Don’t be fooled by its title: ‘Frogfest’ is not a show of short-bodied amphibians, nor is it merely an appreciation for the species.
In fact, it’s an all-day alternative music festival which promises versatility, talent and, best of all: an overwhelming feel for the gothic. I couldn’t wait to attend.
Whilst admittedly still in its budding stages, my debut visit to this year’s edition proved it has already carved a solid identity for itself as one of the standout live events on offer in Liverpool.
Frogfest 2025 consisted of a carefully curated lineup of 11 groups and artists over the span of just 12 hours. I have compiled a list of 5 standout performances below, which I felt really highlighted the range and ambition that this festival covers:
THIRST:
Attempting to navigate my way through the brick-lined maze that is the Baltic Triangle, I was able to identify Frogfest by two things: the swarm of black leather jackets heading in one direction, and the distinctively abrasive sound of THIRST.
Arriving midway through their set, I was greeted by a fusion of sound that seemed to embrace notes of post punk and ska in a way I’d never heard before. Their frontman looked striking with a thick black stripe painted across his eyes, and managed to combine both the bubbling fury of IDLES’ Joe Talbot and the sophisticated swagger of Bauhaus’ Peter Murphy.
The band’s lyrical material was politically charged, best showcased in their 2022 single ‘Pale English Hands’, which utilises angry irony in its best form:
“God I love being the king in a wasteland
All I really wanted was to wash my Pale English Hands.”
THIRST’s surprising live attribute was their saxophonist. He slunk through the crowd during their last song, weaving through the audience to ensure nobody was missed. I can’t say I’ve ever had a saxophone played inches away from my face in real time, so this was a positive first.
In a final theatrical flourish, he climbed on top of a table, and gave it his all. It was eye catching and certainly unexpected, paired with a crescendo of post-punk noise and angry vocals which erupted from the group.
V:
Where THIRST were brash and on the nose, Australian artist V was elusive, spectral, and hard to pin down from the get go.
V’s set opened with what I’m assuming was a deliberately absurd soundcheck. The repetition of “check” under a faintly distorted mic was comical and verging on unsettling; with the occasional eerie screech thrown in, which gave a taster of what was to come.
In spite of the stripped back setup – consisting of just bass, vocals and backing track- V delivered a haunting performance that meshed subgenres under a captivating veil of darkness.
V’s bass, thick with distortion, dominated the beginning of the set and gave songs a harsher edge, compared to their synth-leaning recordings. At times, V veered into territories of experimental euro sleaze like Geneva Jacuzzi or maybe even Stereo Total at points.
Black-metal shrieks would then pull you out of obscurity and into true gloom at any given moment.
Towards the end of their set, V’s tracks softened into a more pop-adjacent style, which focused less on distortion and more on melodious synths and smoother vocals.
SAD MADONA:
By the time French musician Sad Madona took the stage, the sky was beginning to darken and the venue was starting to noticeably fill.
Sad Madona’s music created the perfect atmosphere and allowed the crowd to loosen up as we entered the cold/darkwave-dominated section of the evening.
Uniquely, Sad Madona’s set was able to integrate elements of minimalistic coldwave with shoegaze backdrops, creating a sound that felt retrospective and uplifting, whilst managing to maintain a dark ambience throughout.
Unfortunately, due to some technical issues his set was cut short.
He handled the situation with grace, showing his appreciation for the crowd by mouthing “I love you” before leaving the stage. This was reciprocated by supportive whoops and clapping, a true signifier of a good dynamic between audience and artist.
DLINA VOLNY:
Dlina Volny were one of my most anticipated acts of the night, and they did not disappoint.
The Belarusian trio sustained an effortless coolness throughout their timeslot, whilst maintaining a raw performance that kept the crowd engaged.
Their popular single ‘Do It’ from 2021’s ‘Dazed’ was a personal standout for me in their set. It’s a catchy and scintillating synthwave anthem which is only enhanced when played live. Its upbeat chorus in particular had a cathartic effect on the crowd.
Behind the group, hypnotic monochrome visuals lit up the stage and allowed the audience to really visualise the songs. This process of visualisation was only aided by lead singer Masha Zinevitch’s hypnotising dance moves. She really made it seem as though every word and every switch up of the synth impacted her deeply, as if being ventriloquised through the music.
What makes Dlina Volny’s sound so memorable and unique is also due to the influence of 80’s soviet synth pop on their collective sound. Popular groups like Alliance can be heard in their instrumentals, but the group breathes a contemporary life into the genre.
At one point, Zinevitch encouraged the crowd to enter a ‘liminal space’ through their music, which I feel was quite an apt description for the entire festival, and allowed their performance to be felt rather than simply seen.
ULTRA SUNN:
The venue was packed almost to its full capacity by the time final act ULTRA SUNN took to the stage.
Its frontman, Sam Huge, gave an absolute masterclass in crowd control; all with a large grin painted on his face. With each song, he drew the crowd closer into a receptive dynamic. He often singled out an audience member, making direct eye contact with them and smiling. During their hit song “Can You Believe It”, the duo orchestrated a joyous call-and-response during its chorus, which went over very well with the audience.
‘The Beast In You’ is a great track, both hypnotic and sensual in its approach. Huge was vocally on par with Depeche Mode’s Dave Gahan, but the instrumentals took on a more intense darkwave nuance.
Though I’m too young to have lived through the 80’s, ULTRA SUNN’s live performance felt like a genuine revival of that era’s spirit. It was the closest I’ve come so far to experiencing the atmosphere of an 80s goth nightclub, which is a goal I think many would like to achieve.
“One more song! One more song!”. The duo were that good that the crowd couldn’t get enough. Unfortunately, they didn’t return back on stage- but the response proved that ULTRA SUNN had sealed their place as worthy headliners of this year’s Frogfest.
Overall, I really enjoyed Frogfest. If you have an open mind when it comes to music, I would definitely recommend going.
It’s clear that the festival has the potential to broaden its reach across Liverpool, and I’m already excited to see what’s next in the coming years.
Review by: Amelie Griffiths
Image credit: Amelie Griffiths
