crowd, absorbing rather than moshing, seemingly enjoying the calm before the storm. Formed in 2019,their blend of post-punk, barbed guitars, offbeat synths, and even trombone made for a layered, intricate set. There isn’t much to say as their tight transitions and seamless songwriting, easily draw you into their set.
Vocalist Tom Rowan, drummer Jenna Nimmo, guitarist Angus Husbands, and bassist Aidan Bowskill, didn’t let the crowd rest. SOAPBOX hit the stage with unfiltered energy. If the crowd weren’t headbanging, they were moshing. Tom jumped in and out of the crowd, encouraging participation in the mosh pit without diving in himself. One crowd surfer wasn’t caught, but that didn’t kill the momentum. Formed in 2022 in Glasgow, the band channeled gritty chaos, sarcastic charm, and pure punk fury with a sound that felt like a punch in the gut – in the best way. This buzzing sensation once again led to the early closing of the smallest room in the venue, but that did not crush spirits as downstairs the room was equally elevated for The Oozes.
The London band The Oozes, bringing unapologetic queer punk energy, are fronted by Tom Gilbert and Olly Chrich on drums. Their set was sweaty, chaotic, and electric. Tom, dressed in fishnet tights, a cropped top, and clown-like makeup, was a force to watch. Every move was big, every face he pulled packed with feeling. It wasn’t just a concert, it was a full-on experience. Their set mixed loud, raw music with real messages about identity, resistance, and standing up for what you believe in. Even when a crowd surfer had a slightly rough start, or moshers hit the ground, it didn’t break the energy. By encouragement of the band to look out for each other, the seemingly young crowd raged on and clearly loved every second of it.
The Canadian artist, Khyree Zienty, known as ekkstacy, brought a moodier set with pop-infused punk rock. As soon as his set started, fans were chanting his name through the venue. His charisma instantly had the crowd pumped and after the second song, more mosh pits formed while a crowd surfer joined the chaos. His latest album, Forever, dropped this year, focusing on the emotional weight drawn from the artist’s personal experiences. The intensity of his lyrics clearly resonated with some fans as they embraced each other and swayed to some of the softer, slower, melancholic ballads. From post-punk to indie rock to gothic textures, ekkstacy’s sound felt like the festival’s emotional core.
With the last acts of the night in tow it was time for SNAYX. The Brighton based band, took the already high energy and turned it up another level. Made up of Vocalist and guitarist Charlie Herridge, Bassist Ollie Horner, and drummer Elaina “Lainey” Loops, the band laid down riff-heavy punk infused with alt-rock influences. With every song SNAYX played, more pits opened, more bodies flew over the crowd. It was loud, fast, and impossible to stand still to. Their lyrics hit hard, tackling themes like rebellion, inequality, and frustration, with both rage and rhythm. Frontman Charlie delivered each line like a punch, backed by Ollie’s pounding bass and Lainey’s relentless drumming. Their latest EP, Better Days, dropped in 2024, and live on stage, those tracks came to life with even more bite. SNAYX didn’t just play their songs—they attacked them, and the crowd gave it right back showing exactly why they’re one of the UK’s most exciting underground acts.
ENOLA GAY took the stage like a force of nature, unleashing their signature wall-of-sound chaos that hit the crowd like a tidal wave. Frontman Fionn Reilly wasn’t content with just belting lyrics. He threw himself into the action, literally, by joining the crowd surfers near the end of the set. Alongside guitarist Joe McVeigh, the band delivered an onslaught of piercing riffs, thunderous bass, and tightly controlled yet explosive rhythms. What really pushed the atmosphere into overdrive was the intense green lighting that drenched the entire space, making everything feel claustrophobic and feverish. A perfect match for the band’s overwhelming sound. It wasn’t just loud; it was suffocating in the best way, with vocals, guitar, and bass layered and distorted until they felt like another instrument in the mix. Since forming in 2019, ENOLA GAY have been chasing the title of Belfast’s loudest band, and their set at Pretty Pissed proved they’re not just loud, they’re unstoppable.
Finally, Soft Play brought the night to an explosive close. Isaac Holman, pounding the drums and delivering vocals with raw grit, and Laurie Vincent on guitar and backing vocals, channeled a wild, unfiltered punk energy that surged through the packed venue. From the moment they launched into their set, it was clear the duo wasn’t just performing—they were detonating every expectation. The crowd was a sweaty, swirling sea of bodies. At one point, a fan, mid-crowdsurf, was handed a beer from the balcony and proceeded to give themselves a celebratory beer shower, perfectly summing up the chaotic joy of the night. During ‘Girlfight’ female identifying fans were rallied for a women-only mosh pit, a powerful moment of both release and solidarity in the middle of the frenzy. Between songs, Holman took time to thank the crowd, even pausing to help someone retrieve a lost phone, reminders that beneath the frenzy, the band remains sharply in tune with their audience. After renaming themselves in 2022, stepping away from the problematic legacy of their original name, and dropping their latest album Heavy Jelly in July 2024, Soft Play returned not only with a fresh start, but with a heavier, cheekier, and more defiant edge than ever before. Their set felt like both a riot and a reunion: messy, meaningful, and unforgettable.
And with night nearly turning into morning the second edition of Pretty Pissed Festival left its mark. Not just as a night of loud, sweaty mayhem, but as a full-body celebration of identity, rebellion, and raw musical power. Whether it was a lone crowdsurfer taking flight, a band member jumping into the pit, or an unexpected moment of connection in the chaos, every act brought something wild and unapologetic to the table. Pretty Pissed wasn’t just about music, it was a collective release, a protest in motion, and a reminder that underground culture is alive, thrashing, and more united than ever. All photos can be found here.
