The most immediately striking thing about Sounds From the Other City (SFTOC) is that its name actually means something. It’s more than clever branding – it’s geography, identity, and intent. Salford is Manchester’s quieter twin, often overlooked in favour of its brasher sibling. But for one glorious day each year, SFTOC flips that narrative. Here, Salford isn’t second best. It’s centre stage.
Now celebrating its 20th year, this beloved, eccentric festival transforms the Chapel Street corridor into a buzzing maze of music, art, and creative mayhem. Pubs, churches, court squares, and industrial units become live venues, while DJ’s, performers, and spectators in yellow party hats spill into the streets. It’s part block party, part sonic pilgrimage, part art school experiment, and it’s unlike any other festival I’ve experienced.
This was my first ever visit to both SFTOC and Salford, and I left already planning next year’s return. There is something disarmingly welcoming about this festival. It doesn’t posture or preen but instead leans into spontaneity and joy.
The day starts off slowly, with wristband collection and a limited early programme which was kicked off on the green by the dazzling Love Party, playing a wide array of disco classics. But by mid-afternoon, a kind of joyful chaos takes hold and the atmosphere shifts palpably. Venues spring to life and music pours into the open air. Crowds dance between fountains and concrete, beers in hand and grins in place.
Bexley Square marked that turning point for me. The sun beamed down as dj_wachita spun some euphoric global tracks, with a Britney Spears Toxic edit that I immediately had to Shazam. The crowd responded with carefree delight, with couples, mates, and even a few babies, two-stepping, and head bopping to a great selection of tunes.
Over at Islington Mill, SOPHIA’s electric set throbbed through the courtyard. The Islington Mill stage, long a hub of Salford’s alternative and electronic music scene, pulsed with creative energy all afternoon, with crowds of staff and spectators dancing gleefully to banger after banger. This was a standout hub of the festival, a truly great venue with so much to offer.
Tucked along the riverbank, The Old Pint Pot is one of the festivals most iconic venues: a place where sticky floors, low ceilings and a raw energy come together to create the perfect indie venue. Whilst I didn’t manage to catch any acts here, the energy of this venue was truly infectious. It is no surprise to hear that it’s built a reputation as a rite of passage for performers and punters alike who are chasing the thrill that can only be experienced through live music.
Not every highlight was high-octane, though. Inside St Philips Church, Nøelle delivered a haunting and intimate set – pairing gorgeous, raw vocals with electronic frequencies that echoed through the space. At SFTOC artists aren’t just placed into venues – sound and setting are carefully curated and matched, each enhancing and responding to the other.
Programming at the festival is less something you follow, and more something you stumble into. This is an integral part of its charm. Although, as a minor point, I do think the breakdown between gigs, talks, and art installation pieces could be made clearer. This would allow for anyone seeking something more specific from the festival offering to engage more easily. Even so, there was always something surprising around the next corner to cater to every individual taste and desire.
Unlike many urban festivals that feel parachuted in or overly polished, SFTOC belongs to Salford. It’s stitched into the city’s artistic DNA. Rather than fencing off food courts or shipping in vendors, the festival cleverly leans into what’s already there. Local pubs and takeaways thrived, and the absence of corporate branding was refreshing. This encapsulated a feeling of belonging to the place, rather than just experiencing it as an attendee. This was echoed in the conversations overheard by locals, who were discussing the best local places to grab some grub along the way.
The festivals’ structure plays a huge part in that. Instead of a top-down lineup, SFTOC invites independent promoters, collectors, and DJ’s to curate their own stages. This collaborative model results in a line-up that is as eclectic as it is exciting. You might hear punk, reggaeton, ambient, and techno all within the space of an hour. It’s a truly euphoric celebration of everything which makes Salford’s music scene so special.
At its heart, and most importantly, SFTOC is about people. Music lovers, local artists, the curious, and the chaotic. Its ethos is powered by community curiosity and a deep love of live music and culture. Whether you’re raving in a car park or headbanging in a pub basement, there’s no pretension here. Just joy, experimentation, and a reminder that art isn’t something for passive consumption, but rather something you’re invited to be a part of.
You can grab tickets for 2026’s Sounds From the Other City here
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