One of the region’s foremost festivals dedicated to showcasing up-and-coming artists is back again this September, and thrills will undoubtedly ensue when ‘The Gathering Sounds’ crash once more over Stockton.

I say in the sub-header above that ‘The Gathering Sounds’ is one of the region’s foremost festivals, but I think it’s fair to say that the last few years have proved that this event deserves its place among the UK’s finest—certainly when it comes to giving a platform to artists set to get tongues a-clacking. There are a tonne of acts worth getting very excited about this year, but why don’t we start with overpass (pictured). This Brummie four-piece craft massive, propulsive indie-rock anthems built on soaring guitar riffs and widescreen hooks that feel tailored for huge festival stages. Built on excited grassroots word-of-mouth, their gig crowds are famous for wall-to-wall singalongs, and beyond Radio 1 and national press support, they’ve earned their stripes opening for the likes of The Wombats and Inhaler. Also creating a huge stir at the minute are Belfast indie-rockers Basht., who blend post-punk bite with late-90s indie swagger. Led by charismatic frontman Jack Cullinan, they pair dark and driving basslines with sharp, melodic hooks. The Irish scene is red-hot right now and Basht. are at the chaotic forefront of it all. And then we have TTSSFU, one of the most compelling projects breaking out of the Manchester scene right now. Driven by multi-instrumentalist Tasmin Stephens, the whole caboodle started as a bedroom operation recorded entirely on GarageBand—blending fuzzed-up shoegaze, slacker rock, and dark dream-pop with an unsettling, glitchy aesthetic. Now, Stephens is backed by a full live band for the kind of high-energy stage show that takes your breath away. One of the most unpredictable acts on the bill is Good Health Good Wealth—a London duo who mash up gritty East London spoken-word vocals with 90s indie-guitars, hip-hop breakbeats, and electro-punk energy. Their tight, high-voltage shows turn rooms into chaotic singalongs. I’m also fully on-board with Shelf Lives and that’s down to their delirious blend of raw, abrasive energy and sleazy electroclash grooves, distorted guitars, and heavy 90s alt-rock hooks. Chuck in lyrical concerns that take in modern existential dread (oh, yeah!), consumerism, and social friction, and you’ve got the complete package. Recently added to the bill is one of the region’s finest in the shape of Tom A. Smith. Still only in his early twenties, this Sunderland musician has already shared stages with luminaries such as Elton John. He’s also received airplay on BBC Radio 1, BBC 6 Music and Radio X, and is fresh from releasing his highly acclaimed EP ‘Put On A Record Tommy’ through Fiction Records. Another recent addition is Glasgow band Humour, who collide angular post-punk with frantic math-rock, heavy 90s alt-guitar riffs, and sudden melodic left turns. They’ve drawn comparisons with everyone from Black Midi to At the Drive-In, but they’re very much their own thing. One of the most thrilling darkwave prospects around is Nottingham’s Bloodworm. They pair heavy, pounding basslines with shimmering, melancholic guitars that hark straight back to the moody 80s golden age of The Cure, Bauhaus, and Echo & The Bunnymen. Another one of the UK’s most exciting young guitar bands is FLETCHR FLETCHR who know how to hit the sweet spot that exists somewhere between urgency and introspection—combining driving, angular guitar lines with massive, hook-heavy choruses that feel naturally built for festivals. Manchester’s Pyncher arrive with a reputation for electrifying, genre-blurring live shows that mix garage rock, post-punk and alternative rock. Fiercely independent and impossible to pin to one sound, they’re quickly becoming one of the most exciting new names on the UK’s grassroots circuit. The Dream Machine, meanwhile, are one of the most vibrant, genuinely exciting indie bands to come out of Merseyside in years. They bring a massive dose of classic, melody-driven Northern charm to their sets which take in everything from 60s freakbeat to 70s surf-punk to “Wall of Sound” pop. Needless to say, there will be plenty of local talent on show and among the highlights this year is sure to be Stockton’s very own Daisy Brown. Mixing folk textures with pop and R&B influences, her music has steadily earned attention across the regions thanks to understated but emotionally rich songwriting. Also flying the region’s flag is Sunderland five-piece, and Crack faves, Swindled. Their curve-ball art-pop is among the freshest sounds you’ll hear anywhere and they’re coming off the back of a huge breakthrough year which earned them a spot at the BBC Radio 1 Big Weekend. The whole glorious festival is being crammed into one very special day and will be spread over multiple venues including KU, ARC, The Georgian Theatre, The Link, The Social Room, and The Green. We don’t have space to cram the full line-up in here, but you can grab the latest exciting low-down, and ticket information, from the website below.

The Gathering Sounds, Saturday 26 September, multiple venues in Stockton, £29.50, thegatheringsounds.co.uk